Jada wrote a tweet following the announcement stating, “At the Oscars…people of color are always welcomed to give out awards…even entertain, but we are rarely recognized for our artistic accomplishments. Should people of color refrain from participating all together? People can only treat us in the way in which we allow. With much respect in the midst of deep disappointment.” She followed the tweet later with a video of her expressing this disappointment and calling all Black entertainers to boycott the show.

Spike Lee certainly agreed with her in his own instagram post and a Hamilton quote;

#OscarsSoWhite… Again. I Would Like To Thank President Cheryl Boone Isaacs And The Board Of Governors Of The Academy Of Motion Pictures Arts And Sciences For Awarding Me an Honorary Oscar This Past November. I Am Most Appreciative. However My Wife, Mrs. Tonya Lewis Lee And I Will Not Be Attending The Oscar Ceremony This Coming February. We Cannot Support It And Mean No Disrespect To My Friends, Host Chris Rock and Producer Reggie Hudlin, President Isaacs And The Academy. But, How Is It Possible For The 2nd Consecutive Year All 20 Contenders Under The Actor Category Are White? And Let’s Not Even Get Into The Other Branches. 40 White Actors In 2 Years And No Flava At All. We Can’t Act?! WTF!! It’s No Coincidence I’m Writing This As We Celebrate The 30th Anniversary Of Dr. Martin Luther King Jr’s Birthday. Dr. King Said “There Comes A Time When One Must Take A Position That Is Neither Safe, Nor Politic, Nor Popular But He Must Take It Because Conscience Tells Him It’s Right”. For Too Many Years When The Oscars Nominations Are Revealed, My Office Phone Rings Off The Hook With The Media Asking Me My Opinion About The Lack Of African-Americans And This Year Was No Different. For Once, (Maybe) I Would Like The Media To Ask All The White Nominees And Studio Heads How They Feel About Another All White Ballot. If Someone Has Addressed This And I Missed It Then I Stand Mistaken. As I See It, The Academy Awards Is Not Where The “Real” Battle Is. It’s In The Executive Office Of The Hollywood Studios And TV And Cable Networks. This Is Where The Gate Keepers Decide What Gets Made And What Gets Jettisoned To “Turnaround” Or Scrap Heap. This Is What’s Important. The Gate Keepers. Those With “The Green Light” Vote. As The Great Actor Leslie Odom Jr. Sings And Dances In The Game Changing Broadway Musical HAMILTON, “I WANNA BE IN THE ROOM WHERE IT HAPPENS”. People, The Truth Is We Ain’t In Those Rooms And Until Minorities Are, The Oscar Nominees Will Remain Lilly White. (Cont’d)

A photo posted by Spike Lee (@officialspikelee) on Jan 18, 2016 at 5:03am PST

There have been huge debates all over social media whether or not actors should boycott the Oscars or would it even make a difference at all. Similarly, should we even care about the Oscars or should we just make our own? Here’s the danger with that- I think society as a whole has often equated Oscars exclusively with whiteness when in fact it shouldn’t represent that. It should represent the best in film. Period. Point blank. I’d also add, we already have shows that recognize Black entertainers on the regular but even in our own communities we don’t respect them and some A-list black celebrities don’t bother to even show up.

For some, an Oscar simply represents the highest honor in ones film career field. While I am one who thinks that art is super subjective and  already wary of awards in performances, it doesn’t diminish the fact that there are many performances from Black actors that were are “award worthy.” One place I’ve noticed Black actors having some achievement in is on the stage and at the Tony Awards.

I will never forget the 2013 Tony’s when four out the eight acting categories were given to Black men and women (Cicely Tyson, Patina Miller, Coutney B. Vance and Billy Porter). Or in 2010 when it was a Fences and Fela! takeover. Even when Audra McDonald became the first person in Tony’s history to win one in every acting category possible and has the title of having the most Tony Awards as a performer.

While this isn’t to say the Tonys are completely perfect and without fault, I think over the years the Tony’s has gotten better at being more inclusive. Their nominations are usually on the money, and I can guarantee you this year Black actors will be winning again. So what makes the Tony’s so different? What are they doing right?

Well for one, I think the theatre world is more diverse and open to things that differ from the typical white storytelling narratives. I also think because the voting pool is so small and the voters actually go to the shows, their nominations are much more valid. So why can’t the academy admit their current system is broken and find ways to fix it? Well Academy president Cheryl Boone Isaacs responded to the Oscar boycott saying they would look into what qualifies for membership to help diversify the pool, so I guess that’s a step in the right direction. My only problem with that is, how long will it last?

The post Have The Tonys Been More Fair Than The Oscars? appeared first on Broadway Black.

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East Texas Hot Links tells the story of a small African American community in 1955 Texas. The play takes place during a single night in the Top o’ the Hill Café, where a “betrayal endangers the lives of the community.” Lee’s play originally premiered in 1991 at the Met Theatre in Los Angeles with Loretta Devine in a starring role. A review of the production at the time noted, “the performances are gripping, honest and filled with humor.”

Casting for East Texas Hot Links is currently underway with John Beasley star of TV Land’s “The Soul Man” in the role of “Boochie Reed.” Beasley also serves as a producer. The movie is scheduled to begin shooting next spring in Los Angeles.

In addition to East Texas Hot Links, Lee has written Fear Itself, Somebody Called: A Tale of Two Preachers, Killingsworth, The Rest of Me, the musical Twist, and Lyin’ Ass. He also has appeared on Broadway in August Wilson’s Gem of the Ocean, and as a company member for the Kennedy Center’s 10-play cycle tribute to Wilson. His television credits include “Good Times,” “The White Shadow,” and “The Women of Brewster Place.” He is currently the Artist in Residence and Artistic Director of the Texas State University Black and Latino Playwright’s Conference.

Jackson has enjoyed a long career on the stage including 1990’s Broadway production of Wilson’s The Piano Lesson. Most recently, he starred alongside Angela Bassett in Katori Hall’s Olivier Award-winning drama The Mountaintop as “Dr. Martin Luther King.”

The post Samuel L. Jackson Bringing East Texas Hot Links Play to the Big Screen appeared first on Broadway Black.

Twinkie, who cast the late Whitney Houston’s last movie, “Sparkle,” as well as the films “Notorious” and “Stomp the Yard,” also encourages Black artists to know their craft. For Ms. Byrd, this means knowing your history and where the contemporary artist stands in relation to all those who came before. Ms. Byrd’s last piece of advice is for the artist to give him- or herself a break and acknowledge at the end of the audition that a best effort was given and to say “you’re welcome,” when thanked for coming in. Most artists stay in ingratiating mode and simply say, “no, thank YOU,” but Twinkie, who is credited with launching the careers of Laz Alonso and Michael Kenneth Williams, encourages artists not to gloss over the fact that “you’re welcome” is self-affirmation of a job well-done.

Actor Anthony Mackie has spoken on the “importance of being a Black actor and the importance of theater to an actor” in an article featured in the Guardian in 2011. After a turn on Broadway in “A Behanding in Spokane,” Mr. Mackie took a hit from Black writer and New Yorker theater critic Hilton Als, who stated candidly: “The sad fact is that, in order to cross over, most black actors of Mackie’s generation must act Black before they’re allowed to act human.” Mackie’s advice is to think beyond someone else’s definition of you as an artist because, “you can’t limit yourself.”

And then of course, there’s that ‘drops mic’ moment detailed by the NY Times blog in 2012, given to us by Lady Vi, Ms. Viola Davis, on the Tavis Smiley show, when he expressed “ambivalence” over the movie, “The Help.” Ms. Davis, with the dignity and humanity she brings to every role, illustrated why she should be allowed to write roles as well as act them. She offers: “That very mindset that you have, and that a lot of African-Americans have, is absolutely destroying the Black artist,” she said. “The Black artist cannot live in a revisionist place,” she added. “The Black artist can only tell the truth about humanity, and humanity is messy. People are messy. Caucasian actors know that. We as African-American artists are more concerned with image and message and not execution.” With that, Viola tells artists to focus on craft, as only someone who has been doing so for decades can.

Finally, a rule for the artist in us all, straight out of the mouths of babes as detailed on BlackCelebKids.com from an interview with Backstage.com. Yara Shahidi (Black-ish) brings us full circle with: “Never jeopardize who you are for a role.” Artists would be wise to heed these words of the successful young artist and not trade one’s “moral compass, or anything like that, to have a role.”

The post Auditions in Black and White appeared first on Broadway Black.

“They are making Fences, August Wilson’s play, into a feature that Denzel Washington is directing and I’m going to be in,” the actress told The New York Times.

The two-time Oscar nominated star has only been seen on Broadway in August Wilson pieces, which is what makes this really special. She also won her first Tony Award for her role in King Hedley II starring opposite Brian Stokes Mitchell & Leslie Uggams. It has not been said if Denzel Washington will reprise his role in the film also. However, we hope that we will be willing to perform double duty as director and star.

UPDATE: DENZEL WASHINGTON WILL HELP BRING ENTIRE WILSON CYCLE TO HBO – READ MORE HERE

 

Fences is a 1983 play by American playwright August Wilson. Set in the 1950s, it is the sixth in Wilson’s ten-part “Pittsburgh Cycle,” a set of 10 plays set in Pittsburgh throughout an entire century. Like all of the “Pittsburgh” plays, Fences explores the evolving African-American experience and examines race relations, among other themes. The show centers on Troy Maxson, a Pittsburgh sanitation worker who once dreamed of a baseball career, but was too old when the major leagues finally admitted black players. As he faces off against the racial barrier at work and his own disappointments, Troy also grapples with his son Cory over the teenager’s hope for a football scholarship and with his wife, Rose, who confronts Troy over a child he has fathered with another woman.

The original Broadway production hit broadway in 1987. It won the Pulitzer Prize and Best Play Tony Award as well as Best Actor for James Earl Jones and Best Actress for (Mary Alice). The same roles and Tony Awards later played/won by Washington and Davis in the revival.

Watch Washington & Davis talk about Broadway’s 2010 Fences below!

The post Viola Davis Will Star In Film of Wilson’s Fences Directed By Denzel Washington appeared first on Broadway Black.

Miranda’s works bring an energy and zest to the theatre that have drawn the praise of Jennifer Lopez, Joss Whedon and President Barack Obama. Cleverly fusing hip hop and salsa into the score of In the Heights and doubling back for more hip hop with a healthy splash of R&B for Hamilton, Miranda seems to be on a winning streak. But a Broadway smash does not guarantee that the musical will work on film.

In 2008, Manuel was excited when Universal Pictures acquired the film rights for his Tony Award-winning Best Musical, In the Heights. At the time, Miranda was expected  to reprise the role of leading man, Usnavi, with  Quiara Alegría Hudes, who wrote the Tony-nominated book, and was set to write the screen adaptation. But after concerns about signing on a big enough Latino star who would sell internationally, and an enormous $37 million dollar budget, the concept simply did not work as originally planned.

A lot of the reason the Universal version of Heights went away is that they were afraid they didn’t have a big enough Latino star to bankroll this movie. The people I dealt with at the studio who wanted to make this movie were very passionate about it. We had a very strong hand at the wheel with Kenny Ortega, who has made some of the great musical movie moments of all time, from Newsies to Dirty Dancing. But the bean counters were like, “Well, they don’t sell international.” You know this speech very well. That’s Hollywood being scared, and that’s everyone there having to answer to somebody else. And one of the things I learned was, the less money that’s involved, the more power you have.

The experience has now led to a revamp of the screenplay and a $15 million dollar budget. Manuel feels these changes are much better and should move the project forward.

In terms of a possible movie from his current hit Hamilton, Manuel says,

I have been amazed at the filmmakers who have expressed interest in adapting Hamilton. I would insist that the movie be exactly the same in terms of diversity. That conversation’s a ways off: It’s not happening anytime soon. What I learned from my go-round with In the Heights is that it’s tough to make a movie. In Hollywood, even the people in charge have people in charge.

For now, there is no clear answer of when, or if, either of these amazing productions will hit movie theaters. And that’s okay, because if it does happen, it’s quite clear that Manuel is determined not to lose the essence of either show just to sell movie tickets. That’s the kind of integrity that’s currently lacking in Hollywood. Even the venerable and iconic film maker Spike Lee agrees,

” I haven’t seen anything this DOPE on stage or screen in years…Game recognize game.”

The @SpikeLee in the 3rd row at the matinee…I felt like John Starks on that stage! Thanks maestro. #HamiltonPublic pic.twitter.com/MLyxdX2GR5

— Lin-Manuel Miranda (@Lin_Manuel) March 21, 2015

And that is exactly how we like it! For more information on In the Heights or Hamilton click here.

The post In The Heights & Hamilton In Talks For Hollywood appeared first on Broadway Black.

Riley & Aduba will join newbie Shanice Willams, who will play Dorothy, Tony nominee David Alan Grier who will take on the role of “The Cowardly Lion”, as well as join the Academy Award nomineeQueen Latifah & Grammy Award winner Mary J. Blige in the cast of The Wiz Live. Latifah will play “The Wiz” & Blige will portray the role of “Evillene”, the horrible wicked witch known for the upbeat “Don’t Nobody Bring Me No Bad News.” In addition to Stephanie Mills as “Aunt Em”, who was also previously announced.

The original 1975 production of The Wiz featured music and lyrics by Charlie Smalls and a book by William F. Brown and is a re-imagining of L. Frank Baum’s “The Wonderful Wizard of Oz.” The Broadway production won seven Tony Awards including Best Musical. In 1978, Motown Productions and Universal Pictures produced a film adaptation starring Diana Ross, Michael Jackson, Nipsey Russell, Ted Ross, Lena Horne, and Richard Pryor as “The Wiz”.

This upcoming retelling of “The Wiz” will be directed by Tony Award winner Kenny Leon (Raisin in the Sun) and will feature stunning acrobatics by Cirque du Soleil Theatrical, choreography by Fatima Robinson, and updated material by Harvey Fierstein (Kinky Boots, La Cage aux Folles, Newsies).

We know from her time on Fox’s “Glee!” that Amber Riley has serious acting and singing skills. We can’t wait to hear her belt out “He’s The Wiz!,” Addaperle’s signature tune. Riley will also rock out on the NBC production stage. In 2013, she became the first Black woman to win Dancing With the Stars.

Uzo Aduba is mostly known from her work on Orange Is The New Black as “Crazy Eyes” but is no stranger to the theatre. Aduba is an amazing vocalist and would be right at home on a Broadway-style sound stage. Before being cast on OITNB, she was on Broadway, and starred in the revival of Godspell. She’s also classically trained if you didn’t know.

We think Amber Riley is a great, youthful choice to play Addaperle. And Uzo Aduba is the best choice for Glinda The Good. Talk back to us in the comments and let us know what you think!

The post Amber Riley & Uzo Aduba Join The Cast of NBC’s The Wiz Live appeared first on Broadway Black.

To celebrate the occasion, George Faison, renowned producer, writer, composer, director, dancer and choreographer and of the original Broadway production, will present performances of original songs and dances from the show on August 12th in Central Park (Rumsey Playfield) & August 13-14 at 7:00pm at Marcus Garvey Park in New York.

The performance, The Wiz: A Celebration in Dance and Music, will feature performances by several members of the original Broadway cast. Tony Award-winning actress Phylicia Rashad, who played a munchkin and swing in the original production, will co-host the performance with Faison. André De Shields will reprise his original role as the “Wiz;” Dee Dee Bridgewater, who won a Tony Award for her role as “Glinda,” will reprise this original role; and Ebony Jo-Ann will reprise her role as “Addaperle,” which she played in the Broadway revival of the production. Singer-songwriter Wallace Gary will join the cast as the “Scarecrow.” Damien L. Sneed will act as the musical director and conductor.

The Wiz was the winner of seven Tony Awards, including Best Musical, Best Original Score – Charlie Smalls, Best Featured Actor in a Musical – Ted Ross, Best Featured Actress in a Musical – Dee Dee Bridgewater, Best Costume Design – Geoffrey Holder, Best Choreography – Faison, and Best Direction of a Musical – Holder. The production also received five Drama Desk Awards: Outstanding Musical – Ken Harper, Outstanding Music and Lyrics – Charlie Smalls, Outstanding Featured Actor in a Musical – Ted Ross, Outstanding Choreography – George Faison, and Outstanding Costume Design – Geoffrey Holder.

Faison, who was the first African American to win a Tony Award for Best Choreography, has created a GoFundMe campaign to help with the costs associated with recreating this groundbreaking musical. To lend your support, visit the GoFund Me that has been setup.

Don’t forget, In addition to the performances at Marcus Garvey Park on August 13-14th, the musical will also be performed August 12 at 8:00 pm at Rumsey Playfield. The performances are a part of Summer Stages 30^th Anniversary season and are free.

The post The Wiz Celebrates 40 Years Of Greatness Hosted By Phylicia Rashad appeared first on Broadway Black.

Tituss Burgess

Tituss Burgess (The Little Mermaid, Jersey Boys, Good Vibrations, Guys and Dolls) is most recently known for his portrayal of Titus Andromedon in the Netflix series “Unbreakable Kimmy Schmidt.” But he’s not letting any moss grow under his theatrical feet.  Burgess recently revealed, “I’m writing a musical…that I will likely star in. I [have a working title that I can’t tell you]. I can tell you that it’s based on a movie Whitney Houston did, and it’s not ‘The Bodyguard.'”

By process of elimination, it’s probably not “Cinderella,” since it was just onBroadway in 2013, and it’s obviously not “The Bodyguard.” This leaves “The Preacher’s Wife,” “Waiting to Exhale,” and “Sparkle” as possible choices.

In “The Preacher’s Wife,” a cleric begins to doubt himself and is visited by an angel. The heavenly emissary is supposed to help the good reverend over his midlife crisis, but he is distracted by the cleric’s lovely young wife (Houston). A 1996 remake with gospel music of the “The Bishop’s Wife,” with a soundtrack featuring Houston’s soaring vocals aided with the Georgia Mass Choir,”The Preacher’s Wife,” could be a natural transition to adapt this story to the stage.

“Sparkle” is a timeless story of the bonds of family, the trials of success and the power of music. Sparkle, a young woman whose big dreams seem almost impossible is warned against the pitfalls of the music industry by her protective mother (Houston), yet encouraged by the handsome and ambitious Stix. Sparkle forms a trio with her sisters. Together, they perform the soul-stirring songs that Sparkle pens. But as their fame grows, so does the risk of jealousy, self-doubt and insidious temptation. “Sparkle’s” Dreamgirls-like story and wonderful music would work well on the stage.

The most interesting and perhaps challenging idea would be “Waiting to Exhale.” Navigating through careers, family and romance, four friends bond over the shortcomings in their love lives — namely, the scarcity of good men. Both as the “other woman,” Savannah (Houston) and Robin carry on relationships with married men, each believing their lovers will leave their wives for them. On the flip side, Bernadine ends up alone when her husband divorces her for his mistress. Meanwhile, Gloria finds love with a new neighbor. “Waiting to Exhale” is a compelling story and, although music would have to be written, the story and characters are strong enough to be a draw for audiences.

No time frame has been set for the musical to be finished, but it is sure to be a hot ticket once it comes to fruition. Broadway Black will have the news on which Whitney Houston movie will become a theatrical musical as soon as it breaks!

The post A Whitney Houston Movie Turned Musical By Tituss Burgess On The Horizon? appeared first on Broadway Black.

The movie is an adaptation of the Broadway play of the same name that concluded its run last year. Bryan Cranston will reprise his role as President Lyndon B. Johnson, which earned him a Tony Award.  Steven Spielberg has signed on to produce the film, and Jay Road will direct. Production on the adaptation is expected to begin this fall.

The film covers President Johnson from when he became the 36th president following the assassination of John F. Kennedy, through his first year. It will include the passing of monumental Civil Rights legislation in Congress and be followed by LBJ’s landslide reelection win.

According to Deadline, “Mackie’s role in the script will be significant, and portrays a far more collaborative and complex relationship than was depicted in the Best Picture nominee, Selma.”

At the Morehouse Film Festival, Mackie’s commitment to acting was on full display.  He said, “If you want to be a movie star, then you go BE a movie star…you let no one challenge that. You let no one question that. But if you want to be a working actor… if you want to take the time and commitment to spend four months in Poughkeepsie doing a play no one will see… if you want to take the time and commitment to do a Broadway show for people to say ‘You know what, the show was alright; it was directed well but I don’t like YOU’…that’s the type of dedication you have to put into this to be successful.”

Assuredly, Mackie will bring that focus and determination to this iconic role. It will definitely be the television event of the year.

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