A Decade of Bearing Witness

Adapted from 12 Angry Men: True Stories of Being a Black Man in America Today, the 2012 anthology published by The New Press and first staged by The Billie Holiday Theatre in 2015, this production marks a decade of evolution. Now reimagined as Freedom Riders: A Journey With No End in Sight, the work expands beyond its origins to encompass the full spectrum of Black experience, including the urgent realities facing Black Trans lives, the trauma of police brutality, and the haunting persistence of systemic racism.

Etwaroo, who first brought the stories to life a decade ago, frames this iteration as both a memorial and a movement. “Those were moments of protest, prayer, and spiritual reckoning,” she said. “Now, a decade later, these stories must be set free at a time when truth is under assault and history is being erased.”

A Cast of Titans

The star-studded ensemble reads like a roll call of artistic excellence across stage and screen:

• Lisa Arrindell (Disappearing Acts, Saints & Sinners)
• Russell Hornsby (Fences, The Hate U Give, Grimm)
• Billy Eugene Jones (A Soldier’s Play, Purlie Victorious)
• Angelica Ross (Pose, American Horror Story)
• Stephen Tyrone Williams (A Master Builder, The Knick)

Together, they embody the living testimonies of survival, resistance, and faith that define the Black American experience. Their performances are underscored by a live trio of musical brilliance—Arden Altino on piano, Daniel Bernard Roumain on violin, and Divinity Roxx, the Grammy-nominated bassist and former Beyoncé musical director. The trio’s original score, commissioned through Harlem Stage’s WATERWORKS initiative, transforms the stage into a living soundscape of struggle and transcendence.

A Theatre as Sacred Ground

Each performance of Freedom Riders functions as more than a show—it’s a communal gathering. Set inside Harlem Stage’s historic Gatehouse theatre, the production invites audiences to sit within a space built from the bones of the Croton Aqueduct system. This structure once carried life-giving water through New York City. Now, it holds something even more vital: truth.

Previews begin October 7–8, with an invite-only opening night on October 9, followed by public performances and student matinees through October 18. In a powerful gesture of access, Harlem Stage has launched a Buy One, Give One ticket initiative: every ticket purchased helps sponsor a student’s attendance, ensuring that young people have the chance to witness this transformative experience.

The Legacy Continues

Founded in 1983, Harlem Stage has built a global reputation as a sanctuary for artists of the Global Majority. The institution’s mission to center radical artistic freedom, equity, and innovation has fostered generations of groundbreaking talent, including MacArthur “Genius” fellows Kyle Abraham, Bill T. Jones, Jason Moran, Vijay Iyer, and Cecil Taylor.

With Freedom Riders, Harlem Stage continues that lineage, proving once again that theatre isn’t just entertainment. It’s testimony. It’s survival. It’s legacy.

Broadway Black celebrates the legacy and future of Black theatre—on Broadway and beyond.

The post Freedom Riders: A Journey With No End in Sight, Harlem Stage Honors 10 Years of Reckoning and Resistance appeared first on Broadway Black.

A Bold Look at Domestic Violence Through a New Lens

First premiering to sold-out audiences at Luna Stage Theatre in 2014, Man of the House has toured throughout the Tri-State area, earning acclaim for its emotional depth, humor, and social impact. The play breaks new ground by exploring domestic violence from the rarely told perspective of a male abuse survivor, revealing the layers of shame, silence, and generational trauma that often surround such stories.

A’ndre Davis stars as ‘James,’ a man struggling to save his relationship while reclaiming his sense of self. The cast also features powerhouse performances from:

• Monifah as Kesi
• C. King (Nick Cannon’s Wild ’N Out) as Isaac
• Trinity Whiteside (Tyler Perry’s Sistas, Zatima) as Walt
• Cortez Smith (The Chi) as Lawrence

Through heart, humor, and hard truths, Davis’s writing opens dialogue on gender, power, and resilience — urging audiences to reconsider how they view strength and vulnerability.

A Homecoming at The Billie

“Bringing Man of the House to The Billie Holiday Theatre is a full-circle moment for me as both an artist and a storyteller,” Davis said. “The Billie has long been a home for truth-telling and for art that challenges us to see the world differently. With this play, I wanted to shine a light on a side of domestic violence we rarely talk about — the experiences of male survivors — while still giving audiences the heart, humor, and humanity that make stories resonate.”

Founded in 1972, The Billie Holiday Theatre stands as a cornerstone of Black arts and culture. As an AUDELCO, Obie, and National Medal for the Arts award-winning institution, The Billie continues to champion work rooted in racial justice and truth, making it a fitting stage for Davis’s deeply personal and socially charged story.

Performance Details

Man of the House
The Billie Holiday Theatre
1368 Fulton Street, Brooklyn, NY 11216

• Friday, October 10, 2025 – 7:30 PM
• Saturday, October 11, 2025 – 2:00 PM
• Saturday, October 11, 2025 – 7:00 PM
• $60 General Admission / $100 VIP (Evening Shows)
• $40 General Admission / $65 VIP (Matinee)

VIP tickets include premiere seating, an autographed playbill, a cast meet & greet, the play’s soundtrack, a complimentary beverage, and a souvenir cup.

Man of the House promises not just an unforgettable night of theatre — but a powerful call for awareness, compassion, and change within our communities.

The post Monifah, C. King, and More Star In Man Of The House At Brooklyn’s Billie Holiday Theatre appeared first on Broadway Black.

In response to the backlash, Patti LuPone issued an apology, marking a rare moment of humility for the actress. In her statement, LuPone acknowledged the harm caused by her words and took full responsibility for her actions. She expressed regret for her “flippant and emotional” responses, acknowledging that her words were “demeaning and disrespectful.” She admitted that her behavior contradicted the values of respect and collaboration upheld in the theater community, noting, “I am devastated that my behavior has offended others and has run counter to what we hold dear in this community.”

LuPone also aligned herself with an open letter signed by over 600 Broadway professionals, which calls for accountability and equity in the industry. She stated, “I wholeheartedly agree with everything that was written in the open letter shared yesterday… Our entire theatre community deserves better.”

While LuPone’s apology is a necessary first step, it is only the beginning. Words alone cannot dismantle the systemic issues of power and privilege in the theatre community. The real challenge lies in turning these words into action to ensure all artists are treated with the respect they deserve.

As the industry strives for a more inclusive and respectful environment, this moment serves as a reminder that accountability must be a constant priority, not just a reaction to controversy. It’s also important to note that the initial harm—Kecia Lewis’s experience, which sparked the video—was not directly addressed in this apology.

The industry has reached a crossroads, where conversations about racial privilege, power dynamics, and accountability must be translated into real, lasting change. Apologies are valuable, but they must be followed by tangible actions that reshape the culture of Broadway. With ongoing commitment and action, Broadway has the opportunity to create lasting change that values every artist.

The post Patti LuPone Releases Public Apology to Kecia Lewis and Audra McDonald appeared first on Broadway Black.

The letter, initiated and organized collaboratively, speaks with clarity, care, and a commitment to justice. It emphasizes that the harmful behavior exhibited by LuPone is not an isolated incident but a part of a pervasive culture that has tolerated microaggressions and abuse for far too long. According to the letter:

“Patti LuPone’s recent comments, calling Kecia Lewis—a Black woman and 40-year veteran of the American stage—a ‘b**,’ were not just inappropriate; they were a racialized act of disrespect. The language used is degrading, misogynistic, and a form of bullying that has far too often been excused within the theater community.”*

The letter calls for a broader industry-wide reckoning, one that holds individuals accountable, regardless of their fame or legacy. It points out how Broadway has, in the past, taken swift action when others in the industry—such as Scott Rudin—faced public scrutiny for mistreatment and misconduct. However, the letter stresses that accountability should not be the exception but the rule.

The signatories urge the American Theatre Wing and the Broadway League to establish a standard of conduct, ensuring that no artist or leader—regardless of their stature—can use their platform to degrade or threaten fellow artists without consequence. In particular, the letter advocates for:

• Immediate action in response to LuPone’s comments, including not allowing such individuals to participate in high-profile industry events like the Tony Awards unless they’ve completed anti-bias or restorative justice programs.

• Clear, transparent policies for addressing harmful behavior, regardless of an individual’s fame or tenure.

• Consistent application of values such as equity, justice, and respect.

The letter closes with a call to honor the Kecia Lewises and Audra McDonalds of Broadway—artists who not only embody excellence but also deserve protection and respect, not just from the audience but from their peers and the industry as a whole. This letter is a reminder that a stronger, more equitable Broadway is possible—one where all artists are treated with dignity, safety, and respect.

Read the full letter and see the names of the artists who have signed it here:

Below is a plain-text version of the letter above:

OPEN LETTER FROM THE BROADWAY THEATER COMMUNITY

MAY ЗОТН

To the American Theatre Wing, The Broadway League, and the greater theater community,

This is not a petition. It is an open letter — a collective call-in to our community. We write not to shame or isolate, but to speak with honesty, clarity, and care. This is a call for accountability, justice, and respect — rooted in love for the art form and for the people who make it possible. We believe our community can do better. We believe it must do better — especially when harm is done to those who have given so much to this industry.

Recently, Patti LuPone made deeply inappropriate and unacceptable public comments about two of Broadway’s most respected and beloved artists: Kecia Lewis and Audra McDonald. In a published interview with The New Yorker, she referred to Kecia Lewis a Black woman and a 40-year veteran of the American stage as a “b***” This language is not only degrading and misogynistic-it is a blatant act of racialized disrespect. It constitutes bullying. It constitutes harassment. It is emblematic of the microaggressions and abuse that people in this industry have endured for far too long, too often without consequence.

To publicly attack a woman who has contributed to this art form with such excellence, leadership, and grace and to discredit the legacy of Audra McDonald, the most nominated and awarded performer in Tony Award history— is not simply a personal offense. It is a public affront to the values of collaboration, equity, and mutual respect that our theater community claims to uphold.

Let us be clear: this is about more than one person. It is about a culture. A pattern. A persistent failure to hold people accountable for violent, disrespectful, or harmful behavior especially when they are powerful or well-known. This is not about differing opinions. It is about public actions that demean, intimidate, or perpetuate violence against fellow artists. It is about the normalization of harm in an industry that too often protects prestige over people.

We’ve seen what happens when abusive behavior is finally brought to light. Scott Rudin and Walter Bobbie both faced public backlash, professional consequences, and ostracization after repeated reports of mistreatment and misconduct. These moments proved that the theater community can act when it chooses to. But accountability should not be the exception it must be the rule. We cannot continue to welcome back those who harm others simply because of their fame or perceived value. This must stop. We will no longer tolerate violence verbal, emotional, or physical against artists within our own community. No more free passes. If our industry is truly committed to equity, justice, and respect, then those values must be applied consistently, even when it’s uncomfortable. Especially when it’s uncomfortable.

No artist, producer, director, or leader regardless of legacy or celebrity should be allowed to weaponize their platform to belittle, threaten, or devalue others without consequence. Period.

The American Theatre Wing-the very institution that presents the Tony Awards states that its mission is to “champion brave creative voices, support excellence and artistry, and celebrate theatre that impacts American culture.” Among its core values are:

Validate Diversity: Celebrating stories as diverse as the American people.

Champion Creative Expression: Advocating for artists’ right to speak through their work.

Support Growth and Create Connections: Nurturing and respecting artists at every stage of their careers.

Make Excellence Known and Inspire Artistic Greatness: Honoring and uplifting extraordinary contributions to the artform

When artists use their platforms to degrade or demean others especially those who embody excellence and leadership they violate every one of these values. That behavior disrupts community, undermines mentorship, and erodes trust. If these values are more than empty statements, then this moment demands a meaningful and visible response.

We call on the American Theatre Wing and the Broadway League to take immediate action-not only in response to Patti LuPone’s comments, but in establishing a broader standard of accountability moving forward:

Individuals, including Patti Lupone, who use their platform to publicly demean, harass, or disparage fellow artists— particularly with racial, gendered, or otherwise violent language should not be welcomed at industry events, including the Tony Awards, fundraisers, and public programs.

Participation, recognition, and attendance at high-profile events must be contingent on conduct that reflects community values. This includes completion of comprehensive anti-bias or restorative justice programs before re-entry into public-facing spaces.

Theater institutions must adopt and enforce clear, transparent policies for addressing harmful behavior—regardless of an individual’s fame or tenure in the industry.

This would not be tolerated in other industries. In 2021, the NFL fined the Washington Commanders $10 million and removed Dan Snyder from day-to-day operations after a toxic workplace culture came to light. Will Smith was banned from the Oscars for ten years after slapping a fellow artist during a live broadcast. These organizations acted swiftly to preserve their values and the integrity of their communities. Why should Broadway hold itself to a lower standard?

This is not about “canceling” anyone or condemning them — it is about care. Care for our artists, our values, and the future of our shared craft. We write because we want this community to thrive — not just in box office numbers or critical acclaim, but in integrity, safety, and mutual respect. We envision a theater industry where all artists – including Black women — are protected, valued, and celebrated. Where excellence is met with recognition, not hostility. Where harm is addressed, not ignored. Where no one is forced to choose between their artistry and their dignity.

Our industry is under threat. The arts are being defunded, theater programs are disappearing, and artists are being pushed to the margins. We need each other now more than ever. We need community. We need leadership. And we need accountability.

To the Kecias and the Audras of our past, present, and future: You are the soul of this community. We honor your brilliance, your resilience, and your impact. You deserve more than applause. You deserve protection. You deserve respect.

To the leaders of our industry: A belief in justice, equity, and inclusion must mean something — not just in statements, not just in programming, but in how we act when those values are tested. Accountability is not an attack; it is an act of care.

We are calling for action – not to punish, but to protect. Not to divide, but to strengthen. A stronger, healthier, more equitable Broadway is possible – one where all artists are treated with dignity, safety, and respect.

This is a call grounded in commitment. Commitment to the community we claim to be. To the values we profess to uphold.

And to the future we have the power to shape — one rooted in equity, accountability, and collective care.

Let us move forward together, not in silence or avoidance, but with courage and clarity — so that our community can truly succeed and thrive, without inflicting violence or harm.

Sincerely members of our Broadway theater community.

The post Broadway Responds: A Collective Call for Accountability appeared first on Broadway Black.

This production will be a radical reimagining of Andrew Lloyd Webber’s iconic dance musical Cats based on Old Possum’s Book of Practical Cats by T. S. Eliot.  Inspired by the Ballroom culture that roared out of New York City over 50 years ago and still rages on runways around the world, it will be staged as a spectacularly immersive competition directed by Zhailon Levingston (Tina: The Tina Turner Musical, Chicken & Biscuits) and PAC NYC Artistic Director Bill Rauch (All the Way), with all new Ballroom and club beats, runway ready choreography, and an edgy eleganza makeover.  Come one, come all, and celebrate the joyous transformation of self at the heart of Cats and Ballroom culture itself.

The company includes Baby (Victoria), Jonathan Burke (Mungojerrie), Emma Sofia Caymares (Skimbleshanks), Tara Lashan Clinkscales (Ensemble), André De Shields  (Old Deuteronomy), Shelby Griswold (Understudy),Sydney James Harcourt (Rum Tum Tugger), Antwayn Hopper (Macavity) Dava Huesca (Rumpleteazer), Dudney Joseph Jr. (Munkustrap), Capital Kaos (DJ), Junior LaBeija (Gus), Dominique Lee (Understudy); Robert “Silk” Mason (Mistoffelees), “Tempress” Chasity Moore (Grizabella), Shereen Pimentel (Jellylorum), Primo (Tumblebrutus), Xavier Reyes (Jennyanydots),  Nora Schell (Bustopher Jones), Bebe Nicole Simpson (Demeter), Kendall G. Stroud (Understudy), Frank Viveros (Ensemble), Garnet Williams (Bombalurina) and Teddy Wilson Jr. (Sillabub).

Performances began June 13, 2024 with an opening night on June 20, 2024. A limited engagement originally scheduled through July 14, 2024, will now run through July 28th, 2024.

The creative team includes Directors Zhailon Levingston and Bill Rauch, Choreographers Arturo Lyons and Omari Wiles, Rachel Hauck (Scenic Design), Qween Jean (Costume Design), Adam Honoré (Lighting Design), Kai Harada (Sound Design), Brittany Bland (Projection Design), Nikiya Mathis (Hair/Wig Design), William Waldrop (Music Supervision and Music Direction), David Lai (Music Coordinator), Trevor Holder (Beats Arrangement), Capital Kaos (Ballroom Consultant), Josephine Kearns (Dramaturg & Gender Consultant), X Casting/ Victor Vazquez CSA, and Sujotta R. Pace CSA (Casting).

The post PHOTOS: Cats: “The Jellicle Ball” Opening Night appeared first on Broadway Black.

The Will and Jada Smith Family Foundation is making waves in the theatre community by sponsoring a performance of the world premiere of Nia Akilah Robinson’s Push Party, presented by The Hearth. This special performance will occur on Thursday, June 20, at 7 p.m. at Theaterlab, 357 W 36th St, 3rd floor, New York, NY 10018. Running from June 7-23, Push Party promises to be a highlight of the season.

In an extraordinary gesture of support, the Foundation will cover all ticket costs for the June 20 performance. Additionally, they will provide patrons with a stipend to cover round-trip subway fare and a snack. Initially, The Hearth will extend invitations to groups from their partner organizations, and any remaining tickets will be made available to the public.

Actor and Associate Producer Mikayla LaShae Bartholomew, who worked with Will Smith on the film “King Richard,” as the eldest Williams sister, Tunde Price, expressed her heartfelt gratitude for the Foundation’s support. “I’m overjoyed, filled with gratitude, and simultaneously befuddled by Mr. Smith’s unwavering dedication and continuous support of my work as an artist,” Bartholomew shared. “It is a testament to the man and artist he is. He’s helped me learn that it is an immense privilege to tell stories about our people, for our people, centering our people, and with this collaboration, Push Party will get to do just that. We get to make sure that this play has the audiences it deserves: the people of Harlem, birth workers, mamas, the unhoused, Black women— all of the people the theater usually forgets. I thank Mr. Smith and the whole team for trusting in Nia Akilah Robinson’s work, The Hearth, and me. In times like these, it is a gift beyond words to give people a chance to see themselves represented onstage, to give people a night at the theater, a night to escape.”

Playwright Nia Akilah Robinson expressed her excitement about the attention her comedy has received. “I’m so happy that this comedy starring six Black women has garnered this attention,” Robinson said. She credited The Hearth for bringing her dream to life and thanked the Foundation for amplifying the community room.

Push Party is a lively ensemble comedy about six Black women attempting to uphold fifteen years of friendship at a post-birthing party in Harlem. The story centers on Lelo, who hopes for a smooth event, but tensions rise and explode when an unhoused person enters the community room. Inspired by Black women’s stories of birth and motherhood and life experiences in Harlem, the play confronts moments when friendship erodes, hope falters, and communities come together in laughter and pain.

The remaining performances of “Push Party” are scheduled as follows: Wednesday, June 19 at 7pm, Thursday, June 20 at 7pm, Friday, June 21 at 7pm, Saturday, June 22 at 7pm, and Sunday, June 23 at 2pm. Tickets (First 10 $18; General Admission $29, Pay it Forward $45) can be purchased in advance at Theaterlab’s website.

The Hearth is dedicated to addressing the gender gap in theatre by welcoming more women, trans and non-binary artists, and artists of underrepresented genders into the field. They also focus on launching the careers of emerging artists by offering rare opportunities for institutional support, development, and production. The Hearth’s mission is to elevate diverse and representative viewpoints, challenge gender stereotypes, and advance the conversation about feminism. For more information about The Hearth, visit their website.

With the support of the Will and Jada Smith Family Foundation, “Push Party” is set to be an unforgettable experience. It will illuminate important stories and provide a night of theatre to those who might otherwise be forgotten.

The post The Will and Jada Smith Family Foundation Sponsors ‘Push Party’ World Premiere Performance appeared first on Broadway Black.

Ruben Santiago Hudson, L. Morgan Lee, Justin Cooley, & Nikiya Mathis were in attendance and amongst the winner’s circle. View the full list of winners and watch the entire show below.

* = denotes the winner

BEST FEATURED ACTOR IN A PLAY (OFF-BROADWAY)

Andrea Patterson, Confederates

*Abena, Merry Wives

Stephanie Berry, On Sugarland

Billy Eugene Jones, On Sugarland

Britton Smith, To My Girls

Andrea Patterson, Cullud wattah

Alicia Pilgrim, Cullud wattah

BEST FEATURED ACTOR IN A PLAY (BROADWAY)

Kara Young, Clyde’s

Ron Cephas Jones, Clyde’s

Chuck Cooper, Trouble in Mind

*Kenita R.. Miller, for colored girls who have considered suicide/when the rainbow is enuf

Tendayi Kuumba,  for colored girls who have considered suicide/when the rainbow is enuf

Brandon J. Dirden, Skeleton Crew

Luke James, Thoughts of a Colored Man

BEST FEATURED ACTOR IN A MUSICAL (OFF-BROADWAY)

Alysha Deslorieux, The Visitor

Tamika Sonja Lawrence, Black No More

Ephraim Sykes, Black No More

Lillias White, Black No More

Adrianne Danrich, Intimate Apparel Opera

*Justin Cooley, Kimberly Akimbo

BEST FEATURED ACTOR IN A MUSICAL (ON BROADWAY)

Tavon Olds-Sample, MJ: The Musical 

Ayana George, MJ: The Musical

*L Morgan Lee, A Strange Loop

James Jackson Jr., A Strange Loop

Jared Grimes, Funny Girl

Sidney Dupont, Paradise Square

Charity Angel Dawson, Mrs. Doubtfire

BEST CHOREOGRAPHY

Ellenore Scott & Jeffrey Alkins, Mr. Saturday Night

*Bill T. Jones, Chloe Davis, Gelan Lambert, Paradise Square

Raja Feather Kelly, A Strange Loop

Ellenore Scott & Ayodele Casel, Funny Girl

Adesola Osakulumi, Skeleton Crew

Darrell Grand Moultrie, Space Dogs

BEST DIRECTION (OFF-BROADWAY)

*Stori Ayers, Confederates

Saheem Ali, Merry Wives

Candis C. Jones, Cullud wattah

Whitney White, On Sugarland

Awoye Timpo, Wedding Band

Saheem Ali, Nollywood Dreams

BEST DIRECTION (BROADWAY)

Zhailon Levingston, Chicken & Biscuits

Steve H. Broadnax III, Thoughts of a Colored Man

Ruben Santiago Hudson, Skeleton Crew

*Camille A. Brown, for colored girls who have considered suicide/when the rainbow is enuf

Charles Randolph-Wright, Trouble In Mind

Lileana Blain-Cruz, The Skin of Our Teeth

BEST LIGHTING DESIGN

*Stacey Derosier, Wedding Band

Alan C. Edwards, Twilight: Los Angeles, 1992

Kathy A. Perkins, Trouble In Mind

BEST SCENIC DESIGN

Chris Cumberbatch, Gong Lum’s Legacy

*Lawrence E. Moten III, Chicken & Biscuits

BEST SOUND DESIGN

Mikaal Sulaiman, On Sugarland

Jimmy Keys, Confederates

Rena Anakwe, Wedding Band

Justin Ellington, Clyde’s

*Justin Ellington, for colored girls who have considered suicide/when the rainbow is enuf

Twi McCallum, Little Girl Blue

BEST COSTUME DESIGN (OFF-BROADWAY) 

Ari Fulton, Confederates

*Dede M. Ayite, Merry Wives

Dede M. Ayite, Nollywood Dreams

Qween Jean, On Sugarland

Kara Harmon, Cullud wattah

Toni-Leslie James, Suffs

BEST COSTUME DESIGN (BROADWAY)

*Paul Tazewell, MJ: The Musical

Toni-Leslie James, Paradise Square

Sarafina Bush, Pass Over

Emilio Sosa, Skeleton Crew

Sarafina Bush, for colored girls who have considered suicide/when the rainbow is enuf

Montana Levi Blanco, The Skin of Our Teeth

BEST WIG/HAIR  DESIGN

*Nikiya Mathis, Nollywood Dreams

Earon Chew Nealey On Sugarland

Cookie Jordan, The Skin of Our Teeth

Cookie Jordan Clyde’s

Nikiya Mathis, Confederates

Earon Chew Nealey, Cullud wattah

BEST DIGITAL THEATER PRODUCTION

*The Last 5 Years,  Out of the Box Theatrics

Semblance, New York Theatre Workshop

After Midnight, Signature Theatre Streaming On Demand

BEST AUDIO THEATER PRODUCTION

*Dreamgirls on Clubhouse, Leroy Church

Paradise Blue, Williamstown Theatre Festival, Audible Theater

The Lion King on Clubhouse, Noelle Chesnut Whitmore

Mugabe, My Dad & Me, Tonderai Munyevu, Audible Theater

BEST MUSICAL  ENSEMBLE 

*MJ: The Musical

Paradise Square

A Strange Loop

Black No More

Intimate Apparel Opera

Caroline, Or Change

The Visitor

BEST PLAY ENSEMBLE 

Clyde’s

Thoughts of a Colored Man

Skeleton Crew

*for colored girls who have considered suicide/when the rainbow is enuf

The Skin of Our Teeth

What To Send Up When It Goes Down

Wedding Band

BEST MUSIC IN A PLAY

Justin Hicks, Cullud wattah

Justin Ellington, Tambo & Bones

Starr Busby, On Sugarland

Alphonso Horne, Wedding Band

*Bill Sims Jr., Lackawanna Blues

Jimmy Keys, Skeleton Crew

Te’La and Kamauu, & Keenan Scott II, Thoughts of a Colored Man

BEST ORCHESTRATION

*Jason Michael Webb, MJ: The Musical

Joseph Joubert, Caroline, Or Change

Daryl Waters, Black No More

BEST ORIGINAL SCORE

*Michael R. Jackson, A Strange Loop

James Posner, Daryl Waters, Anthony Tidd, Tariq Trotter, Black No More

Masi Asare, Paradise Square

BEST BOOK OF A MUSICAL

John Ridley, Black No More

Kwame Kweo-Armah, The Visitor

Lynn Nottage, Intimate Apparel Opera

*Lynn Nottage, MJ: The Musical

*A Strange Loop won this category in 2020. Artists are ineligible for nomination if previously won the category for the same work.

BEST SOLO PERFORMANCE

Laiona Michelle, Little Girl Blue

*Ruben Santiago Hudson, Lackawanna Blues

BEST ACTOR IN A PLAY (OFF-BROADWAY)

Crystal A. Dickinson, Cullud wattah

Susan Kelechi Watson, Merry Wives

Kiki Layne, On Sugarland

Kyle Beltran, Case for the Existence of God

Daniel J. Watts, The Last of the Love Letters

Jacob Ming-Trent, Merry Wives

*Kristolyn Lloyd, Confederates

BEST ACTOR IN A PLAY (BROADWAY)

Namir Smallwood, Pass Over

*Phylicia Rashad, Skeleton Crew

Ruth Negga, Macbeth

Gabby Bean, The Skin of Our Teeth

LaChanze, Trouble In Mind

Uzo Aduba, Clyde’s

Laurence Fishburne, American Buffalo

BEST ACTOR IN A MUSICAL ( OFF-BROADWAY)

Kearstin Piper Brown, Intimate Apparel Opera

Brittany Nicole Simpson, Penelope, or How the Odyssey Was Really Written 

Bryonha Marie Parham, A Commercial Jingle for Regina Comet

Tariq Trotter, Black No More

*Brandon Victor Dixon, Black No More

Justin Austin, Intimate Apparel Opera

BEST ACTOR IN A MUSICAL (BROADWAY)

Myles Frost, MJ: The Musical

*Joaquina Kalukango, Paradise Square

Jaquel Spivey, A Strange Loop

Sharon D. Clarke, Caroline, or Change

BEST REVIVAL

Macbeth

*Skeleton Crew

Trouble in Mind

Twilight: Los Angeles, 1992

Merry Wives

The Skin of Our Teeth

*For Colored Girls…won this category in 2020. Artists are ineligible for nomination if previously won the category for the same work.

BEST PLAY

Clyde’s by Lynn Nottage

*Thoughts of a Colored Man by Kennan Scott II

Confederates by Dominique Morisseau

What To Send Up When It Goes Down by Aleshea Harris

Nollywood Dreams by Jocelyn Bioh

On Sugarland by Aleshea Harris

Cullud wattah by Erika Dickerson-Despenza

BEST MUSICAL

MJ: The Musical

Paradise Square

*A Strange Loop

Caroline, or Change

Intimate Apparel

Black No More

The post The 2nd Annual Awards by Broadway Black: Full Winners List appeared first on Broadway Black.

Streaming on Broadway Black’s youtube channel on March 3rd, 2023, at 7 pm, The Awards continue to fill a gap of acknowledgment and recognition for Black theatre artists. The private ceremony was held for nominees, presenters, and performers to celebrate their accomplishments in helping bring the theatre industry back on its feet and to create a filmed ceremony to share with the Broadway Black audience.

Making appearances at the ceremony were Angela Birchett, Carla Stewart, Ashley Jenkins, Ruben Santiago Hudson, Chuck Cooper, Brenda Braxton, Kenneth D. Ard, Jawan M. Jackson, Felicia Boswell, Kalen Allen, Ryan Jamaal Swain, Renee Harrison, Aisha Jackson, Antoine L. Smith, Jerrie Johnson, Jonathan Burke, Darius de Haas, Natasha Yvette Williams, and more.

Inspired by the Harlem Heroes work by Carl Van Vechten, The Awards chose to forego a traditional step & repeat. Leaning into the theme of the evening, Black Vintage Glamour, photographer Josh Walker created a vintage backdrop for our Harlem heroes of tomorrow.

Photos by Josh Walker

The post PHOTOS: The Awards, Formerly Known As The Antonyos appeared first on Broadway Black.

Cooper launched the #SaveAintNoMo campaign on December 9th after its closing notice to prolong the show’s life, which resulted in heightened awareness and sold-out audiences.

Numerous notable figures stepped up in solidarity to support, with performance buyouts received from Will and Jada Pinkett Smith, Gabrielle Union and Dwyane Wade, Queen Latifah, Tyler Perry, Shonda Rhimes, and Sara Ramirez. Queen Latifah also hosted the Saturday night performance on December 17th.

Co-producers Lena Waithe and RuPaul hosted performances on December 13th and 15th, respectively.

Significant contributions were made by Reverend Al Sharpton, Swizz Beatz, D-Nice, Derrick Hayes & Pinky Cole, Jeremy O. Harris, Denee Benton, Debbie Allen, and Dominique Morrisseau

Ain’t No Mo’ opened on December 1st and will have played 22 previews and 29 performances through December 23, 2022. Unless… #SaveAintNoMo continues.

The cast includes Jordan E. Cooper as Peaches, Fedna Jacquet (Passenger #1), Marchánt Davis (Passenger #2), Shannon Matesky (Passenger #3), Ebony Marshall-Oliver (Passenger #4), and Crystal Lucas-Perry (Passenger #5). 

Ain’t No Mo’ was named “The Best New Play of the Year” by The Wrap and New York Magazine said “Brace Yourself, No One is Safe.”  Vulture raved the production is “jubilantly disruptive” and Variety exclaimed its “fearlessly provocative.”

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The musical, directed by Harold Prince and featuring choreography by Gillian Lynne, is based on the novel “Le Fantôme de L’Opéra” by Gaston Leroux and features a book by Richard Stilgoe and Andrew Lloyd Webber, music by Lloyd Webber, and lyrics by Charles Hart. The current cast is led by Ben Crawford as The Phantom, Emilie Kouatchou as Christine, and John Riddle as Raoul.

The show was forced to shut down temporarily in March 2020 due to the COVID-19 pandemic but was able to reopen to audiences on October 22, 2021. It is produced on Broadway by Cameron Mackintosh and The Really Useful Group.

Mackintosh, a British producer working in New York for over 40 years, said of the show’s closing, “It has been an unparalleled honor to have presented the longest-running musical in Broadway’s history… Our gratitude to American audiences falling in love with The Phantom is infinite.” He added that while the Phantom may be disappearing for now, the show will continue to enchant audiences in London and around the world, and may one day return to Broadway.

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