As Actors Equity puts it, “swings are those members of the company who cover all the other chorus members. Often the most important to cast because of the nature of the job, a Swing must have a wide vocal range, be able to dance and be able to step into a role from young child to an older character, male or female. A Swing also must know the smallest detail of every ‘track.’ Essentially, the Swing must be able to do it all and must be ready to go on at a moment’s notice.”

So in honor of #NationalSwingDay here’s a few of our favorite swing testimonials from some Broadway Black stars!

Rachel Oneika Phillips

Yesterday was declared #NationalSwingDay by the Actors Equity Association. My Broadway debut was a dream come true…and that dream in reality was some of the hardest and most rewarding artistic experiences of my life. Brought on as a Swing and Understudy I rehearsed relentlessly to learn 8 female tracks and 2 lead roles in FELA! The Musical. Trust me, it is not for the faint of heart. One of my proudest accomplishments. Big respect to those who dare, can and do! As Equity puts it, “Swings are those members of the company who cover all the other chorus members. Often the most important to cast because of the nature of the job, a Swing must have a wide vocal range, be able to dance and be able to step into a role from young child to an older character, male or female. A Swing also must know the smallest detail of every ‘track.’ Essentially, the Swing must be able to do it all and must be ready to go on at a moment’s notice.” #EquityTeamSwing #TBT #FELA! #Kikelomo #bereadyatamomentsnotice #swingnation #blocstars

A photo posted by Rachel Oneika Phillips (@dragonpassionfruit) on Jan 14, 2016 at 1:23pm PST

Phoenix Best

Well I did it!! I made my official Broadway Debut tonight! I can’t believe that I finally achieved me dream! The biggest plus is that I got to do it with this girl by my side! This is the ultimate post for “swings doin things”! I love my color purple family! 1-6-16 is a day I will never forget! @bwaycolorpurple #thecolorpurple #broadway #swings #debut A photo posted by Phoenix Best (@misspheeny) on Jan 6, 2016 at 7:21pm PST

Trisha Jeffery

Once upon a time, I did it, too… And we were #Fierce Happy National Swing Day!!! The show must always go on! #nationalswingday #swingnation #swingsrock

A photo posted by Trisha Jeffrey (@trishajeffrey) on Jan 13, 2016 at 3:10pm PST

Tracie Thoms

In honor of #NationalSwingDay, here’s me as a swing in “Leader Of The Pack” at Towson Dinner Theatre in like, 1993! Yassss #DoeEyes!!! #Beehive #TheyPushedMeIntoPositionInEveryDanceNumber A photo posted by Tracie Thoms (@traciethoms) on Jan 13, 2016 at 9:49am PST

Jaquez Rudolpho

Happy National Swing Day! Almost two years ago I made my Broadway debut in Motown the musical as a swing. It wasn’t easy but I had blast. Swinging to me was like arithmetic, geography, art and music seamlessly fused together to make going on (sometimes at a minutes notice) a joy! Honoring the unsung heroes of MT #equityteamswing #swingnation #nationalswingday #musicaltheatre

A photo posted by Jaquez (@justjaquez) on Jan 13, 2016 at 8:36am PST

The post Broadway Black Celebrates National Swing Day appeared first on Broadway Black.

The project started by gathering artists from top theatre companies around the country to create a series of one-minute plays centered around the themes of race and police brutality.While it seems as though a one-minute play isn’t enough time to faithfully explore the subject matter, I ask you this question: Is one minute not the amount of time it takes for a law enforcement officer to make an incorrect assumption and leave another Black body lifeless on the ground? In one minute is someone able to be choked to death? In one minute is someone able to be held down on the ground against their will with a knee lodged in their spine? Yes, these occurrences can happen in a minute and have happened. Co-Creater and Producer of the Oregon Shakespeare Festival, Claudia Alick, told The Takeaway with John Hockenberry that “you can do a lot in one minute, the rigor and the restraint required means that you say something specific.”

The plays were workshopped in St. Louis from October 18th – 23rd, were produced and live streamed October 24th, and featured content by collaborators such as Lynn Nottage, Dominique Morisseau, Nikkole Salter, The National Black Theater, The Hansberry Project and American Theater Company, The Black Rep and many more. The festival will make the body of plays available for participating theatre companies who’ve sent participants — and other national partners who have opted to participate for free –with the aim to have those partnering theaters hold a specific day or week of events in staging these plays from Oct 26^th– October 30^th, 2016.

As a firm believer that the stage is the best place for art to truly live, breathe and exsist, I find productions like this to be important for the whole world to see. I don’t want to have to wait a year to be able to see these plays, but I know it will be more than worth it.

The post Every 28 Hours: 1-Minute Play Festival Tackles Race & Police Brutality in Black Communities appeared first on Broadway Black.

The black-faced mask of minstrel shows is a lingering image from America’s past that still inflicts wounds today through its psychic hold…In the future if we are to be free from its terrible grip we must confront it boldly and courageously by staring back into its face and laughing at the absurdity of its representation until it no longer has the power to hurt us. Only then will it be vanquished and we are free to be. – Donald Byrd

The Minstrel Show Revisited interrogates and critiques the 19th century blackface entertainment genre that continues to play a significant role in cultural stereotyping. The work addresses current racial issues while shining the light on racist aspects of American history that are difficult to discuss. By using the conventions of the 19th century minstrel show, including the once common tradition of blackface, Byrd and his remarkable dancers confront audiences with the past and present manifestations of racism and perpetuation of stereotypes embedded in American culture and tradition.

While the original motivation for creating this piece was the racially motivated slaying of Yusef Hawkins, it’s still very relevant to the current social climate in America. With Eric Garner’s chokehold death and the deaths of Michael Brown, Freddie Gray, Tamir Rice, Sandra Bland and many others, there isn’t a more important time for such a piece to be revisited and revised.

Donald Byrd’s work as a choreographer achieved international visibility with the creation of the Harlem Nutcracker and a Tony Award nomination for his 2006 choreography of Broadway’s The Color Purple. He has created more than 80 modern dance pieces for his own groups as well as Alvin Ailey American Dance Theatre and The Joffrey Ballet. He was a fellow at The Institute on the Arts and Civic Dialogue at Harvard University for three years.

The Minstrel Show Revisited will play for three performances: October 28 and 29 at 7:30 pm and October 30 at 8 pm. Tickets are $30 – $55 and may be purchased online at www.nyuskirball.org, by phone at 212.998.4941, or in person at the NYU Skirball Center Box Office. The NYU Skirball Center for the Performing Arts is located at 566 LaGuardia Place at Washington Square, New York, New York 10012.

The post Donald Byrd’s The Minstrel Show Revisited – Limited Engagement appeared first on Broadway Black.

The show, which follows John Netwon’s journey that gave birth to the abolitionist movement, cost a whooping $16 million to get off the ground. It was marketed to church groups and African-American audiences with the goal that the inspirational story of John Newton’s religious conversion, and the realistic description of the slave trade, would interest these ticket buyers. However, that strategy did not work out in their favor. Quite the opposite, during the many weeks the show was running, the theatre was only half full.

Amazing Grace played a pre-Broadway engagement in Chicago in fall 2014 and a national tour of the production is in the works. “We are incredibly disappointed in the show’s performance at the box office on Broadway,” lead producer Carolyn Rossi Copeland told the New York Times on Wednesday. “I look forward to bringing this story of hope and redemption to audiences around the country with our upcoming national tour.”

There are a lot of things that could have factored into the the early closing. The target audience they were going for might have felt a bit uncomfortable watching, they simply couldn’t afford to go, or they just weren’t interested. I remember seeing the show opening night and being extremely captivated by it. I also had theatre friends who told me they flat out thought it was a show to appease white guilt and, therefore, were uninterested. Either way, it’s disappointing to see a show with a majority of people of color have to bow out early, when some of the same old shows get to stay. But this is life, and things don’t always work out the way we want.

What I’m most sad about is not seeing Chuck Cooper, Harriett D. Foy, Laiona Michelle, and Rachael Ferrera give their all on stage, but we at Broadway Black know it’s only a matter of time before they wow audiences again.

Because it’s just so hard hard to say goodbye, check out some of these exclusive pics of some of the cast enjoying their success, while remaining humble in the process.

In July cast members Harriet D. Foy and Laiona Michelle were invited to the United Nations for a meet and greet with Ambassador Vandi Chidi Minah of Sierra Leone. This made perfect sense as both ladies portray women from that country. While there, both Foy and Michelle had a moment of self reflection and gratitude.

When visiting the newly built sculptures dedicated to those who were victims of slavery, Michelle noted the following;

 Standing in this beautifully moving piece Harriett and I were overcome with a deep sense of pain, understanding and profound sorrow.  It was quite humbling. Harriet could not touch the sculpture of what seemed to be a child in the hull of the ship where hundreds would be crammed together for the voyage to some unknown place to face untold horrors. This is my ancestry and I had to pay homage because I truly stand on the shoulders of giants.  We tend to take for granted the enormous grace, strength and beauty of which we are built.  I was reminded in one instance, of that legacy.

And we will sure enough miss the beauty  of Amazing Grace. If you haven’t made your way to the Nederlander Theatre, buy your tickets now and experience Amazing Grace for yourself before October 25th!

Take a look back on #OpeningNight with our video below!

The post Amazing Grace Will Close On Broadway October 25th appeared first on Broadway Black.

The cast includes co-creator Griffin Matthews, along with Melody Betts, Rodrick Covington, Kevin Curtis, Tyrone Davis, Jr., Nkrumah Gatling, Latrisa Harper, Jason Herbert, Aisha Jackson, Kristolyn Lloyd, Michael Lluwoye, Corey Mach, Tiffany Mann, Jeremy Pope, Jamard Richardson, Nicolette Robinson, Adeola Role, Conor Ryan, and Jamar Williams.

“Determined to find his place in the world, 20-something Griffin leaves his job and his New York City apartment to volunteer for a charity in Africa. But when his altruistic aspirations collide with the real world, his life is changed in unexpected and profound ways. Inspired by a true story, this new musical infuses a world pop score with African beats in a journey about discovering whether changing the world is even possible.”

As Broadway Black already reported last month, the show was able to crowd-fund enough money to send the the cast, creators and a film crew to Uganda. In preparation for the New York premiere they met with the real-life Ugandan students the story is based on, participated in service projects, mentored orphans, and worked alongside local artists to take part in an exchange that will help to shape their performances and lives! Their main goal was to  connect with the people and places that have inspired the show and to come home and share an authentic theater experience with audiences in New York City!

Invisible Thread will be produced produced in association with the American Repertory Theater, where the musical held its world premiere in February 2014 under the title of Witness Uganda. Invisible Thread will begin previews at the Tony Kiser Theatre on October 31, with an official opening on  December 2, and a limited run through to December 27.

FIRST NYC REHEARSAL!! A million thank yous to every actor, director, production team, friend, family and supporter who has been a part of this journey. You are with us today. And we celebrate YOU!! There is a long invisible…

A photo posted by Witness Uganda (@witnessuganda) on Sep 14, 2015 at 9:08am PDT

The post Invisible Thread Cast Announced After Return From Uganda appeared first on Broadway Black.

As mourners gathered in Playhouse Square, the grief among those who either knew or were inspired by Jean-Baptiste was palpable.  An image of the talented young man with the soulful eyes and the beautiful tenor voice gazed out from the marquee.  And the honor befitting a legend was bestowed as the Imperial Theatre dimmed its lights and Kyle Jean-Baptiste was given a final and well deserved ovation.

I thank everyone who supported me and still does. I will never forget this experience. Onwards and upwards ;). Nothing but love @LesMizBway

— Kyle Jean- Baptiste (@BaptisteKyle) August 25, 2015

The Imperial, Richard Rodgers Theatre and Cleveland’s Playhouse Square dimmed their lights at 10:15 PM following the Tuesday evening performance.  Generally when this homage is given to a legend, theatres dim their lights around 8:00p.m, as actors are preparing to go on stage. For Jean-Baptiste, The Broadway League decided to dim the lights at 10:15 PM so that members of the Les Miz cast and crew, could also participate in the tribute.

It happened. #Dim4Kyle We love you @BaptisteKyle #YouAreBroadwayBlack @LesMizBway pic.twitter.com/4JEfPMgJrz

— BROADWAY BLACK! (@BroadwayBlack) September 2, 2015

And while the tribute is complete, Kyle Jean-Baptiste’s presence will be missed, but never forgotten. To ensure this was the case, college classmates of Jean-Baptiste from Baldwin Wallace University joined with the Mackintosh Foundation, a London-based philanthropic group created by legendary producer Sir Cameron Mackintosh to launch a scholarship in his name. The scholarship fund, which was partially funded through Go Fund Me, raised more than $35,000 in one day.  Astoundingly, in part to an “extraordinary” gift from the Mackintosh Foundation, The Kyle Jean-Baptiste ’15 Music Theatre Scholarship has grown to nearly $135,000.

The outpouring of love and support further evidences the tremendous impact Jean-Baptiste had during his short lifetime. Not only was this young man able to inspire using his artistic talents, but even in his untimely death, others will continue to receive an education in the arts.  We extend our heartfelt thank you to the family of Kyle Jean-Baptiste for sharing him with the world. Because of him we know that it is in fact possible for dreams to come true.

@BaptisteKyle helping us bridge our way to #Friday #OneDayMore @lesmisofficial #LesMiz pic.twitter.com/f1hCb5pZiu

— . (@HuffPostVideo) August 13, 2015

To donate to the scholarship fund in honor of Kyle Jean-Baptiste click here.

The post Kyle Jean-Baptiste: A Final Ovation for a Broadway Legend appeared first on Broadway Black.

We got there a little before 7:30 and were provided with free water (!!) before the doors opened and we were met with the rustic set. The location of the theatre, I think, added to its 1916 year backdrop the play provided and the seats weren’t your traditional proscenium stage but rather a thrust stage. That aspect made the play a lot more intimate and personal. I already knew what the play was going to be about so I came prepared, however I don’t think I was fully prepared for the extent to which this play was going to move me.

From beginning to end, I found myself enraptured in the storytelling happening before me on the stage. It was an emotional roller coaster for me as I found myself completely empathizing with Rachel and even seeing myself in her a few times. What’s most startling is that the show was written nearly 100 years ago, and even has traces of first drafts written as early as 1914, and it still resonates with what is happening in America today. A story that starts with a young optimistic black woman who cannot wait to bring a young black life into the world, then is soon hit with the sudden realization that being black in America is no easy feat. She finds herself struggling with what that means for her children and for herself as a mother.

Santoya Fields was absolutely captivating as “Rachel”. Her internal monologues coupled with the brilliant sound design that played audio footage from police related crimes and murders against black lives was particularly chilling. A detail that, once I recognized what was going on, I was suddenly brought to tears by because of the complexity of those moments. The supporting cast- Bonita Jackson, Damone Williams, Temesgen Tocruray, and Lauren Lattimore also had extremely strong performances that made the show even more enjoyable.

At the end of the production there was a talkback with the director and the actors to discuss the production which I found refreshing. I would recommend this show to anyone, whether they enjoy theatre or not, because it’s a story that has value, it’s a story that is real. If you are anywhere in the New York area come down to Brooklyn and go see Rachel, you will be glad you did. The show is open until August 29 and tickets are FREE.

The post We Were There: Rachel at New Brooklyn Theatre appeared first on Broadway Black.

For years, African-Americans have struggled to have their voices heard on all platforms, which is why we seek out opportunities to create spaces for us, by us. When others won’t do right by us, it’s the hope that at least we will. This is why I wasn’t the least bit surprised by the error written by playbill.com when announcing the actress/singer stepping into those silver slippers as Dorothy for NBC’s The Wiz Live. Playbill.com incorrectly reported that Grammy-nominated R&B songwriter Shanice (Wilson) had been cast as Dorothy. While on the surface this may not seem like a problem, it’s actually adding to a larger problem that African-Americans face: erasure. Not only is it problematic that it was published before it being fact-checked or edited for errors, but it’s an insult to 18-year-old Shanice Williams, who rightfully earned her debut role.

Mistakes are common and human error is possible, but when your entire website deals with content pertaining to all things Broadway and theatre and you’ve been covering the story for months, a little more attention to detail is crucial. It’s times like this that we gravitate towards those that are actually in our corner, like Broadway Black.

Created in 2011 with one goal in mind, Broadway Black prides itself on being dedicated to highlighting the achievements and successes of African-American theatre artists on and off the Broadway stage. That’s why I was interested in becoming a Contributing Writer. As an artist, I love coming to Broadway Black to read what is happening on the Black theatre scene. It is enlightening, it is refreshing and it is about time. Errors like that of Playbill have no room in our space because this is our mission. Our articles require thorough research to do the show and/or actor justice. During a time when we are facing pain as a community, I tend to view Broadway Black as a sliver of hope. Seeing this young, fresh-faced 18-year-old Black girl from New Jersey live out her dreams in such a big way is monumental. Her story deserves to be told accurately by people who are wholeheartedly invested, not just because it was another assignment.

That’s why I ALWAYS choose Broadway Black.

The post Always Bet On Broadway Black appeared first on Broadway Black.

Want me 2 sing 2 u? Or have hot chocolate w/me? All while helping @CovenantHouse kids? Check out my sleep out page! http://t.co/Mc3otMO7iT

— Audra McDonald (@AudraEqualityMc) July 30, 2015

In addition to McDonald, many other Broadway actors will sleep out, including Lisa Dawn Clark, Terren Wooten Clark, Eddie Cooper, Lilli Cooper, Aisha de Haas, Darius de Haas, Dionne Figgins, Kevin R. Free, Dana Marie Ingraham, Tamika Lawrence, Miguel Edson, Maurice Murphy, John Eric Parker, and Todd Pettiford. All participants are stars of Broadway, Off-Broadway, or Broadway tour productions.

http://t.co/0yI5r8JORD https://t.co/VnYREeiL1i

— Mr Chuck Cooper (@Ebonyactor) July 30, 2015

This is McDonald’s second year participating in the event. Although Sleep Out: Broadway Edition takes place on August 17, she will sleep outside in solidarity with homeless youth on November 19, following the annual Candlelight Vigil for Homeless Youth in Times Square. McDonald serves on the executive committee and the board of Covenant House International. Jenkins (Newsies, Caroline, or Change) and Darius de Hass (Kiss of the Spiderwoman, Carousel (revival), Rent) are both third-year participants in the event and serve on the executive committee as well.

To see the impact that Sleep Out has, Jenkins takes viewers on a tour through the neighborhood of “The Cov,” the reality of the night, and the impact of the Sleep Out.

Covenant House is the largest privately funded agency in the Americas providing food, shelter, immediate crisis care, and essential services to homeless youth in 27 cities throughout the United States, Canada and Latin America. According to the organization, the funds raised by Sleep Out participants are put to work immediately, keeping the lights on and the doors open for more than 57,000 kids who will seek help this year.

For more information and to donate to your favorite Broadway star, visit www. sleepout.org.

The post Broadway Actors Will Sleep Out for Homeless Youths appeared first on Broadway Black.

The Kennedy Center Honors includes a White House visit for honorees and a gala performance Dec. 6 in Washington, featuring amazing entertainers. The show will broadcast Dec. 29 on CBS. Cicely Tyson is beyond deserving of this honor for a career that has spanned decades and work that continues to influence the lives of those that come behind her.

Tyson is a Tony Award winner for her work in The Trip To Bountiful in 2013. She starred alongside Vanessa Williams, Cuba Gooding Jr., & Condola Rashad in that Bountiful on Broadway. Probably best known for her leading roles in “The Autobiography of Miss Jane Pittman” and “Roots,”  she was also nominated for an Academy Award for “Sounder.”

“During my career I certainly questioned whether or not I was doing the right thing when I turned down roles,” she said. “Needless to say there were very few roles over the years written for women . I had to wait for it not only to be written for a woman but for a black woman. And then of course the longer I live, I became involved in ageism. So there’s always been that challenge.”

The actress said she was always selective with what roles she would take — but the Kennedy Center Honor tells her she made the right choices.

Indeed she did. Congratulations to the incomparable Cicely Tyson on this honor. We aren’t the only people to feel that way. Read the congrats from some of those Ms. Tyson has influenced and watch her 2013 Tony acceptance speech and get inspired all over again.

To the woman who inspired me to dream big…Ms.@IAmCicelyTyson! Brava on your Kennedy Center Honor. Well deserved!

— Viola Davis (@violadavis) July 15, 2015

Congratulations 2my #WCW, Ms. @IAmCicelyTyson 4being honored by the @kennedycenter w a Lifetime Artistic Achievement Award! @KChonors #KCH

— Anika Noni Rose (@AnikaNoniRose) July 15, 2015

The post Cicely Tyson Among 2015 Kennedy Center Honorees appeared first on Broadway Black.