The annual celebration has become the star-studded event of the season attracting A-listers from Broadway to D.C. to Hollywood.  Tyson was one of six honorees celebrated for their lifetime contributions to the arts and American culture.  Other honorees included Rita Moreno, Carole King, George Lucas and Seiji Ozawa.

Broadway Black beauties Viola Davis and Kerry Washington were on hand for Tyson’s tribute to share all the ways the timeless 90 year old had inspired them and their work.

“Cicely Tyson does not merely act,” said Washington. “She soars. She sings. She vibrates. She is music.”

Davis, who recently worked opposite Tyson as her daughter on the hit-series “How to Get Away With Murder,” had this to say about the icon: “my friend, my inspiration, my TV mother…[she] motivates others to follow her lead and her dreams.”

Since her breakthrough performance in the critically acclaimed “Sounder,” Tyson has earned a bevy of Academy, Emmy and Golden Globe nominations over the span of her 60-year career.  In 2013, she won her first Tony Award for her captivating portrayal of “Carrie Watts” in A Trip to Bountiful.  She can currently be seen on Broadway in The Gin Game with long-time friend, James Earl Jones.

In all, Tyson has nearly 100 acting credits in film, TV and stage, but as Producer Tyler Perry explained, she has always been selective in the works with which she chooses to associate herself.

“She turned down more roles than you could imagine because they didn’t lift or serve us as a people,” Perry said. “For six decades, she has been diligent in her pursuit to better us all.”

When asked how she felt about receiving the presidential honor, she simply responded, “I am still in shock,” the humility ironic against her regal sophistication. “I consider this tantamount to being honored by the queen.”

The 38th Annual Kennedy Center Honors will air on CBS on Dec. 29 at 9 P.M.

UPDATE:

Kerry Washington gives an amazing introduction for Cece Winans, Terrence Blanchard, & The Cicely Tyson Community School of Performing & Fine Arts Choir singing Blessed Assurance.

Aretha Franklin performs (You Make Me Feel Like) A Natural Woman like you’ve never seen before for another honoree, Carole King.

The post Kennedy Center Honors Featuring Cicely Tyson Airs on CBS appeared first on Broadway Black.

“I would say that [work on] Bombshell slowed down a tiny bit because Bob Greenblatt asked us to focus on The Wiz,” Zadan told Entertainment Weekly.  “The moment The Wiz is up and running, we’ll go back and focus on Bombshell. So once this airs, we’ll be jumping in on Bombshell.”

According to Meron, they are “currently putting together the creative team.”

A musical within a musical, so to speak, “Smash” premiered on NBC in the spring of 2012.  According to NBC, “Smash” was a musical drama that celebrates the beauty and heartbreak of the Broadway theater as it follows a cross-section of dreamers and schemers who all have one common desire – to be a “Smash.” Executive produced by Steven Spielberg, the series featured names like Jennifer Hudson, Brenda Braxton and breakout star (and our favorite villain) Leslie Odom Jr.  After struggling in its second season, the show was cancelled in 2013, citing low ratings.  However, Bombshell, the primary musical featured in “Smash,” has produced somewhat of a cult following.  The major demand for an encore resulted in a one-night-only concert version of the production this summer, featuring original cast members and fans’ favorite songs as part of a fundraiser for The Actor’s Fund.

“There is a still a lot of love for ‘Smash’ and a rabid fan base out there, and we’re thrilled to be able to keep the dream alive as we work towards bringing Bombshell to theatre audiences,” said Robert Greenblatt, chairman of NBC Entertainment.

Bombshell features a score by Tony Award-winning songwriters Marc Shaiman and Scott Wittman.  Emmy Award-winning and Tony-nominated choreographer Joshua Bergasse will return to stage his stunning dances for the full production.

While “The Wiz Live!” premieres on NBC Dec. 3, no timeline for a Bombshell premiere has been given.

We’re wondering if maybe Odom and Hudson can pull double duty and do both their shows and Bombshell?  I say it’s worth a shot!  A girl can dream…

The post Wiz Live! Producers to Present Staged Version of Bombshell Next appeared first on Broadway Black.

The lights dimmed, I restlessly prepared for what could be an agonizing next three hours, and the overture began.  To say it truly was “the music of something beginning” could sound cliché, but honestly, the stirring in my spirit was palpable.  From the start, it was simply the most beautiful combination of expression I had ever experienced.  A stunning score, paired with brilliant direction, simply raised to supremacy by an outstandingly capable cast (side note: in addition to a love for theater, this experience would also incite an eternal obsession with one Ms. Audra McDonald), and most of all, a great story.

Nearly 20 years later, the cast of the Ragtime national tour is telling that story, based on the 1975 novel by E.L. Doctorow, in theaters all across the country.  The tour, which recently opened in Las Vegas, has shows scheduled throughout the U.S. through the spring of 2016.

I recently had a chance to catch up with actor, friend and certified hoot, Jeffrey Johnson II  (Dreamgirls, Hair, The Color Purple, To Kill a Mockingbird, Ragtime, Hairspray) to discuss his newest task of taking on the role of Booker T. Washington in the national cast: 

Broadway Black (BB): Tell us about your role.
I play Booker T. Washington in the national tour of Ragtime.  I’m one of the historicals interwoven into this fictional story.  In a search for justice, Coalhouse decides to take over the Morgan Library and Booker T. comes in as the mediator.  He’s the voice of reason after this tumultuous situation.  

BB: What have you learned about Booker T. Washington since taking on this role? 
We all know he’s such a great influence, not only in Black history but really in American history.  He had such an incredible sense of honor and labor.  He somehow found his way to Hampton University and worked as a janitor to get into school.  Even the Tuskegee Institute, he built that school.  If they weren’t in class, he and his students were literally building that campus.

BB: Did you already know these things about him or did you do some research?
I researched.  Taking on this role, I wanted to know exactly what I was stepping into.  I picked up the book “Up From Slavery” thinking ‘oh, this will be a good summer read.’  I finished it in three days! It was just so interesting!

BB: What have you learned about yourself as a performer since taking on this role? 
*Johnson was originally called in for the ensemble but, after auditioning, offered to read the part of Booker T. Washington for the assistant director, ultimately securing him the principal role.*
I feel like the director took a big leap entrusting me with this role.  I knew I was younger than some of the men who had played this part before, but I knew I could do it.   I had to trust my gut.  Sometimes you gotta show up, do what you do and hope for the best.

BB: Marcia Milgrom Dodge helmed the Tony nominated revival in 2009.  How was it working with her for this production?
Marcia is incredibly knowledgeable about theater and she is incredibly knowledgeable about this script and this score.  It was a little daunting, but also thrilling because I don’t know anybody who could tell this story this well.  [In reference to those commenting on Dodge’s stripped down adaptation]  I’m a vegan so I think in terms of – she’s juiced it.  She’s taken all the necessary pieces and leaves the audience with everything it needs.

BB: Why do you think this story needs to be told?
When Ahrens and Flaherty created this show, they were referencing subject matter from the early 1900’s, and they thought we were past it.  You know, race, immigration… But life is cyclical and we’re back at the place where we have to talk about these issues.  I hope it will generate conversations in the communities we are able to reach because we really got a long way to go.

To find Ragtime playing at a theater near you, visit HERE.

The post Exclusive! Jeffrey Johnson Talks Ragtime Tour and Playing Booker T. Washington appeared first on Broadway Black.

The production of Bootycandy at the Intiman Theatre Festival in Seattle will be the first time the play will not be directed by writer Robert O’Hara — a fact Oyetimein does not take lightly. This play explores one man’s experience of growing up Black and gay in America, a story not often told in mainstream theater. Oyetimein feels, “It’s beyond time for us to start seeing the world through more than just the white gaze. Pushing people out of their comfort zone and forcing them to ‘step into someone else’s shoes’ is necessary and exciting!!” It is this type of commitment to expand the mindset of not only theater audiences, but society as a whole, that is crucial for the growth and healing of this nation.

The second work, Kia Corthron’s Force Continuum, is a somewhat different glimpse into the world of police brutality by focusing on the conflicts of a black cop at a crossroads of identity and allegiance. Oyetimein strongly believes that, “This play is more than just controversial or timely. To me, it is essential…This play was written 15 years ago and monologues from it will have audiences wondering if it was ripped from the headlines this year.” While still in the pre-production phase, it is important to Oyetimein that this play is seen and received as the call to action that it is. This work is a clear artistic representation of the genocidal war waged against Americans of color. Helping to make these type of theatrical pieces is Oyetimein’s battleground.

While it is despicable that this fight is still very necessary, it is good to know that artistic warriors, or “Artivists” as she says, like Malika Oyetimein are dedicated to using their skills to change the world. When asked how she believes the arts, especially theater, can be used in activism, Oyetimein writes, “In this life, we have to seize every opportunity to speak about the things that matter. We have to speak. We must use our voice. My voice is my art.”

Bootycandy by Robert O’Hara and directed by Malika Oyetimein will run September 17- October 3 at the Intiman Theatre Festival in the Cornish Playhouse Studio at Seattle Center. For tickets and more information, visit www.intiman.org

The post Arts and Activism in America: Malika Oyetimein appeared first on Broadway Black.

Black theatre. A space of inspired creativity, performance art and social commentary on the lives of everyday people. As the curtains open and our stories unfold, we are transported to a place where our dreams and realities intermingle with song, dance and powerful dialogue. When the curtains close and the theatre goes dark, we are left with emotions, memories, images and often quotes that reflect the highs and lows of African American existence.

Let’s take a moment and revisit, in no particular order, ten inspirational quotes from some of our favorite pieces.

1. On loving one another:

“There is always something left to love. And if you ain’t learned that, you ain’t learned nothing.” – Loraine Hansberry, A Raisin in the Sun

2. Beginning a journey into the unknown:

“Count your blessings, cut your losses and follow the yellow brick road.” –The Wiz

3. Because sometimes your dreams are right there in front of you:

“Ev’ry man has his own special dream. And your dream’s just about to come true. Life’s not as bad as it may seem, if you open your eyes to what’s in front of you!” –Dreamgirls

4. On choices:

“When the sins of our fathers visit us, we do not have to play host. We can banish them with forgiveness as God, in His Largeness and Laws.” ― August Wilson, Fences

5. On our own divinity:

“I am an expression of the divine, just like a peach is, just like a fish is. I have a right to be this way…I can’t apologize for that, nor can I change it, nor do I want to… We will never have to be other than who we are in order to be successful…We realize that we are as ourselves unlimited and our experiences valid. It is for the rest of the world to recognize this, if they choose.” – Alice Walker, The Color Purple

6. On relaxing and enjoying the moment:

“Summertime, and the living is easy.” –Porgy and Bess

7. On learning to love yourself:

“I found god in myself and I loved her. I loved her fiercely” –Ntozake Shange, For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf

8. On personal empowerment and survival:

“I’m poor, black; I may even be ugly. But dear God! I’m here! I’m here! –Alice Walker, The Color Purple

9. On getting yourself together to fulfill your potential:

“Look inside yourself, Simba. You are more than you have become; take your place in the circle of life.” –The Lion King

10. On being okay with starting over:

“I ain’t never found no place for me to fit. Seem like all I do is start over. It ain’t nothing to find no starting place in the world. You just start from where you find yourself.” ― August Wilson, Joe Turner’s Come and Gone

 

Now, tell us what are some of your favorite inspirational quotes from African American theatre? Drop your favorites in the comments!

The post Inspirational Quotes For The Black Theatre Lover appeared first on Broadway Black.

Recently, Washington shared his inspirational message with teens from the Boys & Girls Club of Baton Rouge. His advice: Be humble. Give thanks. Give back. Put in work. Be smart. Get educated.

Washington, who is in the city filming a remake of “The Magnificent Seven” with Chris Pratt, is the national spokesperson for the Boys’ Club. He shared stories from his childhood and the lessons he’s learned throughout his life with the youth at the Baton Rouge Club. The Boys Club of Mt. Vernon helped him through trying times at home after his parents separated.

“I thought I was a man. I thought I was tougher than my mom,” he said. “I had one foot in the penitentiary. I didn’t go, but I was doing wrong things.”

Washington said the club gave him a sense of belonging and being around responsible adults helped him fall in with the “right pack” of people.

“Initially, it was just going, meeting new friends and competing, and the lessons were being laid in while you were playing basketball or running track,” Washington said. “They weren’t served up as lessons … but that’s what they became.”

He also added that, although he didn’t decide to be an actor until his junior year in college, the seeds for his career path were planted at the Boys & Girls Club. It was there that he learned that it takes more than talent to succeed.

“It’s not what you have,” he said, “it’s what you do with what you have.”

Although he has had a storied career full of accolades, including two Academy Awards and a Tony Award for his lead role in August Wilson’s Fences, Washington has remained active in the Boys & Girls Club of America. He became national spokesperson in 1992, was inducted in the Club’s Hall of Fame in 1993, joined the organization’s Board of Governors in 1996, and received the Herbert Hoover Humanitarian Award, the Club’s highest tribute to a volunteer, in 2004. In 2006, Washington wrote A Hand to Guide Me to share a message about the positive influence mentors can have on youth.

The post Denzel Washington Inspires Youth at Boys and Girls Club appeared first on Broadway Black.

The most common rule broken however, and the one that is most distracting for audience members and actors alike, is the cell phone rule. Not just cell phones going off loudly when they should be on silent, but audience members texting during the show (for which Patti LuPone has no problem snatching the phone from you), accepting phone calls during the show (seriously?), and even trying to get in a quick charge on the shows set before the performance begins (even if it does look like a real outlet, it’s not. That’s the magic of a great scenic designer/technical director, my friend).

The thing I like most about seeing theatre is the fact that it is live. There are no do-overs; what you see is what you get. The actors on that stage give their all eight times a week, after weeks and months of preparing, to bring a particular piece to life. So imagine as an actor on stage, telling this dynamic story in character in front of an audience of 100 + people, and looking down to see a flash of light, a head down, and fingers typing away. The audience member is completely disconnected from what’s happening on stage, and is probably causing those around him/her to be distracted. Now there’s a domino effect of people not engaging in the material the way the actors, director, designers, and writers fully intended to do. It’s disrespectful. Patti LuPone said it best in an official statement;

“We work hard on stage to create a world that is being totally destroyed by a few, rude, self-absorbed, and inconsiderate audience members who are controlled by their phones. They cannot put them down. When a phone goes off or when a LED screen can be seen in the dark it ruins the experience for everyone else – the majority of the audience at that performance and the actors on stage. I am so defeated by this issue that I seriously question whether I want to work on stage anymore. Now I’m putting battle gear on over my costume to marshall the audience as well as perform.”

The next time you go to see a show, text/call everyone in advance and let them know you won’t be available for the next two hours and put that phone on silent and leave it alone. I promise you; Instagram will be there when it’s over.

The post Theatre Etiquette 101: That Screen Is Brighter Than It Appears appeared first on Broadway Black.

When asked what she would share, Stephanie Lein Walseth, Director of Inquiry and passionate black theatre fan at Penumbra Theatre Company in St, Paul, Minnesota had this to say,

African American theatre has such a rich and vivid history that goes back as early as the 1800’s. People should understand that this is not a new art form. We have been doing this for hundreds of years and people should explore it.

Penumbra Theatre Company is currently running their Summer Institute for the next generation of artist activists, aged 13-18. Performances of the student’s original pieces will run throughout the month of August.

When speaking with Veronique LaShell MacRae, Executive Director for Act Trinity Creative Arts Services and Artistic Director for Act Trinity Performing Arts about information that should be considered essential for someone new to Black theatre, she had this to say,

Black Theatre is not merely entertainment, but a way that we share our stories and the way our voices are heard when it is normally quieted or hushed.

For a management perspective, I caught up with Keith Douglas, Chairman of RKD Talent Management and author of new self-help book, Artificial Intelligence. Keith had the following advice for talent aspiring to become a part of theatre.

Before getting involved in Black Theatre, do your research. Create something no one else has created and go from there. When you have something good, it’s undeniable. Study who is who. Be creators and not duplicators. Come to the table with something authentic and you can’t be denied. People want to become a part of theatre as followers, but sometimes talent alone isn’t enough. You must study first. Live theatre is more demanding then recording in a music studio or acting in front of a camera and you must always be on point. All of the greats, Cicely Tyson and Sidney Poitier. studied to perfect their craft.

Theatre fan and supporter, Gerald Moore summed it up beautifully on Facebook by saying,

Theatre is the height of artistic expression and we, as Black people, by way of our unrivaled flair, are perfect for this genre. In short, we got flava.

The common thread was a feeling of awe and respect for this powerful medium of artistic expression and social commentary. There are a multitude of things that could be shared with someone who is experiencing their first taste of the heady addiction that is Black theatre. I would tell anyone: don’t allow your inexperience to keep you from participating. It starts with your first show. Do a little research, purchase your ticket, and dive in. I promise it’s an experience you won’t regret!

I’d love to hear what you would share. Please drop your comments below!

The post Tell Me Something Good: What Should A Beginner Know About Black Theatre? appeared first on Broadway Black.