Which is why Broadway Black has no choice but to share the release of Contemporary Plays by African American Women: Ten Complete Works by Sandra Adell. If there is one voice that’s been undervalued on stage, it’s that of the Black woman. That’s what makes this anthology so great. It’s a combined work that includes prominent Black female playwrights and some up-and-coming writers.

It features works from contemporary Black female playwrights including Blue Door by Tanya Barfield; Levee James  by S. M. Shephard-Massat; Hoodoo Love  by Katori Hall; Carnaval  by Nikkole Salter; Single Black Female  by Lisa B. Thompson; Fabulation, or The Re-Education of Undine by Lynn Nottage; BlackTop Sky by Christina Anderson; Voyeurs de Venus by Lydia Diamond; Fedra by J. Nicole Brooks; and Uppa Creek: A Modern Anachronistic Parody in the Minstrel Tradition by Keli Garrett.

The description reads:

African American women have increasingly begun to see their plays performed from regional stages to Broadway. Yet many of these artists still struggle to gain attention. In this volume, Sandra Adell draws from the vital wellspring of works created by African American women in the twenty-first century to present ten plays by both prominent and up-and-coming writers. Taken together, the selections portray how these women engage with history as they delve into–and shake up–issues of gender and class to craft compelling stories of African American life. Gliding from gritty urbanism to rural landscapes, these works expand boundaries and boldly disrupt modes of theatrical representation.

Sandra Adell (Ph.D., UW–Madison) is a professor of Literature in the department of Afro-American Studies at the University of Wisconsin–Madison, Comparative Literature. Her other works include Confessions of a Slot Machine Queen, Literary Masters: Toni Morrison, Dictionary of Twentieth-Century Culture: African American Culture, and Double Consciousness/Double Bind: Theoretical Issues in Twentieth-Century Black Literature.

Contemporary Plays by African American Women: Ten Complete Works was released December 15th and is available for purchase in hardcopy, paperback, and digital copy at Amazon here.

The post Sandra Adell Releases Ten Contemporary Plays by African American Women appeared first on Broadway Black.

When a woman is fed up, she’s fed up. That was the case for Tony-award-winning actress Tonya Pinkins, who is terminating her run as the lead role in a the Classic Stage Company’s production of Bertolt Brecht’s Mother Courage and Her Children before it even opens. The abrupt ending is due to racism and sexism by white creatives.

In a statement entitled “Who Loses, Who Thrives When White Creatives Tell Black Stories?” (see entire statement below) Pinkins said her objections to the way her character, a Black woman, was portrayed in the play, were ignored.

Sounds familiar right?

I always feel a type of way when white writers write for Black characters, and even in some situations having a white director directing a Black actor on what choices to make. I completely understand the roles of the writer and director, and in no way discredit them. Nor is this to say a white director CAN’T direct Black actors. I do, however, have a problem when the actor expresses his/her ideas and offers input and it’s completely ignored. That was the case for Pinkins.

When I think of a show that did this well, I think immediately of Invisible Thread. When I attended a talkback with Griffin Matthews and Matt Gould, they discussed working with director Diane Paulus. She did an amazing job directing because she was willing to listen. Directors aren’t running a dictatorship, they are working in collaboration with everyone, including actors. From the looks of what Pinkins wrote, that wasn’t the case.

She wrote, “twice this year (but too many times in my career) my perspective as a Black woman was dismissed in favor of portraying the Black woman through the filter of the White gaze.”

Is that so surprising? For me, it’s not.

It’s no surprise that Black women are forced to play into respectability politics in order for white people to feel more comfortable or to appeal to them. I went to a talk for How To Get Away With Murder where Tony-award-winning actress Viola Davis talked about her time on The Help. She said there was a scene where she and Octavia Spencer added a bit of dialogue that was shot down by the director. During a dinner-serving scene they added something along the lines of “the crackers want crackers” and the director told them they didn’t think that was a “good choice.” Viola told the audience she didn’t understand how. Especially when the white actors were throwing around the N word, was it not believable that the Black women who were “the help” for white folks were talking smack about them behind their back? Of course it is. They just would rather that we look like the compliant obedient servants than have any will to fight back.  Because God forbid Black women stand up for themselves. Let’s just make them powerless!

Pinkins echoes the same sentiments in her statement, saying the changes made to Brecht’s play left the character originally— a canteen woman who is determined to make her living by following armies into war — “speechless, powerless, history-less and even cart-less.”

Pinkins challenges the theatre world to consider other perspectives that aren’t just white. The world we live in is diverse; the stage should reflect that. I, for one, stand by her statement openly and completely.

“As we begin the new year, I wish for White theater creatives to have the humility to recognize that their perspectives alone are insufficient when portraying Black women and all “others;” that their manufactured fears put false Black images on the stage. I believe this allows real Black people to be destroyed, in the world.”

This statement resonates most with me. I went to a talk where the amazing Harry Belafonte once said, “Art is the gatekeeper of truth.” Is that not why so many people love the theatre? Beyond the spectacle of Broadway and the elaborate sets and flashy costumes, to its core isn’t art supposed to reflect real life? Aren’t theatregoers supposed to relate to these charactersin some way and leave with a message? Well, how is one to receive the message or relate to the character when there is no one up there to relate to? I, too, encourage white theatre creatives to think about what Pinkins is saying. She isn’t complaining, and she should not be dismissed as such. She is making valid points that will only make the theatre community stronger if they are willing to give it a chance. Allow “others” in the room and see how far it will get you. Black stories deserve to be told correctly and unapologetically, by Black people, for Black people.

I stand with Tonya Pinkins. #BlackPerspectivesMatter

Full Statement by Tonya Pinkins:

WHO LOSES, WHO THRIVES WHEN WHITE CREATIVES TELL BLACK STORIES?

The year 2015, saw the rise of #BlackLivesMatter and #BlackGirlsMatter, both movements helmed by powerful, fearless Black women. In 2016 I’m starting #BlackPerspectivesMatter.

Twice this year (but too many times in my career) my perspective as a Black woman was dismissed in favor of portraying the Black woman,through the filter of the White gaze. Regrettably, I must exit Classic Stage Company’s MOTHER COURAGE.

When Black bodies are on the stage, Black perspectives must be reflected. This is not simply a matter of “artistic interpretation”; race and sex play a pivotal role in determining who holds the power to shape representation. A Black female should have a say in presentation a Black female on stage.

CSC’s truncated version (an hour has been cut) eliminates Mother Courage and her children’s backstory, the use of her cart, and much of Brecht’s brilliant commentary on war. Mother Courage is the KING LEAR in the classical cannon of female roles. Not since CAROLINE OR CHANGE, ten years ago, have I had a role of this caliber. How do I walk away from what could be one of the greatest roles in my career? I couldn’t, until all my research, arguing and pleading for my character’s full realization fell on deaf ears. And then I had to.

Brecht’s drama follows Mother Courage, a women who supports herself and her children by selling goods to warring armies from a cart she drags through the battle zones. Along the way, all three of her children are killed because of the war. Mother Courage is the epitome of every poor, undocumented, battered, trafficked and immigrant women hustling to provide for her family however she must.

It’s been a decade since my talent has matched the material – I thought. However, it was not relayed to me until final tech rehearsal that the vision for this Mother Courage (the Black Mother Courage in an African war) was of a delusional woman trying to do the impossible. She would not be an icon of feminine tenacity and strength, nor of a Black female’s fearless capabilities.

Why must the Black Mother Courage be delusional?

The #CSCMotherCourage poster shows my face plastered on an image of the African Continent, the Democratic Republic of the Congo highlighted. The inspiration: Lynn Nottage’s impulse to create a Black Mother Courage, which culminated in her Pulitzer Prize-winning play, RUINED.

What an opportunity to connect Brecht’s anti-World War II play to the war in modern day Congo, Africa’s first World war. My art meeting my activism. The chance to highlight the Chaplain’s line, “If you want to sup with the devil you need a long spoon,” as analogous to America’s participation in the War in the Congo through our appetites for electronic devices which require the resources of Coltan, which is raped and pillaged along with the bodies of Black women and children.

This production does not include a single vestige of the specific war in the Congo. For me, the cultural misappropriation is unconscionable. Why must Africa, why must blackness itself, be singularly nonspecific, a decorative motif, instead of being as specific and infinitely diverse as its reality?

This spring, in RASHEEDA SPEAKING, I was the only Black American woman in the room. Does this matter when portraying a Black perspective? Absolutely! The play purported to be about a Black woman’s struggles working in a White medical office. But for the joy of performing nightly with Dianne Wiest, Patricia Connolly and Darren Goldstein, and the talk-backs I orchestrated with Michael Eric Dyson, Dr Kimberly Crenshaw, Professor James Peterson and many others, it was a soul-murdering experience. It is debilitating, explaining to non-Black people, day in and out, that their conceptions of Black people are not only inaccurate but dehumanizing and offensive.

I won an award for playing Jaclyn in RASHEEDA SPEAKING. Yet months later, people still call out “Rasheeda” when complimenting me on my performance. What they innocently forget, but I am reminded of with each acknowledgement, is that “Rasheeda” was elucidated, in Jaclyn’s climactic monologue in the play, as the new word for “Nigger.” So who is speaking?

Despite Brecht’s title, Mother Courage’s was not the star of this production. My subordinate position was most clearly communicated to me when I attempted to perform a task Brecht specifically wrote for Mother Courage: snatching a fur coat off an armed soldier’s back. The actor playing the soldier argued, “I’m a man. This is a war. She gotta RESPECT that; I’d have to kill her!” I fired back, “Brecht wrote it. Mother Courage CAN snatch the fur coat and not get killed. Brecht is illustrating of her as an ‘Hyena of the war.'” I told the actor I was going to snatch the fur coat, and if he “had to kill me,” the play would have to end seven scenes earlier than Brecht had intended.

I snatched the fur coat at the performance. The actor found a way to continue the play. However, the director said that in future, I couldn’t do it, because, “the actor said he would kill you.” WHAT?!

Mother Courage coddled and reprimanded into submission to patriarchy?

Brecht did not write a delusional woman. He wrote a woman who seizes power at every turn, who forces her way through Hell, and who continues in spite of every opposing force. My Mother Courage was left speechless, powerless, history-less and even cart-less. Why must images of Black women be held hostage in cages of White and/or patriarchal consciousness?

I and many other artists of color have benefitted from having honorary white status bestowed upon us for our work. This status allows us to work alongside the best in the business and to be treated as equals. It is a daily struggle to partake of this status while straining to maintain integrity and authenticity to our own culture. Yet this status is often stripped when we are asked to portray our own people.

I am grateful to Olympia Dukakis, who has played the role seven times, for attending an early preview and giving me the permission to put my ferocity back into the role. I had not realized that the shame I was feeling was the result of having my “creative cock” chopped off every day. The backlash from my appropriate creative turn was immediate. One crew member complained “I just cant control her.”

Am I a dog or a slave to be misled so as to be controlled in my artistic expression?

I was even told that the cuts related to Brecht estate rights and permissions associated with our transposition to the Congo. So I contacted the attorney to the Brecht estate to fight for the integrity of the text that Brecht wrote. The attorney assured me that changing the Thirty Years War references to Congo War references was acceptable to the estate, and that all such matters were artistic decisions between artist and director. Well, not this artist.

My Mother Courage was neutered, leaving the unbridled Mother Courage wasting away inside me. My Mother Courage is too big for CSC’s definition. So it is best that they find someone to “fit in,” because I cannot.

I recall reading, Tony Kushner’s translation of Mother Courage, which was sent to entice me to accept the role. The pinnacle of my career has been CAROLINE OR CHANGE. Caroline’s power reigned on every page. So I know what that power feels like, and this is not it. CSC’s “Mcdraft” was not even from the Kushner translation.

Why, in 2015, in the arts, is there a need to control the creative expression of a Black woman?

As we begin the new year, I wish for White theater creatives to have the humility to recognize that their perspectives alone are insufficient when portraying Black women and all “others”; that their manufactured fears put false Black images on the stage. I believe this allows real Black people to be destroyed, in the world.

As we enter 2016, the collective White creative community has a responsibility to bring as many “others” into the room, both onstage and offstage, before, during and after decisions are made. Only then will the beauty of global humanity be heard, seen, and finally understood, so that the truth wipes away the misconceptions and misappropriations that cause the fear which foments violence around the globe.

The world can no longer afford to have artistic visions of all White worlds because they simply do not exist. I want the theater to look like the city streets I walk on. That is the theater I aspire to participate in, one where #OtherPerspectivesMatter and are respected and reflected.

I am contractually obligated to perform in #CSCMotherCourage through January 3, 2016.

The post Black Perspectives Matter: Why Black Voices Deserve To Be Heard appeared first on Broadway Black.

Among the veteran artists are: playwright/screenwriter Richard Wesley, 70; founding director of New Federal Theatre Woodie King Jr., 78; and actor/director Arthur French, 84. They will share memories and reflections chronicling their rich, artistic lives.

Wesley, associate professor at New York University’s Tisch School of the Arts and chair of the Rita and Burton Goldberg Department of Dramatic Writing.  His 1971 play The Black Terror, produced at the New York Shakespeare Festival’s Public Theatre, was a Drama Desk winner, produced at the New York Shakespeare Festival’s Public Theatre. He wrote the screenplays for Uptown Saturday Night (1974) and it’s follow-up Let’s Do It Again (1975), both which starred Bill Cosby and Sidney Poitier.  His The Mighty Gents, an Audelco Award winner, premiered on Broadway in 1978, while The Talented Tenth (1989)  was inspired by W.E.B. Du Bois’ 1903 article of the same name.

French, an original member of Negro Ensemble Company led by Douglas Turner Ward, made his Broadway debut in Melvin Van Peebles’ Ain’t Supposed To Die a Natural Death. Having films credits with “Car Wash” (1976), Julie Delpy’s “2 Days In New York” (2012) and Spike Lee’s “Red Hook Summer” (2012), French has thrived on smaller stages. He received a Lucille Lortel Award for Outstanding Featured Actor in Peter Norton Space’s 2006 production of Two Trains Running.

King, who founded New Federal Theater in 1970, received Atlanta Black Theatre Fesitival’s 2014 Theatre Legend Award and was inducted into the American Theater Hall of Fame in 2011. His production work has included several installments of Ron Milner’s Checkmates; August Wilson’s The Piano Lesson and Joe Turner’s Come and Gone; Lorraine Hansberry’s A Raisin in the Sun; Samm-Art Williams’ Home; and Howard Simon’s James Baldwin: A Soul on Fire.

Other artists to be celebrated include: photographer Dwight Carter and founding member of The Last Poets Abiodun Oyewole, 67. Interestingly, Oct. 17 is recognized as National Black Poetry Day. All the featured artists are poets in their own right.

Scott, an actress, director, playwright and cultural historian, has Off-Broadway and regional theater credits that include The Old Globe in San Diego, Yale Rep and Roundabout Theater in New York. She won a Drama Desk Award for her Broadway debut in My Sister, My Sister.

The event starts at 7pm. The National Black Theatre is located at 2031 Fifth Avenue, New York, NY 10035.

For more information visit the VENUE or EVENT PAGE.

The post Veteran Black Artists Reflect On Artistic Lives In INSIGHT/SECOND SIGHT appeared first on Broadway Black.

From the perspective of an audience member, I would most like to see a broader spectrum of diversity. The world of theatre is open if we as patrons of the arts also allow ourselves to be open to the idea that the color of an actor’s skin should not dictate their suitability for a role. From the outstanding performance of the late Black actor Kyle Jean-Baptiste cast as Jean Valjean in Les Miserables to the cutting edge foresight of the multi-cultural casting in the Broadway musical Hamilton by Lin-Manuel Miranda, the doors are opening.

If there is to be a perfect actor in a perfect role, it is achieved by casting the actor that can truly embody the character and transport the viewer into a world where only the art remains. If we are to see an evolution on The Great White Way, we must be willing to see the theatre that we love and cherish so much in technicolor. We must be willing to embrace and accept that the world we live in holds opportunity and promise for all and not just a privileged few. That talent does not live within the skin color of a few but can be found in a diverse array  of people. This is the only way that will allow us to ever find the perfect actor in the perfect role. The question is, are we ready to set aside our preconceived stereotypical notions of who should be acting in what and instead open ourselves up to the enormous wellspring of talent diversity in casting can bring?

The post Opening More Doors: Finding Perfection in Diversity appeared first on Broadway Black.

Part performance piece – as meditation on the artistic process – and part actual work session, Parks demonstrates why writer James Baldwin (her creative writing teacher) stated “she may become one of the most valuable artists of our time.” It’s probably safe to say that she has become one of the most important voices of our time.

Parks became the first Black woman to win a Pulitzer for her 2001 Topdog/Underdog; her first Pulitzer nod came in 2000 for In The Blood. Her latest work Father Comes Home From the Wars (Parts 1, 2 & 3) – which ran at The Public (October-December 2014) and at Harvard University’s The American Repertory Theater (January-March) – received the 2015 Kennedy Prize for Drama and was a finalist for the 2015 Pulitzer Prize for Drama.

Parks talked with Arise 360 about her critically-acclaimed trilogy play which follows Hero, a slave, from West Texas to the Confederate battlefield.

A special “Watch Me Work” installment, during which she performed songs she wrote and composed for Father Comes Home, took place in January at The A.C.T. It was livestreamed by the global, commons-based peer produced HowlRound TV network at HowlRound.TV.

The free “Watch Me Work” performances at The Public Theater – also to be livestreamed by HowlRound – begin at 5pm and last 75 minutes. Questions can be sent via Twitter at #watchmeworkslp or via email to watchmeworkslp(at)gmail.com. Remaining dates are:

• September 28
• October 5, 12, 26
• November 2, 16, 30
• December 7, 14

You can watch the first performance in its entirety below:

The post Suzan-Lori Parks’ Watch Me Work Series Returns appeared first on Broadway Black.

I automatically think back to the #OscarsSoWhite movement started earlier this year by our Managing Editor, April Reign. Since then, executives have been scrambling to figure out ways to include more people of color. Whether they want to, or feel obligated to do, so is another story. Where film is lacking, television and Broadway have made up for it, slightly. Empire has become the most watched television show of the season and features a predominately Black cast. Viola Davis and Taraji P. Henson are made history by being the first two Black actresses to be nominated for the coveted Emmy for a lead actress at the same time (seriously!). Davis took home the award, altering history yet again history by being the first black woman to win the Emmy in the Drama series category. Broadway is bringing us The Color Purple, The Gin Game, Shuffle Along, and Hamilton all in the same season. So what’s the film’s industry’s problem?

In promoting her new film “The Perfect Guy,” co-starring Morris Chestnut and Michael Ealy, Sanaa Lathan says,

I think Hollywood has a ways to go. Certainly in the last couple of years with ‘Think Like A Man’ and even recently with ‘Straight Outta Compton’ doing well,” says Lathan during an interview with The Huffington Post. “But I think the language needs to change, the language about ‘Oh, this is an urban film or this is a niche film.’ No, these are Hollywood films. And it’s to marginalize us because it’s like some kind of a freak thing that we’ve made all this money off this movie. That’s a problem for me.

We’ve heard that before in the Broadway community. Hamilton anyone? A show that, on paper, shouldn’t be doing as well as it is, simply based on casting choices alone, is singlehandedly crushing the box office. Why? Because time and time again it’s proven if a show is good people will see it, regardless of skin color, even though the fact that the cast is mostly people of color is an amazing addition. So whay can’t we have it more often, across all media?

Viola Davis covers the latest issue of EW Magazine, where she speaks on the same issues as well:

There were a lot of things that people did not allow me to be until I got [the role of] Annalise Keating. I was not able to be sexualized. Ever. In my entire career. And here’s the thing that’s even more potent: I’ve never seen anyone who even looks like me be sexualized on television or in film. Ever. When people say they’re tired of hearing that, I always say, ‘Okay, well, you give me an example and then I’ll stop talking about it. But I’m gonna talk about it until you hear it.’

And she has surely given them something to talk about. Even within the marginalization of the Black actor, there lies another issue of colorism that people seem to forget. Sure, a show can say they have their token Black character, but are they aware Black people come in various shades and hues? Everyone has the right to see themselves somewhere, whether it be in TV or film or print or stage, so why is it so hard for the powers that be to make it happen? Look at the demographics of the United States. We are one of the most diverse countries in the world. Why don’t our films, magazines, shows, and productions represent all that we are?

Lathan believes that Hollywood should have an accurate representation of all cultures, and the same can be said for what Broadway should and can do for the theatre community.

“I think we need to come into the 21st century. And films should represent the world that we live in,” she said. “And right now when you look at Hollywood it’s not an accurate representation of the diversity of the world that we live in.”

The post Is Broadway Any Different Than Hollywood? Viola Davis & Sanaa Lathan Talk Marginalization 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.

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.

In 2013, The Greene Space brought together close to 100 theater artists from across the globe to create audio recordings for the very first time of all 10 plays, including Tony Award-winner Leslie Uggams; Drama Desk and Obie Award-winner Anthony Chisholm; Obie Award-winner Brandon Dirden; Russell Hornsby; Tony Award-winner Roger Robinson; Emmy Award-winner Keith David; Ebony Jo-Ann;John Earl Jelks; Roslyn Ruff; S. Epatha Merkerson; Wendell Pierce; Harry Lennix and Taraji P. Henson.

The series is presented by The Greene Space in partnership with the August Wilson Estate, where Dr. Indira Etwaroo serves as Executive Producer. It is led by Constanza Romero, Wilson’s widow. Together they brought together many longtime Wilson collaborators and interpreters, including Tony Award-winner Ruben Santiago-Hudson, who served as Artistic Director for the project, and Associate Director and Tony Award-nominee Stephen McKinley Henderson.

I highly recommend you take a moment of your day to listen. It is truly a joy and makes for a nice Sunday afternoon treat. I also strongly suggest you listen to them in chronological order to understand how the African-American experience progressed over time. Audio will only be available through August 26, 2015.

Click here to listen now.

The post Listen To All 10 Of August Wilson’s Plays Until Aug. 26 appeared first on Broadway Black.