Amber Iman Photo by Drew Shade

Black Theatre Coalition, in partnership with Playbill, bring Broadway Black stars Brandon Victor Dixon (Motown the Musical and Hamilton: An American Musical), Amber Iman (Shuffle Along), Daniel J. Watts (Tony-nominated for Tina: The Tina Turner Musical), Bebe Winans (writer and creator of the Broadway-bound musical Born for This) together to lend their talents for a virtual concert honoring Black creatives’ contributions throughout the generations and beyond.

Upon These Shoulders will be live-streamed with various interviews, performances, and testimonials by Black artists, paying tribute to Black artistry. It will be a time to highlight and emphasize Broadway’s past, but also the importance of the future of Broadway and what the community can do to accelerate a safe and diverse opening. 

Additional casting and information will be announced in further days

The concert will debut on February 27 at 8:00 pm by visiting On the Stage.

To donate to Broadway Theatre Coalition, please visit HERE.

The post Broadway Stars Set for Black Theatre Coalition’s <em>Upon These Shoulders</em> Virtual Concert appeared first on Broadway Black.

In this divine union of Black Broadway brilliance, Shuffle Along, Or The Making of the Musical Sensation of 1921 and All That Followed is the reimagining of the classic 1921 musical.  The star-studded cast, including Audra McDonald, Brian Stokes Mitchell and Billy Porter, chatted with “Sunday Morning” about the process and the progress.

“I actually threw some tap shoes on a few months back just to see what would happen, and my timing was very awful, you know,” joked Mitchell.  “But it came back after a while!”

Now, Shuffle Along is back, nearly 100 years after becoming one of the first hit musical comedies starring, written and directed by African Americans.  For all of the strides and successes it made in its time, its significance remained unearthed for decades following its closing.

“And then history stepped in and said, ‘Thank you — and maybe we’ll remember you, and maybe we won’t,” said Tony Award-winning director George C. Wolfe.

The all-star team is lead by Wolfe and his Jelly’s Last Jam protegé, famed choreographer Savion Glover. By all accounts, Glover’s unique tap style is less than old hat for the Broadway Vets.

“I learned how to tap traditionally… I can say this: I learned how to tap from the white folks!” Porter cackled.  “I was at a ballet bar. It was very technical. Now, it’s like learning a whole ‘nother language.”

Even the seemingly flawless Ms. McDonald is still trying to find her groove.

“Because Savion doesn’t necessarily say, ‘This step is a left flap-ball-change-shuffle.’ He goes, Ba-da-da ba-da-da … it’s just call-and-response with him. That’s how he teaches.”

But in true professional fashion, each of the players are up to the challenge.

“I’ll say, like, ‘Oh, I can simplify that for you.’ And they say, ‘No, give me the harder one. I wanna learn that,'” Glover said. “That makes me feel great!”

Glover and Wolfe have been successfully working together for 23 years, since Glover was a teenager.  Wolfe directed the piece in which Glover earned his first Tony award for choreography, Bring in ‘da Noise, Bring in ‘da Funk.  

“In our early years of working together, I was there, I was present, but the need to want to learn more wasn’t there,” Glover said of his younger experiences. “Versus this time, I’m learning as we’re working.”

Now, the duo is working together to retell this backstage story about the making of one of the first all-Black Broadway musical hits.  The original production, which launched the careers of greats including Josephine Baker and Paul Robeson, made fans of then New York City shakers George Gershwin, Fanny Brice, Al Jolson, and Langston Hughes.

The large cast of 30, which also includes Brandon Victor Dixon, Joshua Henry, Felicia Boswell, Amber Iman and Adrienne Warren, begins official rehearsals in January and we’re not sure who’s more excited, them or us!

“It is such an honor and such a gift to be able to actually exist inside of your dreams,” Porter told DuBois. “This is actually the dream. I am living the dream. It’s extraordinary; it really is.”

The post Shuffle Along Gets Behind-the-Scenes Treatment on CBS appeared first on Broadway Black.

“Leave that humdrum place of glum behind
Once you walk inside these doors, you’re mine
Now let me blow your mind.”

And for two years, audience members who’ve seen Tony Award winner Billy Porter excel as “Lola” have been captivated and had their minds blown by his performance. Unfortunately, Porter soon will put “Lola’s” stilettos on the shelf as he embarks upon his next Broadway venture in the upcoming musical revival Shuffle Along or The Making of the Musical Sensation of 1921 and All That Followed.

Porter, who also won a Drama Desk Award for this role, has starred in Kinky Boots since the musical had its 2012 pre-Broadway premiere in Chicago. In addition to awards, he has received resounding critical acclaim for his performance. Thom Geier from “Entertainment Weekly” once wrote that Porter “portrays drag queen Lola with enough sequined swagger to make RuPaul look like a wallflower. Thanks to Porter’s star-making turn, Kinky Boots delivers some pumps-up kicks.”

His final performance as “Lola” will be November 20. We’ll miss Porter’s electrifying performances but we’re tremendously excited about his next role.

Thank you @PorterBacks. It's been a helluva journey!! pic.twitter.com/s4sSxMLBiU

— Billy Porter (@theebillyporter) November 1, 2015

For those who are wondering who can possibly fill “Lola’s” stilettos, don’t fret. Porter is handing over Lola’s heels to someone who’s equally capable of sashaying around the stage. Funny man and all-around performer Wayne Brady is set to take on the role beginning November 21. If you want to see him strut his stuff, tickets can be purchased here.

Wayne Brady as Lola in Kinky Boots.

Everybody say FABULOUS! @WayneBrady struts into Lola's sparkly red boots 11/21! https://t.co/DflgFobJDu pic.twitter.com/wXcT07E4eN

— Kinky Boots the Musical (@KinkyBootsBway) November 6, 2015

The post Billy Porter Hangs Up Lola’s Kinky Boots & Welcomes Wayne Brady appeared first on Broadway Black.

The six-time Tony winner will be absent from the production for three months starting Tuesday, June 21, 2016 through Sunday, September 25. It’s been announced that her absence is to fulfill a prior commitment. However, there have been no details released on what that commitment is or who will fulfill the role in her absence. McDonald is scheduled to return to the show on September 27.

Shuffle Along will present the landmark 1921 African-American musical revue Shuffle Along alongside the behind-the-scenes details that led the songwriting team of Noble Sissle and Eubie Blake and librettists F.E. Miller and Aubrey Lyles to create this groundbreaking work. In what has been billed as a revival, McDonald will take on the role of “Lottie Gee” and Brian Stokes Mitchell will appear in the the role of “F.E. Miller.” Porter takes on the role of “Aubrey Lyles,” with Brandon Victor Dixon and Joshua Henry as “Blake” and “Sissle.”

Other cast members include Adrienne Warren from Bring It On: The Musical, Darius de Haas (Rent, Kiss of the Spider Woman), Felicia Boswell (Motown: The Musical, Memphis), and Christian Dante White, c0-creator of Broadway Legacy.

George C. Wolfe will write the book and direct and Savion Glover will choreograph the highly anticipated production. As previously announced, the rest of the creative team includes Orchestrator Daryl Waters (musical supervision, arrangements, and orchestrations), Santo Loquasto (scenic design), Ann Roth (costume design), Scott Lehrer (sound design), Jules Fisher and Peggy Eisenhauer (lighting design), and Shelton Becton (musical director).

In 2014, the extraordinarily talented McDonald made Broadway history with a record-setting sixth Tony Award, for her portrayal of Billie Holiday in Lady Day at Emerson’s Bar & Grill. She also has the distinction of being the first person to receive awards in all four actress acting categories. She has also won Tonys for Carousel, Master Class, Ragtime, A Raisin in the Sun, and Porgy and Bess.

Shuffle Along begins previews at the Music Box Theatre on March 14, 2016. For more information on tickets, click HERE.

The post Audra McDonald to Take Shuffle Along Hiatus appeared first on Broadway Black.

It was a time that was “roaring,” right? World War I and the depression following it was over, and an economic boom was in the works. The emancipation of slavery had 56 years under its belt. The Great White Way was abuzz with as many as 50 new musicals that would open in a single season. Enthusiastic patrons were willing to shell out top dollar for a seat.

Shuffle Along became an instantaneous hit as the first major production to be produced, written and performed entirely by African Americans since the George Walker–Bert Williams Bandanna Land (1908). Before that it was the 1902 In Dahomey, also featuring Walker and Williams. Shuffle Along, however, served as a hallmark to the Harlem Renaissance, contributed to the desegregation of theatres (with Black patrons allowed in orchestra seats rather than restricted to the balcony), and set the stage for nine more African-American musicals by 1924.

The Noble Sissle–Eubie Blake musical – so popular that police created a one-way thoroughfare to the 63rd Street Music Hall to ease the traffic jams – ran for an unprecedented 504 performances through July 1922. Poet Langston Hughes, whose first poem was the 1921 “A Negro Speaks of Rivers,” was among the many repeat attendees. He was so enthralled with the “honey of a show” that he wrote:

“The 1920s were the years of Manhattan’s Black Renaissance…. Certainly it was the musical revue, Shuffle Along, that gave a scintillating send-off to that Negro vogue in Manhattan…. People came back to see it innumerable times. It was always packed…. When I saw it, I was thrilled and delighted…. It gave just the proper push – a pre-Charleston kick – to that Negro vogue of the ‘20s, that spread to books, African sculpture, music and dancing.”

So, when the vintage graphics were revealed for the Shuffle Along website, liken my excitement to all the above for what will mark a 95th anniversary of the pioneering work.

To see the colorfully billed star-quality names – Audra McDonald, Brian Stokes Mitchell, Billy Porter, Brandon Victor Dixon and Joshua Henry (in an alternating palette of lemon, orange, red and sea green) – my heart did a Charleston flutter reminiscent of when the actors were announced they would share the stage. I grinned looking at “Savion Glover” and “George C. Wolfe” next to the words “choreographed by” and “directed by,” respectively. The duo meet again for the first time since Bring in ‘da Noise/Bring in ‘da Funk.

Full Cast: Adrienne Warren, Darius de Haas, Felicia Boswell, Christian Dante White, Brooks Ashmanskas, Amber Iman, Phillip Attmore, C.K. Edwards, Afra Hines,Curtis Holland, Adrienne Howard, Kendrick Jones, Lisa LaTouche, Alicia Lundgren, J.C. Montgomery, Erin N. Moore, Janelle Neal, Brittany Parks,Arbender Robinson, Karissa Royster, Britton Smith, Zurin Villanueva, J.L. Williams, Pamela Yasutake, and Richard Riaz Yoder, as previously reported

The 2016 revival of Shuffle Along or The Making of the Musical Sensation of 1921 and All That Followed isn’t set to showcase its “glamour” and “hotcha” until April at the Music Box Theatre. April 21 to be exact, with previews to begin March 14. But people are ready.

The Tony-winning Wolfe, who offers up a new book from the original vaudeville comedians F.E. Miller and Aubrey Lyles, has called Shuffle Along, “the real juice… the real spark, not Black performers performing White people’s vision of Black people.” However, the original show has been critiqued as relying on minstrel stereotypes (Miller and Lyles would even perform in burnt-cork blackface). In fact, a character’s line went something to the effect that the lighter the skin, the more desirable an African American woman.

The musical launched the careers of Josephine Baker, Florence Mills and Adelaide Louise Hall; it featured an impressive 16-woman chorus line; and obliterated taboos with a Black love story being front and center.

For 2015-2016, Broadway will have perhaps its most diverse season (Amazing Grace; Hamilton; The Gin Game; The Color Purple; and Children of a Lesser God) and chances to establish the ever-evasive but always needed renaissance. Whatever you must do to be part of it, don’t drag your feet.

Visit shufflealongbroadway.com to enter your email for news and updates. Tickets go on sale Sept. 12.

The post Shuffle Along Is Getting Ready To Go Into Full Swing! appeared first on Broadway Black.

Based on the Pulitzer Prize-winning novel by Alice Walker and the Steven Spielberg-directed motion picture, the musical opened at The Broadway Theatre on December 1, 2005 with a stellar cast that starred LaChanze as “Celie,” Brandon Victor Dixon as “Harpo,” Felicia P. Fields as “Sofia,” Renée Elise Goldsberry as “Nettie,” Kingsley Leggs as “Mister,” Krisha Marcano as “Squeak,” and Elisabeth Withers-Mendes as “Shug Avery.”

It was directed by Gary Griffin, produced by Scott Sanders, Quincy Jones and Oprah Winfrey, with choreography by Donald Byrd and musical direction by Linda Twine. Pulitzer Prize winning playwright Marsha Norman (‘night, Mother) penned the book for the show, with music and lyrics by celebrated songwriters and artists Stephen Bray, Allee Wills, and Brenda Russell.

Oprah, who was nominated for an Oscar as “Sofia” in the movie version, came on as an investor and producer before the show’s November 1 preview to expand its box office potential. Once she signed on, the show was titled Oprah Winfrey Presents: The Color Purple. At that time, her self-titled television show was a ratings juggernaut, averaging 9 million viewers per year. With Oprah’s name on the marquee, it was almost guaranteed a built-in audience.

Despite Oprah’s star power, the show opened to mixed reviews from the critics. Ben Brantley of the New York Times wrote,

Time doesn’t just fly in the exhaustingly eventful world of The Color Purple, it threatens to break the sound barrier. In faithfully adapting Ms. Walker’s incident-crammed 1982 Pulitzer Prizewinner about Southern black women finding their inner warriors, the show’s creators have fashioned a bright, shiny and muscular storytelling machine that is, above all, built for speed. Watching this beat-the-clock production summons the frustrations of riding through a picturesque stretch of country in a supertrain like the TGV. Thanks to the cast’s spirited way with a song, Purple strikes some sparks during its long and winding journey. But it takes a concentration and leisure the show lacks to fan sparks into a steady flame.

From Michael Feingold of The Village Voice, “The feelings that The Color Purple may arouse in you don’t disguise the fact that they’ve been gotten in a comparatively crude and unimaginative manner. The disheartening lack of quality in the material dilutes the quality of feeling with which it’s being put over and makes the meanings behind it look questionable as well.”

On a more complimentary note, Roma Torre of NY1 wrote, “As art, the show is flawed, but it’s also so full of heart, the flaws don’t seem to matter. The Color Purple sings to the soul.”

And Michael Kuchwara of the Associated Press added “Fans of Walker’s novel most likely will not be disappointed in this reverent stage retelling and will embrace it heartily as a live souvenir of the original. Others may crave a little more theatrical excitement.”

However, when it came time for the Tony Awards nominations, the production received tremendous love and recognition, receiving 11 nominations, including Best Musical, Best Original Score, Best Choreography, Best Performance by a Leading Actress in a Musical, Best Performance by a Featured Actor in a Musical, and Best Performance by a Featured Actress in a Musical. LaChanze won the Tony for Best Performance by a Leading Actress in a Musical.

The Color Purple closed on February 24, 2008, after 30 previews and 910 regular performances. The Broadway production recouped its $11 million investment within its first year on Broadway. After its three-year Broadway run, the show went on to three national tours and several regional productions. In 2013, John Doyle directed the London production at the Meiner Chocolate Factory starring Erivo as “Celie.” It is this production that is inspiring the Broadway revival this fall.

For tickets to this upcoming production, click HERE.

The post Retrospective: The Color Purple appeared first on Broadway Black.

Samuel L. Jackson, Leslie Odom Jr., Patina Miller, Brandon Victor Dixon, Latanya Richardson, Danielle Brooks, and the exquisite Cicely Tyson were among the many luminaries in attendance to honor the two-time Tony Award winner.

The 98th annual event recognized Jones for more than 50 years of exceptional theater work.  Known best for his trademark bass, Jones is one of the few artists who has received an Emmy, Grammy, Oscar and a Tony for his noteworthy performances, including his role as Darth Vader, one of the most notorious villains of all time.

“His presence is so indelible, his talent so immense, ” noted Heather Hitchens, President of the American Theatre Wing.  “He’s managed to make some of his most memorable film roles without even showing his face.”

The Lion King’s Samuel E. Wright, Alton Fitzgerald White, L. Steven Taylor, Nathaniel Stampley and Rufus Bonds Jr. kicked off the celebration with a musical performance thanking Jones for originating the beloved role of Mufasa, which they each later reprised in the Broadway musical.

Norm Lewis, who previously played Javert in Les Miserables, dedicated his lovely rendition of “The Prayer” to the late Kyle Jean Baptiste, acknowledging that both of their opportunities were set in motion by pioneer Jones’ efforts. “That was all because of doors you opened.”

After being presented with the award by Star Wars co-star Jackson, Jones humbly thanked The Wing for their contributions to his artistic growth. “They taught us not to put ethnic or gender limits on the characters that we studied.  They taught us speech for Shakespeare, and speech for Arthur Miller, and speech for Tennessee Williams, and speech for George Lucas,” he affirmed graciously before concluding, “I can’t thank you enough, no matter how old I get.”

Jones can currently be seen with Ms. Tyson in The Gin Game at the Golden Theater through January 10, 2016.

#AboutLastNight #TheWingGala @patinamiller @normlewis777 @leslieodomjr @nicolettekloe @brandonvdixon @jamesearljones

A photo posted by BroadwayBlack (@broadwayblack) on Sep 29, 2015 at 8:31am PDT

What a night fit for a legend. Congrats @JamesEarlJones! #AboutLastNight #TheWingGala #YouAreBroadwayBlack A photo posted by BroadwayBlack (@broadwayblack) on Sep 29, 2015 at 8:24am PDT

Past & present Mufasas of Broadway’s @thelionking perform& honor the original film Mufasa @JamesEarlJones #5GuysNamedMufasa #TheWingGala #AboutLastNight

A photo posted by BroadwayBlack (@broadwayblack) on Sep 29, 2015 at 7:49am PDT

@SamuelLJackson presenting @JamesEarlJones with #TheWingGala Honor #AboutLastNight A photo posted by BroadwayBlack (@broadwayblack) on Sep 29, 2015 at 7:43am PDT

Of course @IAmCicelyTyson was in the building. #AboutLastNight #TheWingGala

A photo posted by BroadwayBlack (@broadwayblack) on Sep 29, 2015 at 7:58am PDT

.@PatinaMiller gave us Simple Joys. @brandonvdixon let the good times roll & @NormLewiss777 Brought Us Home! #TheWingGala #AboutLastNight

A video posted by BroadwayBlack (@broadwayblack) on Sep 29, 2015 at 8:14am PDT

#AboutLastNight The stars of Hollywood came to support @JamesEarlJones as he was honored by The American Theatre Wing #TheWingGala

A photo posted by BroadwayBlack (@broadwayblack) on Sep 29, 2015 at 7:40am PDT

The post Broadway’s A-List Join American Theatre Wing to Honor James Earl Jones appeared first on Broadway Black.

Dixon, who received a Tony nomination for his role as “Harpo” in the Broadway production of The Color Purple, will perform original music in a show entitled “Journey to the Center.” He will be accompanied by musical director Michael Mitchell and fellow actors/singers Ryan Shaw, Kenita Miller, Amber Iman, and Crystal Lucas Perry. Shaw, who appeared alongside Dixon in Motown, will also serve as producer.

I hope you all can join me for my debut solo concert!
All proceeds will benefit @BwayServes!
Visit @JoesPub for tix! pic.twitter.com/EIwVG3dTC8

— Brandon Victor Dixon (@BrandonVDixon) August 20, 2015

Dixon made his professional theatre debut in 2003 in the role of adult “Simba” in the national tour of The Lion King. He has appeared in the off-Broadway productions of Rent and The Scottsboro Boys. In 2013, Dixon originated the role of “Berry Gordy” in Motown for which he was nominated for a Drama League Award for Distinguished Performance. Recently, Dixon appeared in The Scottsboro Boys at The Garrick Theatre in London and is currently starring in The Odyssey at The Delacorte for Public Theatre.

2013 proved significant for Dixon in more ways than one. He and Motown choreographer Warren Adams formed WalkRunFly Productions to support young artists. The duo co-produced Hedwig and the Angry Inch starring Neil Patrick Harris and Of Mice and Men, starring James Franco and Chris O’Dowd. Hedgwig went on to win the Tony Award for Best Revival of a Musical and also garnered the Drama Desk Award for Outstanding Revival of a Musical. Of Mice and Men was nominated for the Drama Desk Award for Outstanding Revival of a Play.

In 2016, he is scheduled to join Brian Stokes Mitchell, Audra McDonald, Billy Porter, and Joshua Henry in a new musical based on the making of Shuffle Along, as previously reported.

For more information and tickets, visit Joe’s Pub.

The post Brandon Victor Dixon Debut Concert at Joe’s Pub appeared first on Broadway Black.

The acclaimed thespian, who won the 2000 Tony and Drama Desk awards for his role as “Fred Graham/Petruchio“ in Kiss Me Kate, will perform Broadway favorites, standards, and jazz tunes in a show entitled “Plays With Music.” He will be accompanied by a trio led by his long-time pianist and collaborator, Tedd Firth, with Gary Haase on bass and Mark McLean on drums.

“This is a totally new show! I’ve been having a blast putting it together and creating new and creative arrangements of some great tunes – the title says it all – Plays With Music,” Mitchell said.

Although, Mitchell is making his debut at Café Carlyle, he’s no stranger to cabaret performances. In 2005, he made his New York cabaret debut as both singer and musical arranger at Feinstein’s at the Regency in his critically acclaimed one-man show “Love/Life” which then moved to the Vivian Beaumont Theater at Lincoln Center. He received both the New York Bistro and Nightlife awards for his cabaret debut. He returned there in November of 2008 with another successful concert where he was accompanied by a guitarist, a bassist, and a percussionist. Additionally, Mitchell’s baritone has blessed the ears of audiences from Carnegie Hall and the Hollywood Bowl to the Kennedy Center and the White House.

Mitchell is also active in the recording booth, with appearances on more than 20 albums as a cast member or a special guest. He’s also released two of his own albums, his self-titled debut in 2006 and “Simply Broadway” in 2012.

Mitchell has enjoyed an extensive and illustrious career in theatre, appearing in Man of La Mancha (Tony nomination and Helen Hayes Award); Ragtime (Tony nomination); August Wilson’s King Hedley II (Tony nomination); Kiss of the Spider Woman; Jelly’s Last Jam; David Merrick’s Oh, Kay” and “Mail,” which earned him a Theatre World award for outstanding Broadway Debut. Most recently, he performed in the Lincoln Center Theatre’s 2001 production of Women on the Verge of a Nervous Breakdown with Patti LuPone.

In 2016, Mitchell is slated to star on Broadway in a new musical entitled Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed. It will also star Audra McDonald as “Lottie Gee,” Billy Porter, Joshua Henry, and Brandon Victor Dixon.

For more information on Mitchell’s appearance at Café Carlyle and to make reservations, visit The Café Carlyle.

The post Brian Stokes Mitchell to Debut at Café Carlyle appeared first on Broadway Black.

The production, with a new book and direction by George C. Wolfe and choreography by Savion Glover, will present the landmark 1921 African-American musical revue Shuffle Along alongside the behind-the-scenes details that led the songwriting team of Noble Sissle and Eubie Blake and librettists F.E. Miller and Aubrey Lyles to create this groundbreaking work. We were previously unsure about what role Mitchell would be playing but now we know that he will take on the role of F.E. Miller and Porter takes on the role of Aubrey Lyles, with Dixon and Henry as Blake and Sissle, and, as previously announced, McDonald as performer Lottie Gee. This actually might be the first time Dixon & Henry are in the same show together and not actually replacing each other. Also, both actors played the role of Heywood Patterson in major mountings of John Kander and Fred Ebb’s musical The Scottsboro Boys.

Shuffle Along marks a reunion for several different cast members including Glover and Wolfe, both of whom won Tony Awards for the 1996 hit Bring in ‘da Noise, Bring in ‘da Funk. It will also be the first time that McDonald and Mitchell have worked together since the original Broadway production of Ragtime.

JUST IN!!! @brandonvdixon @theebillyporter & @joshuahenry20 join @AudraEqualityMc & @BstokesMitchell in #ShuffleAlong

A photo posted by BroadwayBlack (@broadwayblack) on Aug 9, 2015 at 7:46am PDT

Previews for Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed begin on March 14, 2016, at the Music Box Theatre, with official opening set for April 21.

The new production traces the path to unexpected success and the creative legacy of the 1921 all-Black revueShuffle Along, which was conceived by Flournoy Miller and Aubrey Lyles and featured music by Eubie Blake and Noble Sissle, four celebrated vaudeville performers who met at a 1920 NAACP benefit. As one of the first all-Black Broadway musical hits that was also written by Blacks, Shuffle Along significantly altered the face of the Broadway musical as well as that of New York City. The show opened the door for Black performers and writers on the stage during the period in the 1920s known as the Harlem Renaissance.

Notwithstanding its success, Shuffle Along was not without its challenges. By contemporary standards, it remains problematic: some actors performed in blackface and the score included a song about how lighter-skinned Black women are more attractive than women with darker skin. Shuffle Along arrived in Depression-era New York mired in debt from a pre-Broadway tour, set to open at a remote Broadway house on West 63rd Street. And despite being celebrated vaudeville performers, Miller and Lyles and Sissle and Blake had never performed on Broadway, much less written a musical.

However, Shuffle Alongimmediately caught on with its jazzy score and exuberant song-and-dance styles. “It was a groundbreaking moment – they were creating these dances in the streets,” Mr. Glover said. “I’m hoping to reignite that sense of exuberance – that sense of joy through expression.” The plot involved two old friends who run against one another for the office of mayor of their town, each promising to hire the other if elected. Once in office, however, the two find themselves at odds. “I’m in love with these characters, and I’m in love with their bravery – brilliant, astonishing, extraordinary artists created a show that redefined rhythm and entertainment and vitality on Broadway,” Mr. Wolfe said.Shuffle Along ran for over 480 performances, helping to launch the careers of such artists as Josephine Baker, Adelaide Hall, Florence Mills, Fredi Washington and Paul Robeson.

Creative team includes Daryl Waters (musical supervision, arrangements, and orchestrations), Santo Loquasto (scenic design), Ann Roth (costume design), Scott Lehrer (sound design), Jules Fisher and Peggy Eisenhauer (lighting design), and Shelton Becton (musical director).

The post Billy Porter, Joshua Henry, & Brandon Victor Dixon Join Audra McDonald & Brian Stokes Mitchell For Shuffle Along appeared first on Broadway Black.