The recent controversy around Patti LuPone and Kecia Lewis, compounded by LuPone’s dismissive remarks about Audra McDonald and her derogatory name-calling toward Lewis, has sparked a renewed conversation on Broadway about race, privilege, and the power dynamics that shape the industry. At its core, this disagreement is not just about noise complaints or personal grudges. It exposes a much deeper issue: the marginalization of Black artists in an industry that often fails to recognize the full worth of their contributions.

The Dispute: From Noise Complaints to Microaggressions

The initial controversy began when Patti LuPone, performing in The Roommate at a neighboring theater, found the sound from Hell’s Kitchen—a Broadway musical starring Kecia Lewis—to be disruptive. LuPone contacted the Shubert Organization owner, like we all do (read: no we don’t), requesting adjustments to the sound levels. A standard professional grievance in any theater setting. After Hell’s Kitchen made the changes, LuPone sent flowers to the sound and stage management teams of Hell’s Kitchen.

However, what seemed like a resolved issue to LuPone quickly escalated when Kecia Lewis picked up on the underlying dynamics of the situation. Lewis identified LuPone’s actions for what they were: not only rude and dismissive but racially microaggressive. As a Black woman, Lewis recognized that LuPone’s complaint wasn’t simply about sound—it reflected a deeper disregard for her peers and discomfort with the cultural expression of Black artists. Lewis also shared a troubling instance where LuPone refused to sign a Hell’s Kitchen Playbill, stating, ‘I’m not signing Hell’s Kitchen, they’re too loud.’ This comment, coupled with the formal noise complaint and her swift action in wielding her power without engaging in dialogue with those affected, underscored how Black voices and creative work are often disregarded, even in the same professional spaces as their white counterparts. It’s also crucial to note that Lewis never labeled LuPone as racist; rather, she called out the bullying, privilege, and microaggressive behavior LuPone exhibited. The words Lewis chose in her statement were carefully crafted, respectfully calling LuPone into community with the grace and dignity one would expect from a theater veteran of her caliber.

LuPone’s Recent Remarks: Escalating the Disrespect

The controversy took a darker turn when, in a recent profile for The New Yorker, Patti LuPone not only called Kecia Lewis a “bitch” but also dismissed Lewis’s accomplishments by comparing them unfavorably to her own. LuPone inaccurately inflated the number of Broadway shows she’s been a part of, while downplaying Lewis’s Broadway experience. This wasn’t just a personal attack—it was an attempt to diminish Lewis’s credibility and artistic contributions.

To make matters worse, LuPone’s remarks about Audra McDonald, in which she expressed disappointment over McDonald’s support for Lewis, further compounded the racial dynamics at play. LuPone’s frustration with McDonald’s stance is telling—it reflects how Black artists who stand in solidarity with one another are often criticized, even by their white peers. This attempt to undermine McDonald’s support for Lewis reveals the discomfort some white artists have with Black voices standing up for themselves, particularly when those voices challenge the status quo.

The Implications of “You Should Know Better”: Dismissing Audra McDonald’s Voice

Patti LuPone’s statement to Audra McDonald, telling her she “should know better,” is a particularly telling moment that reveals the implicit biases at play in Broadway’s treatment of Black artists. On its surface, the comment appears to be “not that deep,” but when viewed through the lens of race and power, it takes on a much deeper meaning.

First, the assumption that McDonald “should know better” reinforces a belief that Black artists should conform to white standards of behavior, professionalism, and conduct, regardless of the circumstances. This statement subtly implies that McDonald, The most nominated and decorated performer in Tony Awards history, should already understand her place in the hierarchy of Broadway as a Black performer and that publicy (or privately) challenging or confronting disrespect is out of line, no matter how many Tonys you have. It also minimizes McDonald’s veteran experience and frames her as being less capable of making valid, nuanced decisions—an all-too-common racial stereotype.

Second, the statement places the burden of “knowing better” on the Black artist, subtly suggesting that McDonald should have been more accommodating, more silent, or more deferential in the face of LuPone’s behavior. This type of thinking perpetuates the idea that Black artists should tolerate the microaggressions and disrespect they often face in order to “maintain the peace” and avoid rocking the boat.

Lastly, it undermines McDonald’s authority and voice. To tell a Black artist they should ‘know better’ is to implicitly suggest that their judgment or response to a situation is invalid. McDonald’s advocacy for Kecia Lewis—another Black artist—was not an attack on LuPone’s professionalism but a call for accountability in light of the racial dynamics that the industry has claimed it wants to address since the ‘Broadway Reckoning of 2020.’ LuPone’s response, however, invalidated McDonald’s perspective and reinforced the idea that white voices should be prioritized, while Black voices—especially those speaking out—are seen as unprofessional and unworthy of respect.

This moment exemplifies how power dynamics and racialized expectations work to suppress the voices of Black artists in Broadway’s predominantly white spaces. It exposes how white artists—even those with immense stature like LuPone—are given a pass for dismissing or silencing the opinions of their Black peers, while Black artists should “know their place.” It also serves as a reminder that even established Black artists like Audra McDonald are not immune from being treated as less than in this system, no matter how much they’ve achieved.

The Racial Undertones: A System of Privilege and Power

LuPone’s actions reflect a deeply entrenched problem in the theater world—one that fosters a system of privilege, allowing white artists to control the narrative while Black artists are often forced to remain silent and submissive. The broader industry permits figures like LuPone to dismiss and belittle the work of Black artists without facing the same level of accountability. LuPone’s response to Lewis’s rightful critique exemplifies how power dynamics continue to marginalize Black talent in Broadway’s predominantly white spaces.

The racial undertones of the entire situation are evident in the way LuPone’s words and actions—whether intentional or not—seek to silence and diminish the contributions of Black artists. Her treatment of Kecia Lewis and Audra McDonald is symptomatic of a longtime industry illness where white stars are the first right of belief, while Black artists must constantly fight for equity and basic respect.

The Unseen Forces Shaping Broadway’s Power Dynamics

These microaggressions—those small, often unintentional slights—are an everyday reality for Black artists. LuPone’s refusal to sign a Hell’s Kitchen Playbill is an example of how implicit bias works on an unconscious level. It wasn’t a calculated attack but rather an unconscious reflection of her ingrained biases, where the cultural expression of Black artists and their work are undervalued. What may have seemed like a simple noise complaint to LuPone became, for Lewis, a striking reminder of the subconscious and unchallenged biases that frequently affect Black artists.

In Broadway’s ecosystem, implicit bias influences who gets heard, who gets celebrated, and who is silenced. Black artists like Kecia Lewis and Audra McDonald are often expected to bear the weight of their success quietly, without challenging the established power structures. When they do, even in small ways like calling out disrespect, their actions are frequently perceived as “difficult” or “disruptive,” especially when their white counterparts—like LuPone—are praised for doing the same things.

Implicit bias isn’t always intentional, but it’s just as damaging. When LuPone criticized Hell’s Kitchen in a way that suggested the work of Black artists didn’t deserve the same level of respect as other Broadway productions, it exposed how pervasive these biases are in a world where privilege often goes unchecked. Her behavior toward Lewis and later toward McDonald when she expressed support for Lewis showcases the dynamic of privilege at play. White stars, regardless of their behavior, are often excused, while Black artists face harsher judgment and severe scrutiny for similar actions.

In short, implicit bias is what allows Broadway to continue upholding racial power dynamics without actively acknowledging them. The difference between how LuPone’s actions were excused versus how Lewis faced criticism speaks to the unconscious prejudices that influence even the most minor interactions. These biases are a part of a broader system that continues to marginalize Black voices in the arts, even when those voices deserve to be heard just as loudly and clearly as their white counterparts.

A Tale of Two Responses: Lillias White vs. Patti LuPone

The disparity in how Broadway stars are treated based on their race is starkly evident when comparing two celebrated performers: Lillias White and Patti LuPone. Both of these legendary actresses have had moments of tension with audiences, but the reactions to their behavior could not have been more different.

When Lillias White, a Black Tony Award-winning actress, called out an audience member during a performance for using what she believed to be a recording device (which was later revealed to be a captioning device), the backlash was swift and severe. White was criticized by some for her approach, with many questioning her professionalism and demanding an apology. However, the reality of her frustration was apparent: Black artists are constantly navigating a space where their voices and boundaries are not always given the same respect as their white peers. White was met with harsh judgment for standing up for herself and the integrity of her performance.

In contrast, Patti LuPone has snatched phones from audience members and publicly yelled at theatergoers on multiple occasions. Instead of facing criticism, LuPone is often praised for her outspokenness and boldness. Her actions, while similarly aimed at preserving the integrity of the performance, are seen as “part of her legendary persona.” This stark contrast in responses reveals a deeper issue in Broadway’s treatment of Black artists versus white artists. While LuPone’s behavior is excused or celebrated, White’s is scrutinized, even though both were merely standing up for their space and their craft.

This double standard speaks volumes about the unequal expectations placed on Black artists. This kind of disparity highlights the ongoing need for Broadway to reassess its approach to addressing issues of race, power, and respect within its community.

The Broader Implications: How Black Talent is Undervalued Across Broadway

The implications of Patti LuPone’s behavior are deeply troubling, especially when considering that she felt so comfortable publicly disrespecting Kecia Lewis, a Tony Award-winning actress. Suppose a renowned Broadway icon like LuPone can dismiss and belittle a Black artist of Lewis’s caliber without facing significant consequences. In that case, it raises serious questions about how other Black actors are treated behind the scenes. Black talent in theatre, even those with the highest accolades, is often subjected to microaggressions, marginalization, and erasure. This is not to suggest that an artist without accolades deserves such treatment, but if someone as established as LuPone feels emboldened to act with such disregard, it serves as a stark reminder of how pervasive these issues are. Black artists, especially those without the same platform or recognition, likely face even greater challenges in navigating the industry. It’s a clear signal that Broadway must confront the systemic racism that continues to undermine the voices and contributions of Black performers at every level.

An Industry at a Crossroads

The LuPone controversy, serves as a poignant reminder that the fight for equity and respect on Broadway is far from over. It’s not just about complaints or personal disagreements. It’s about how race and privilege continue to shape the opportunities and treatment of Black artists in an industry that claims to be a space for creative expression and diversity.

As artists, creators, and leaders in the Broadway community, we must continue to push for an industry that genuinely values and respects Black talent. The conversation about race, professionalism, and the impact of language is not and will not be rooted in a single incident. It’s ever evolving and we have to be willing to create a space where all artists, regardless of race, are allowed to thrive, be heard, and be respected. This moment presents a crucial opportunity for the theater community to reflect on its internal dynamics and examine how power and privilege influence not only the work on stage but also the relationships behind it. It’s time for accountability, and for an industry that prides itself on being the most diverse in creativity and inclusivity to truly reflect those values in how it treats all of its artists.

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Photo Courtesy of Flushing Town Hall

Alton Fitzgerald White (The Lion King) will lead the series on February 5 as civil rights hero John Lewis, who passed away last summer after decades of fighting for equality and getting into “good trouble.” His piece, “John Lewis: A Pioneer for Justice,” will highlight many of his speeches and be followed by a virtual Q&A with the audience. Tony winner Lillias White (The Life) will pay homage to legendary jazz singer, Sarah Vaughn in “Divine Sass: A Tribute to the Music, Life, and Legacy of Sarah Vaughn” on February 18. White, who conceived and wrote the show, will honor the trailblazing musician who helped in desegregating the airwaves in the 1960s and 1970s. Culminating the series is Tony Award winner Andre De Shields (Hadestown) stepping into the shoes of the prolific orator and abolitionist Frederick Douglass in “Andre De Shields is Frederick Douglass: Mine Eyes Have Seen the Glory” on February 26.  Douglass’ famed speech “What to the Slave Is the Fourth of July?” was just one of his many declarations for early America to reflect on their treatment of African Americans. 

Part of Flushing Town Hall’s FTH At Home! virtual programming series, the events are free with a suggested donation to help keep the arts organization alive. Each week the performance begins at 7:00 pm. To RSVP for the February 18 event with Lillias White, visit HERE. To RSVP for the Andre De Shields event on February 26, visit HERE. 

For more information on upcoming programming at Flushing Town Hall, visit flushingtownhall.org.

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Talent from way back! It’s always a pleasure to take a look at our Broadway Black stars BEFORE we knew they were going to be legends. But, before we say goodbye here is just one more throw back of White singing in  The Life as ‘Sonja’, a role which landed her Broadway’s coveted Prestigious Quadruple Crown; a People’s Choice Award, the Outer Critics Award for Best Actress in a Musical, a Drama Desk Award and a Tony Award for Best Featured Actress in a Musical!

https://youtu.be/fDkko-fgfHU

We hope you enjoyed our throwback of Lillias White. She is surely Broadway Black Royalty!

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New cast members include Tracy Jai Edwards, Madeleine Doherty, Kay Walbye, Lenora Nemetz, Alexander Aguilar, Colby Lewis, Diane Findlay and Paula Caselton.

Gotta Dance, based on the 2008 documentary of the same name, will open on December 13 at Broadway In Chicago’s Bank of America Theatre. The production is headed to Broadway in the Spring of 2016. It tells the story of an amazing group of seniors who love to dance, their ambitious and overly zealous trainers and the art form that brings them together.

As described on the production’s website: From the director/choreographer of Kinky Boots comes the incredible true story of ten determined dreamers who audition to dance at half time for a major NBA team. They have three things in common: they love to dance, they have something to prove, and they are all over 60. It isn’t until they make the cut that they find out they won’t be dancing tap, salsa or swing—they are going to bring down the house with a style that’s entirely new to them: hip hop. Don’t miss this original Broadway-bound musical about a group of ordinary seniors with extraordinary dreams as they battle pain, prejudice, self-doubt and each other for a chance to bust a move at center court in front of 20 thousand screaming fans.

Take a look at rehearsals and the making of Broadway’s next musical sensation via Broadway Chicago’s YouTube Channel.

To purchase tickets, click HERE.

The post Broadway-Bound Musical, Gotta Dance, Adds New Cast Members appeared first on Broadway Black.

Proving that “age ain’t nothing but a number,” Gotta Dance tells the true story of a group of professional dancers who, in 2007, were tasked with getting a New Jersey basketball team’s senior citizen dance troupe performance-ready for their center court hip-hop debut. The tale proves that through an unlikely art form and a few cool moves, generation gaps can be crossed and friendships are formed.

Andre De Shields. Photo: Lia Chang

According to Broadway In Chicago;

This Broadway-bound musical brings together an all-star creative team that includes original music by the legendary Marvin Hamlisch (an Emmy, Grammy, Tony and Oscar winner), Tony Award-nominee Matthew Sklar (The Wedding Singer), lyrics by Tony Award-nominee Nell Benjamin (Legally Blonde), a book by Tony Award-nominee Chad Beguelin (Aladdin), Tony Award-winner Bob Martin (The Drowsy Chaperone), and direction and choreography by Tony Award-winner Jerry Mitchell (Kinky Boots). Gotta Dance is a heartwarming and hilarious story of triumph and joy that is sure to make you dance in the aisles.

The musical will begin performances on Dec. 13, 2015 at Chicago’s Bank of America Theatre, where it will run until Jan. 10, 2016. Broadway dates and venue are still TBD.  Tickets for groups are on sale now by calling Broadway In Chicago Group Sales at (312) 977-1710. Individual tickets will be available soon. If you are in Chicago, this is the perfect chance to see the musical before it takes NYC by storm.

The post Lillias White & Andre De Shields Star In Broadway-Bound Gotta Dance appeared first on Broadway Black.

The Life probes the depths of 42st Street Time Square, outlawed by flesh-peddlers and prostitutes, junkies and dealers, and runways in the epoch prior to its Disneyfication.

Among the award winning cast were Chuck Cooper, Sam Harris, Pamela Isaacs, Lillias White and Bellamy Young (Mellie from ABC’s Scandal). White and Cooper both won Tony Awards for their performances.

On May 17, 2015, the Broadway supper club “54 Below” located at 254 W 54th St, New York, NY 10019, will be presenting the opportunity to be transported back to a pre-Disney Time Square. When “The Life” returns to the streets of New York featuring members of the original cast such as Bellamy Young with appearances by Felicia Finely and Katy Grenfell. Also featuring Marcus Paul James, Telly Leung, Ciara Renee, and Raena White

In 1997, the beloved Broadway musical The Life transported us back to a pre-Disney Times Square—a much grittier time in NYC where hookers, hustlers, and even young dreamers battled it out in a game of survivor. For one night only, The Life returns to the “Great White Way” featuring members of the Tony-nominated original cast. Hear the fantastic Cy Coleman- Ira Gasman score, including the songs “The Oldest Profession”, “My Body”, “People Magazine”, “My Friend”, and more. Be sure to “check it out!” Musical directed by Jesse Vargas.

Just for old times sake, watch the Tony Award winning performance from Lillias White for her role in The Life; As well as, Bellamy Young from Scandal fame below.

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UPDATE 5.14.15 : This production will no longer feature Chuck Cooper. Find out more info as to why HERE!

This summer, The New American Theatre Co. NY will present a benefit concert of SWEENEY TODD by Stephen Sondheim staring Tony Award winners Chuck Cooper in the title role and Lillias White as ‘Mrs. Lovett’. Rounding out the cast is an ensemble of color featuring Clifton Oliver as ‘Anthony’, Britney Coleman as ‘Johanna’, and Arbender Robinson as ‘Tobias’. The concert will be directed by Artistic Director, DaMone.

 In a recent video interview on the NATCNY website, Cooper explains how he has wanted to play this role since seeing it portrayed by George Hearn, but quickly accepted the fact that he would never get the opportunity. Happily, that is no longer the case. The mission of NATCNY is expansion and inclusivity in American storytelling and this production fits perfectly.
Sondheim is perhaps one of the most esteemed and revered creators in the American Musical Theater. His work consistently presents artistic and dramatic challenges to all who encounter it and is highly respected in the theater, and now film community.

Furthermore, in recent years, audiences are beginning to see diversity in the actors portraying these iconic roles. This event promises to give a fresh and historic take on the tale of the Demon Barber; one that will hopefully lead to more color in the vast and beautiful world of Sondheim.

The benefit concert of SWEENEY TODD will be Monday August 10th at 7:00pm at The New American Theatre Co. NY
1332A Atlantic Ave. Brooklyn, NY 11216
For tickets and more information, visit www.natcny.org

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This year’s nominations gave us tons of excitement for some of Broadway Black’s finest. On this list you’ll find work and performances recognized from that of Suzan Lori Parks, Leslie Odom Jr., Quincy Tyler Bernstine, S. Epatha Merkerson, Lillias White, Tonya Pinkins, & Renée Elise Goldsberry.

The ever so popular musical Hamilton broke the record for most nominations with a total of 12, and the most nominated play was Between Riverside and Crazy with 6 nominations. For more information on the Lortel Awards and previous winners visit their website HERE

The following special awards will also be presented:

• Lifetime Achievement Award: Terrence McNally
• Edith Oliver Service to Off-Broadway Award: Nancy Nagel Gibbs
• Playwrights’ Sidewalk Inductee: Jeanine Tesori

The 2015 nominations by category are:

Outstanding Play

• Between Riverside and Crazy
  written by Stephen Adly Guirgis
  Produced by Atlantic Theater Company
• Father Comes Home From the Wars (Parts 1, 2 & 3)
  Written by Suzan-Lori Parks
  Produced by The Public Theater in association with American Repertory Theater
• The Invisible Hand
  Written by Ayad Akhtar
  Produced by New York Theatre Workshop
• My Mañana Comes
  Written by Elizabeth Irwin
  Produced by The Playwrights Realm
• The Nether
  Written by Jennifer Haley
  Produced by MCC Theater

Outstanding Musical

• The Fortress of Solitude
  Music and Lyrics by Michael Friedman
  Book by Itamar Moses
  Produced by The Public Theater in association with Dallas Theater Center
• Hamilton
  Book, Music and Lyrics by Lin-Manuel Miranda
  Produced by The Public Theater
• The Lightning Thief
  Music and Lyrics by Rob Rokicki
  Book by Joe Tracz
  Produced by Theatreworks USA
• Nevermore – The Imaginary Life and Mysterious Death of Edgar Allan Poe
  Written and Composed by Jonathan Christenson
  Produced by Radio Mouse Entertainment, Martin Hummel, Caiola Productions, Terry Schnuck, Susan Jaffe Tane, Hernreich-Horvath Productions, Catalyst Theatre in association with Fireboat Productions, Mary Cossette, Meredith Lynsey Schade
• Pretty Filthy
  Music and Lyrics by Michael Friedman
  Book by Bess Wohl
  Produced by The Civilians in association with Jon B. Platt

Outstanding Revival

• Fashions for Men
  Written by Ferenc Molnár
  Produced by Mint Theater Company
• Indian Ink
  Written by Tom Stoppard
  Produced by Roundabout Theatre Company in association with American Conservatory Theater
• Into The Woods
  Music and Lyrics by Stephen Sondheim
  Book by James Lapine
  Produced by Roundabout Theatre Company in association with McCarter Theatre Center, a Fiasco Theater production
• Sticks and Bones
  Written by David Rabe
  Produced by The New Group
• The Wayside Motor Inn
  Written by A.R. Gurney
  Produced by Signature Theatre

Outstanding Solo Show

• Every Brilliant Thing
  Written by Duncan Macmillan with Jonny Donahoe
  Performed by Jonny Donahoe
  Produced by Scott Morfee, Jean Doumanian, Tom Wirtshafter, Patrick Daly, Kelpie Arts LLC, Scott Rudin, Marc & Lisa Biales, Terry Allen Kramer, Michael Ostin.
• Josephine and I
  Written and Performed by Cush Jumbo
  Produced by The Public Theater
• Just Jim Dale
  Written and Performed by Jim Dale
  Produced by Roundabout Theatre Company
• The Lion
  Written and Performed by Benjamin Scheuer
  Produced by Manhattan Theatre Club

Outstanding Director

• Michael Greif: Our Lady of Kibeho
• Thomas Kail: Hamilton
• Austin Pendleton: Between Riverside and Crazy
• Ken Rus Schmoll: The Invisible Hand
• Ivo van Hove: Scenes From a Marriage

Outstanding Choreographer

• Andy Blankenbuehler: Hamilton
• Camille A. Brown: The Fortress of Solitude
• Denis Jones: Piece of My Heart: The Bert Berns Story
• Laura Krewski: Nevermore – The Imaginary Life and Mysterious Death of Edgar Allan Poe
• Lisa Shriver: Into The Woods

Outstanding Lead Actor in a Play

• Usman Ally: The Invisible Hand
• Carson Elrod: The Heir Apparent
• Stephen McKinley Henderson: Between Riverside and Crazy
• Owiso Odera: Our Lady of Kibeho
• Bill Pullman: Sticks and Bones

Outstanding Lead Actress in a play

• Quincy Tyler Bernstine: Grand Concourse
• Anna Gunn: Sex With Strangers
• Jan Maxwell: The City of Conversation
• S. Epatha Merkerson: While I Yet Live
• Tonya Pinkins: Rasheeda Speaking

Outstanding Lead Actor in a Musical

• Adam Chanler-Berat: The Fortress of Solitude
• Claybourne Elder: Allegro
• Lin-Manuel Miranda: Hamilton
• Leslie Odom Jr.: Hamilton
• Ben Steinfeld: Into The Woods

Outstanding Lead Actress in a Musical

• Michelle Knight: Disenchanted!
• Jennifer Mudge: Into The Woods
• Sally Murphy: The Threepenny Opera
• Phillipa Soo: Hamilton
• Lillias White: Texas in Paris

Outstanding Featured Actor in a Play

• Victor Almanzar: Between Riverside and Crazy
• Jacob Ming-Trent: Father Comes Home From the Wars (Parts 1, 2 & 3)
• Jesse Pennington: Bootycandy
• Will Pullen: Punk Rock
• Scott Shepherd: The Village Bike

Outstanding Featured Actress in a Play

• Sophia Anne Caruso: The Nether
• Sun Mee Chomet: brownsville song (b-side for tray)
• Liza Colón-Zayas: Between Riverside and Crazy
• Beth Dixon: The City of Conversation
• Deirdre O’Connell: By the Water

Outstanding Featured Actor in a Musical

• Daveed Diggs: Hamilton
• Andy Grotelueschen: Into The Woods
• Brian d’Arcy James: Hamilton
• Kevin Mambo: The Fortress of Solitude
• Steve Rosen: Pretty Filthy
  

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  Outstanding Featured Actress in a Musical

  • Renée Elise Goldsberry: Hamilton
  • Luba Mason: Pretty Filthy
  • Lulu Picart: Disenchanted!
  • Jessica Tyler Wright: Allegro
  • Emily Young: Into The Woods

  ---

  Outstanding Scenic Design

  • Brett J. Banakis: Big Love
  • Laura Jellinek: The Nether
  • Derek McLane: Into The Woods
  • Walt Spangler: Between Riverside and Crazy
  • Jan Versweyveld: Scenes From a Marriage

  ---

  Outstanding Costume Design

  • Candice Donnelly: Indian Ink
  • Bretta Gerecke: Nevermore – The Imaginary Life and Mysterious Death of Edgar Allan Poe
  • Clint Ramos: Bootycandy
  • Paul Tazewell: Hamilton
  • Anthony Ward: Josephine and I

  ---

  Outstanding Lighting Design

  • Howell Binkley: Hamilton
  • David Lander: The Library
  • Tyler Micoleau: The Invisible Hand
  • Ben Stanton: The Nether
  • Japhy Weideman: Punk Rock

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  Outstanding Sound Design

  • Mikhail Fiksel: My Mañana Comes
  • Leah Gelpe: The Invisible Hand
  • Daniel Kluger and Brandon Wolcott: The Nether
  • Nevin Steinberg: Hamilton
  • Matt Tierney: Pocatello

  ---

  The 2015 Lucille Lortel Awards voting committee is appointed by the League of Off-Broadway Theatres & Producers, the Lucille Lortel Foundation, Actors’ Equity Association, the Society of Stage Directors & Choreographers, and the Lucille Lortel Foundation, and includes theatre journalists, academics and other Off-Broadway professionals.

  Awarded since 1986, the Lucille Lortel Awards are produced by the League by special arrangement with the Lucille Lortel Foundation.

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Broadway Black stars have shown up and show out this year!

Tony Award winner Tonya Pinkins (Caroline, or Change, Jelly’s Last Jam) is the 2013 celebrity co-chair, along with actor Dorien Wilson (The Parkers).  Pinkins will also perform her new solo show Tonya Pinkins: Unplugged.

Tony nominees S. Epatha Merkerson (Come Back, Little Sheba, The Piano Lesson) and Paul Tazewell (A Streetcar Named Desire, The Color Purple) are among the 2013 NBTF honorees

The legendary Tony Award winning Lillias White (Dreamgirls, Fela!) will perform BIG MAYBELLE: Soul of the Blues, written and directed by Paul Levine.

Two-time Tony Award nominee André De Shields (The Wiz, Ain’t Misbehavin’) will star in Woodie King Jr.’s New Federal Theatre production of Knock Me a Kiss.

Chester Gregory (Sister Act, Hairspray) is back with his new play The Eve of Jackie: A Tribute to Jackie Wilson.

Actor and Playwright Regina Taylor’s (I‘ll Fly Away, The Unit) gospel musical Crowns will be staged by the North Carolina Black Repertory Company

Rain Pryor will perform her off-Broadway hit Fried Chicken & Latkas.

The Negro Ensemble Company presents Women in the Pit starring the 2013 NBTF Sidney Poitier Lifelong Achievement Award Recipient Hal Williams (227, Sanford & Son).

Tony Award nominated Norm Lewis (Porgy & Bess, Les Misérables) and Hattie Winston (The Tap Dance Kid, Hair) are also in attendance along with many other film and television stars.

For more information about the National Black Theatre Festival visit: www.NBTF.org

We’re actually here at the festival this year and we’ll be bringing to reviews and sightings here! Check our instagram as well!

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