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.

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During an interview with Urban Bush Babies, the young ladies showed off how insightful they are at their young age. They discussed being awarded a scholarship, what it means to work hard, and one of their idols Misty Copeland. saying “I went to meet her,” said Nia. “She was really nice. She’s humble, a good dancer, and not cocky.” “And she’s a good influence,” Imani chimed in. “She’s not like Miley Cyrus at all.”

In a time when Black youth are rising in the arts and their voices are more prevalent in the fight for justice, Whitney Houston’s “The Greatest Love Of All” is quite true: the children are the future. These two young ladies are proof of that, continuing to break the mold and exist in spaces that traditionally aren’t “for us.” It’s a good reminder to see when the youth do something positive and groundbreaking. It’s our responsibility to lift them up and to encourage them to never give up on their dreams. This one is for you Nia and Imani. Broadway Black always has your back.

Check the talented duo in a video below! For more, you can subscribe to their YouTube channel here!

The post 11 Year Old Twins Receive Scholarships to the American Ballet Theatre appeared first on Broadway Black.

We have to start by sending a MAJOR congratulations to Broadway Black’s newest sweetheart Shanice Williams, the teen who beat out hundreds of young ladies for the role of a lifetime and made herself a household name with her stunning portrayal as Dorothy in “The Wiz! Live.”  At just 19 years old and in her first major role, Williams has earned a Critics Choice nomination for Actress In A Movie Made For Television or Limited Series.  I can only assume this will be the first of many nominations for the budding star.

“The Wiz! Live” racked up a bevy of nominations for its rating-smashing premiere including Movie Made for TV or Limited Series, a nomination for both veteran David Alan Grier and musical theater newcomer Neyo in the Actor In A Movie Made for Television or Limited Series category, and a surprising (yet much deserved) nomination for Mary J. Blige‘s impressive performance as Evilene.

While Queen Latifah didn’t receive recognition for her portrayal of “The Wiz” in the NBC special, the Queen did garner Golden Globe and SAG nominations for her captivating work in the HBO biopic “Bessie,” based on the true story of jazz legend Bessie Smith.

Another “Wiz” alum, Uzo Aduba also gained SAG and Golden Globe love for her Performance by a Female Actor in a Comedy Series as “Crazy Eyes” in the Netflix phenomenon “Orange is the New Black.”

Black luminaries Viola Davis and Taraji P. Henson are going head to head AGAIN as the adorably supportive friends were both awarded Golden Globe and SAG noms for Performance by a Female Actor in a Drama Series.  Davis leads the poll with a Critics Choice nom as well.

And just in case Hollywood doesn’t get it right (which we know they’re good for), the NAACP Image Awards nominations always make sure that works of color are getting their fair due.  In addition to recognizing “The Wiz! Live,” the awards have also doled out nominations to Misty Copeland (On The Town) for Entertainer of the Year and Julliard Alum Corey Hawkins (Romeo & Juliet) for Best Actor in the critically acclaimed hip-hop film “Straight Outta Compton.”

David Alan Grier racked up NAACP nominations for his work in “The Wiz” as well as his NBC comedy “The Carmichael Show,” alongside his costar Loretta Divine (Dreamgirls) who was also recognized for her work in the sitcom.  Danielle Brooks (The Color Purple) received a nomination for Best Supporting Actress in a Comedy Series for her charming portrayal of Taystee on “OITNB.”

Beautiful Broadway ladies are taking over the Outstanding Supporting Actress in a Motion Picture category as Angela Bassett (The Mountaintop) and Jennifer Hudson (The Color Purple) earned nominations for their roles in “Chi-Raq,” while Phylicia Rashad (Cat on a Hot Tin Roof) and Tessa Thompson (Smart People) both got noms for the new box-office hit “Creed.”

Broadway Black would like to send a HUGE congratulations to all of the nominees!  We’ll be glued to our screens on awards day providing you with all the glamorous details.  Now, who do YOU want to win?

The post Award Season: The Nominations Are IN! appeared first on Broadway Black.

In a tribute to his career as a dance pioneer, icon, and national treasure, Columbia University acquired Mitchell’s archives and will honor the 60^th anniversary of him joining the New York City Ballet with a two-day symposium, including a film chronicling Mitchell’s life and career, a conversation with Mitchell and reflections from his former New York City Ballet colleagues, Dance Theatre of Harlem artists, dance critics, and scholars. The events, part of the Arthur Mitchell Project (AMP), began on October 26 and will continue on October 27 on the Columbia campus.

According to the Dance Theatre of Harlem’s web site, Mitchell founded the AMP with support from the Ford Foundation to further his legacy. The AMP’s first initiative brought the Arthur Mitchell archive to the prestigious Rare Books and Manuscript Library at Columbia University and continues to develop companion programming. The AMP develops programs that build partnerships between Harlem and Columbia University with the goal of promoting diversity in the arts and works closely with the School of American Ballet on their diversity initiative.

The symposium is presented in collaboration with IRAAS, Center for Science and Society, Barnard Dance Department, the School of the Arts, Community Outreach and Education, Center for Law & Culture, and the Barnard Department of Africana Studies.

Mitchell, a self-described “political activist through dance,” was inspired to found the Dance Theatre of Harlem by the Civil Rights movement, “the message of Dr. Martin Luther King, Jr., and his own determination to provide young people in the Harlem community the opportunity to positively transform their lives.” He began the organization with 30 students and a company of two professional dancers and grew it into the first permanently established African American ballet company in the United States.

For more information on the Arthur Mitchell Project Symposium, visit here.

The post Dance Pioneer Arthur Mitchell Honored With Symposium appeared first on Broadway Black.

According to TIME, Misty Copeland will take on the role of Ivy in the Broadway musical On The Town. Ivy is the female lead who falls in love with one of the sailors. This role was originally played by Japanese-American ballerina Sono Osato. It was an intentional creative choice to make the ballet racially diverse, so to have Copeland step into this role makes perfect sense. 

Copeland will dance in the show from Aug. 25 to Sept. 6

“I was contacted by them and they actually wanted me to go in pretty quickly, and it was all just ‘Oh my gosh, this is not something I ever thought I would do,’” Copeland told TIME of the opportunity to dance the role on Broadway. “If I’m going to be part of a Broadway show, I think this is the one…

…It’s so strong and rich with the dancing, and it’s such an incredible role,” Copeland said. “Jerome Robbins was such an incredible part of ABT’s history, so it makes total sense.”

The musical On The Town is a 1944 Leonard Bernstein production. It had its roots in the Jerome Robbins ballet performed at the American Ballet Theater and features the world famous song, “New York, New York.”

Below, Copeland talks about her journey to this point on CBS This Morning stating “I’ve never really sung in front of a big crowd before.”

The post Misty Copeland To Make Her Broadway Debut In On The Town appeared first on Broadway Black.

Earlier this spring, Copeland made her debut in the lead role of Odette/Odile in “Swan Lake” at the Kennedy Center in Washington, D.C.; for a black woman to dance the role of ballet’s famed white swan is culturally notable and significant (and all of her performances sold out months earlier).  At her press conference announcing her promotion, she noted, “I want to bring more people to ballet, I want to see more people that look like me on the stage, in the school, and in the audience — on the board. It’s just been one of my goals, and it’s been exciting to see some change happen.”

Copeland has been with the American Ballet Theatre for eight years, and her popularity has spilled over to non-ballet audiences.  She has starred in Under Armour, Dr. Pepper and BlackBerry ads, performed in concert with Prince, and judged contestants on Fox’s “So You Think You Can Dance.”  The film rights for her memoir, Life in Motion, have been purchased by New Line Cinema, and she’s also written a children’s book, Firebird (so named for one of her first significant roles with the company).

As you might imagine, the reactions across social networks were plentiful, particularly on Twitter.  Television personality Star Jones, tweeted, “crying tears of joy for [Copeland] & all the little girls she will inspire.”  Robin Roberts noted, “After being named the 1st black principal ballerina of @ABTBallet, @mistyonpointe says all little girls can see their dreams through her.”  Oprah Winfrey remarked, “Brava! Yay! And Hallelujah to you @mistyonpointe . Beaming with pride at your magnificent achievement as Principal Dancer ABT.”  Perhaps Taye Diggs said it best with his comment, “All hail the Queen. My “sister” Misty Copeland was just promoted to Principal dancer with ABT!! An amazing day for dancers and chocolates…”

And as a personal aside, I am a former dancer who dreamt of being a ballerina one day, and I cannot express my pride and admiration to see a black woman take this position; to share this with my fifteen year old daughter who is also a ballet dancer, is a watershed moment.  She can now see someone who looks like her take on lead roles as arguably, the new face of American ballet.  As principal dancer, Copeland is changing perceptions on not only what a dancer is, but what a dancer can be.

The post Misty Copeland First Black Principal Ballerina For American Ballet Theatre appeared first on Broadway Black.

For me, there is nothing more important than a lesson in history.  Over the last few years when we thought of an African American ballerina, it was Misty Copeland.  Never once did I stop to ponder those that have come before her. Now I know that there was a Prima Ballerina who paved the way. Her name is Lauren Anderson.

In 1990, Anderson became the first African American to be promoted to principal dancer at Houston Ballet – and one of the few African American ballerinas at the head of a major ballet company anywhere in the world.

Similar to the story of most African American greats, Anderson was told that she was not cut out for her dreams, that her physique was not “ideal” to be a ballerina.  As a teenager, she was strong and competitive. Instead of letting naysayers keep her from reaching her goals, she changed not only the way she exercised by taking up pilates, but completely removed meat from her diet to help make her muscles appear more lean.

Seven years after joining the Houston Ballet, Anderson took her role as principal dancer for the company.  By the time the mid 90s rolled around she had a reputation that preceded her internationally, particularly for her role in Cleopatra. This piece was specifically created for her by Ben Stevenson, who was once in doubt of her star power.

The Ballerina Guru conducted an interview with Lauren Anderson in December 2013. Below is a brief excerpt:

There are now many African American female dancers given opportunities in the ballet world, such as Misty Copeland, Céline Gittens (Birmingham Royal Ballet), Michaela DePrince, etc. Do you think the ballet world is progressing in its narrow image of what a prima ballerina should be?

I think so for sure. I debuted in Odette/ Odile in 1996. I had not seen an African American Swan Queen in a major ballet company. I was excited to see Tyrone Singleton and Céline Gittens as the leads in Swan Lake last year.

Anderson has since retired from the ballet and is now a lecturer on ballet as well as an instructor.  Anderson makes it a point to conduct master classes not just for students who have parents that can write the checks for her talent but to make sure that dancers from all socioeconomic backgrounds have their chance to shine.

To read the full interview with the Ballerina Guru visit this link.

“The only color in art is on a canvas!”

The post Before Misty Copeland, There Was Lauren Anderson appeared first on Broadway Black.

The American Ballet Theatre cast a Brazilian dancer, Marcelo Gomes, in the lead role, and Gomes wears dark brown makeup to try to match his skin tone to the moor who describes sin as being “black as mine own face,” much to the chagrin of attendees.

Actor Robert Manning, Jr., penned a letter** to the American Theatre, Lincoln Center, and the Metropolitan Opera condemning the production; he left after the first act, felt it was a “Jim Crow production,” and “will never attend another ABT production and…will encourage anyone…to follow suit.”

Unfortunately, this is not the first time in recent history that a dancer has used dark brown makeup for the role of Othello; for example, in 2002, the San Francisco Ballet used dark makeup on Cyril Pierre. And in the American Ballet’s Theatre 2007 production, Gomes used the same dark brown makeup.

One would think the American Ballet Theatre would pay a bit more attention to this indignity, as one of their soloists, Misty Copeland (the first African American soloist in two decades), has been not only incredibly vocal about race and the importance of diversity in the ballet world, but has been seen everywhere from commercials for Dr. Pepper and Under Armour to the cover of Time magazine, which has helped to bring new audiences to see her perform.

Since Othello’s race is so central to the story, why not cast a dancer whose complexion more closely resembles what Shakespeare envisioned? It is not as though there is a dearth of dancers who could not bring the passion, grace, masculinity, and commanding qualities needed in this role; Desmond Richardson, Antonio Douthit-Boyd, and Vernard Gilmore are dancers who come to mind almost immediately.

The American Ballet Theatre missed an opportunity to cast a talented Black dancer in the role of Othello. The organization cannot encourage Copeland to raise the visibility of its ballet productions on one hand yet simultaneously ignore the legions of diverse audiences who are beginning to take note of ballet on the other. It is a grave disservice to fans of Shakespeare and ballet alike.

**Read Manning’s letter in it’s entirety below:

cc: The Metropolitan Opera

The post Usage Of Blackface In American Ballet Theatre’s Production Of Othello appeared first on Broadway Black.

From ABT: Kenneth MacMillan’s masterful interpretation of Shakespeare’s enduring romantic tragedy, Romeo and Juliet, has become one of ABT’s signature productions. Against a sumptuous setting in Renaissance Italy, MacMillan weaves a dance tapestry rich in character nuance and sensuality, and Sergei Prokofiev’s stirring music underscores the lyric beauty and passion of this beloved ballet’s star-crossed lovers. Copeland will perform as Juliet during the matinee performance on June 20 at 2:00pm in the Metropolitan Opera House.

Set to Tchaikovsky’s glorious score, Swan Lake’s romantic tale of love and forgiveness is often considered the world’s most beloved ballet. With breathtaking choreography, lavish costumes and visually spectacular sets evoking a lakeside Renaissance court, ABT’s production “glides to the forefront of stagings all over the world. The fabled lake of the swans has risen into view, inspiring awe for its mystery and magic.” (The Wall Street Journal). Copeland will perform as Odette/Odile, the Swan Queen, during the matinee performance on June 24 at 2:00pm in the Metropolitan Opera House.

Misty Copeland made history earlier this year at the Kennedy Center in Washington, DC when she and fellow dancer Brooklyn Mack performed the lead roles in Swan Lake, the first Black duo in American ballet to do so. More about their groundbreaking performance can be seen HERE.

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