A Raisin In the Sun by Lorraine Hansberry

Loosely based on the playwright’s life, the Younger family grapples with an American dilemma that coerces the psyche into believing that separate really is equal. In post-WWII Chicago, where everyone was looking to feed themselves literally and figuratively with a piece of the American dream, Walter, Ruth, Mama, Beneatha, and Travis find themselves in the middle of a custody battle over the soul and integrity of America; believing in the power of change and progression and reconciling with the truth of a divided American landscape. This drama first debuted on Broadway in 1959, starring Sidney Poitier, Ruby Dee, Louis Gossett, Claudia McNeil, and Glynn Turman. It has since seen multiple revivals on Broadway in 2004 and 2014, with the 2004 production winning for Best Actress in a Play for Phylicia Rashaad and Best Featured Actress in a Play for Audra McDonald. The 2014 production resulted in wins for Sophie Okonedo for Best Featured Actress in a Play, Kenny Leon for Direction of a Play, and Best Revival of a Play. A Raisin In the Sun is also the first play written by a Black woman to be performed and produced on Broadway. 

A full audio recording of the play from L.A. Theatre Works can be found HERE.

Fences by August Wilson

Written in 1985 as part of Wilson’s “Pittsburgh Cycle,” Fences closely tracks the internal turmoil that Troy faces in providing for his wife and teenage son. As a man whose dreams were not fully realized as a major league baseball player, Troy tries to build himself up within the city sanitation department as a driver (something Black men weren’t allowed to do). Young people should read this play primarily for the conversation between Troy and his son, Cory, about being a parent, a caregiver, and a Black man. Troy says, “A man got to take care of his family. You live in my house… sleep your behind on my bedclothes… fill your belly up with my food… cause you my son—you my flesh and blood. Not ’cause I like you! Cause it’s my duty to take care of you.” The original Broadway production won the Tony Awards for Best Play, Best Performance by a Leading Actor in a Play (James Earl Jones), Best Direction, and Best Performance by a Featured Actress in a Play (Mary Alice). The 2010 revival won Best Performance by a Leading Actor and Leading Actress in a Play for Denzel Washington and Viola Davis, respectively, and Best Revival of a Play. 

for colored girls who have considered suicide when the rainbow is enuf by Ntozake Shange 

Shange’s emotional choreopoem, which fuses music, dance, and poetry, is a literary blueprint for understanding and appreciating Black women. It debuted at the Booth Theater in New York City in 1976 and was only the second work by a Black woman to be done on Broadway (it was nominated for a Tony Award for Best Play in 1976). Referred to only by a color (red, orange, blue, green, purple, yellow, and brown), each woman relishes in her own self-discovery and self-identity in a world that has yet to see them for the beautiful humans they are. Shange illuminates the power of Black female sisterhood while also encouraging the reader to heal, survive, and reclaim their joy. The Public Theater recently did a production in 2019 that Camille A. Brown choreographed. 

Pipeline by Dominique Morisseau

Omari is a young Black male dealing with the pressures of high school academia in a school where microaggressions are as common as saying the pledge of allegiance. Morisseau’s modern drama on race and the education system may appear to be a shocking reflection of what young people may encounter today. Still, it is also a challenge for educators everywhere to see their students beyond a name on a class roster. Omari and his mother, Nya, push each other to combat the triggers that young Black men face regularly, and do some deep soul-searching to heal their mother-son relationship, so Omari doesn’t lose himself by proving himself. The play was nominated for five Lucille Lortel Awards during its run at Lincoln Center and can currently be found on BroadwayHD.

The Colored Museum by George C. Wolfe

Performed as vignettes known as “exhibits,” The Colored Museum illuminates the  Black experience by taking the reader and audience member on a historical journey from the flight to Savannah from the Ivory Coast in “Git On Board” to the ode to Black theatre drama in “The Last Mama-on-the-Couch Play” in which Wolfe makes references to Shange’s for colored girls who have considered suicide when the rainbow is enuf and Hansberry’s A Raisin In the Sun. The Colored Museum takes the tragedy and pain of our experience as Black people living in America. It gives it a distinct voice of truth and integrity that has otherwise been whitewashed and gaslit.

Honorable mentions:

A Soldier’s Play by Charles Fuller

Blues For Mister Charlie by James Baldwin

Stick Fly by Lydia R. Diamond

The post Class Is In Session: 5 Plays by Black Playwrights Every Young Black Student Should Read appeared first on Broadway Black.

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

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

1. On loving one another:

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

2. Beginning a journey into the unknown:

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

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

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

4. On choices:

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

5. On our own divinity:

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

6. On relaxing and enjoying the moment:

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

7. On learning to love yourself:

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

8. On personal empowerment and survival:

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

9. On getting yourself together to fulfill your potential:

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

10. On being okay with starting over:

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

 

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

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

HOME by Samm Art Williams is a lyrical play that tells the coming of age story of orphan Cephus Miles of small town Crossroads, North Carolina. Even though Cephus lives what cannot be described as anything less than a whirlwind life, he is still joyous and full of optimism that his quest to discover something deeper will be fulfilled. Cephus eventually leaves Crossroads for the big city after learning that his betrothed Pattie Mae has decided to marry another man, a more well off professional. Throughout his struggles in the big city, being a Vietnam war resister, and returning home to his small town after desegregation, we see the story of a man gaining wisdom in a world that does not always make sense.

HOME by Samm-Art Williams NYC-Manhattan Monday June 15th at 7PM
directed by Michele Shay
Starring Elain Graham, S. Epatha Merkerson, Ruben Santiago-Hudson
Harlem Hospital Pavilion

On the same day Project1Voice will hold another reading for afternoon theatergoers:

Just when you thought going HOME was enough on Monday, June 15th here’s your HAPPY ENDING. This NYC ONLY staged reading of HAPPY ENDING is especially for the capitalistically efficient daytime theater goer.

HAPPY ENDING and DAY of ABSENCE–two one act plays–premiered at St. Marks Place November 1965. This was the genesis of the Negro Ensemble Company (NEC).

Arthur French (A TRIP TO BOUNTIFUL w/Cicely Tyson) one of the original 13 NEC members–reprises the role he performed 50 years ago. Also featuring Lizan Mitchell, Brandon Gill and NEC alum Ebony Jo-Ann.

Project1Voice also did Ntozake Shange’s  choreopoem For Colored Girls Who Considered Suicide/ When the Rainbow is Enuf last year. The piece is a series of twenty poems that are choreographed to music (hence, “choreopoem”) performed by seven African American women that are only named by the color that they are assigned.  The subject matter includes abandonment, rape, abortion, domestic violence, and HIV/AIDS. This play first debuted on Broadway in 1976 and Shange was the second African American woman playwright to be produced on Broadway, second only to Lorraine Hansberry with A Raisin in the Sun.

To find out more about how to view the Manhattan staged reading visit Project1Voice.org or the Project1Voice: HOME Facebook event page and listen to the Founder/CEO and President of Project1Voice, Erich McMillian-Mcall, here:

The post Project1VOICE Presents Its Annual Celebration 1VOICE/1PLAY/1DAY June 15 appeared first on Broadway Black.

When his brother is shot, mentally disabled Langston Bellows (Gbenga Akinnagbe, The Wire) is left without a protector in Brooklyn’s housing projects. Now under the control of his abusive mother (Alfre Woodard, 12 Years A Slave) he must take his future into his own hands. Langston strives for independence from his prior life, from his mother, and from his fractured mind.

Woodard was last seen on Broadway in Regina Taylor’s Drowning Crow (the 2004 adaptation and updating of Anton Chekhov’s The Seagull), opposite Anthony Mackie (Ma Rainey’s Black Bottom, A Behanding in Spokane), Aunjanue Ellis (Joe Turner’s Come And Gone, The Tempest), Ebony Jo-Ann (Ma Rainey’s Black Bottom, Mule Bone, The Sunshine Boys, Gem of the Ocean), Stephen McKinley Henderson (King Hedley II, Ma Rainey’s Black Bottom, Fences, A Raisin in the Sun), and Tracie Thoms (Rent, Stick Fly). She made her professional theatre debut in 1974 at Washington, D.C.’s Arena Stage. Her breakthrough role came three years later (1977) in the off-Broadway production of Ntozake Shange’s classic for colored girls who have considered suicide / when the rainbow is enuf.

Alfre’s film and television career is vast and diverse. She won her Screen Actors Guild Award in 1995 for her work in the film version of August Wilson’s The Piano Lesson.

Knucklehead screens Thursday, March 26th at the Peter Jay Sharp Building BAM Rose Cinemas. To purchase tickets and get more information, CLICK HERE.

The post Alfre Woodard’s Back To NYC In ‘Knucklehead’ appeared first on Broadway Black.