What if I were to tell you that it could be turned up a few more notches? The Classical Theatre of Harlem, in partnership with SummerStage, is presenting this work through their Under the Stars series. This annual and FREE summer production is being directed by Carl Cofield.  I believe that this production will bring an element to The Tempest that you may not think is missing — people of color.  To some this may be a no brainer, but Cofield is setting his production in Hispaniola; the island that is home to both Haiti and the Dominican Republic. The space for this project is outdoors at the Richard Rodgers Amphitheater in Marcus Garvey Park. The Tempest, with its melange of romance, villains, comedy and music, lends itself well to be performed underneath a starry night sky.

Cofield says, “Prospero’s magical island could be anywhere. Our production references the enchanting island of Hispaniola, the island that is home to both the Dominican Republic and Haiti. The history of Haiti is nothing short of magical. This tiny Caribbean country won its independence by defeating three European superpowers: France, Britain and Spain, demonstrating the same fighting spirit found in Caliban, and the same longing for freedom as Ariel. The Tempest highlights the dynamics of freedom and captivity, imprisonment and rebellion, authority and tyranny. My hope is that after spending time with these characters, we learn something about ourselves.”

To find out more about this theatre that is bringing free art to the public, you  can follow the Classic Theatre of Harlem on Twitter  or like their Facebook page  The production will run from July 3 through July 26 at the Richard Rodgers Amphitheater in Marcus Garvey Park. 18 Mt. Morris Park West, New York, NY.  For more information about the show or ticket information visit www.cthnyc.org

The post The Classic Theatre of Harlem Presents The Tempest Under the Stars 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.

The post OITNB’s Uzo Aduba Is Othello At Public appeared first on Broadway Black.