Lincoln Center Theater has officially announced its 2025–2026 season—and it’s not just a new lineup, it’s a full-on renaissance. Under the visionary leadership of incoming Artistic Director Lear deBessonet, this inaugural season marks a major turning point for one of New York’s most prestigious theatrical institutions.

With a slate that fuses legacy revivals, fresh new voices, and community-forward programming, deBessonet is redefining what it means to serve New York audiences across generations, identities, and neighborhoods. And yes, Black artistry is front and center—from the return of Ragtime starring Joshua Henry, to an ensemble revival of The Whoopi Monologues led by Kerry Washington and Kara Young, to a citywide community choir experience co-created with Jeanine Tesori.

Let’s break it down.

ON BROADWAY: “RAGTIME” RETURNS WITH A STAR-STUDDED CAST

At the Vivian Beaumont Theater, deBessonet kicks off her tenure with a lavish revival of Ragtime, her acclaimed New York City Center Gala production, now reimagined for the Broadway stage. The production boasts a powerhouse cast: Tony nominee Joshua Henry as Coalhouse Walker Jr., rising star Nichelle Lewis as Sarah, and Olivier and GRAMMY nominee Caissie Levy as Mother, alongside Tony winner Brandon Uranowitz as Tateh.

This iteration of Ragtime isn’t just a restaging—it’s a reckoning. Set at the turn of the 20th century, the show follows three families—Black, Jewish, and white upper-class—whose lives intertwine in pursuit of the American Dream. With direction by deBessonet, choreography by Ellenore Scott, and music direction by James Moore conducting a 28-piece orchestra, this production promises not only grandeur but renewed urgency.

Performances begin September 26, 2025.

OFF-BROADWAY: WHOOPI. KENNY. KERRY. KARA. YES.

The Mitzi E. Newhouse Theater will host three bold and deeply resonant productions:

• KYOTO, a sharp political thriller about the 1997 climate summit, directed by Stranger Things: The First Shadow duo Stephen Daldry and Justin Martin.
• Amahl and the Night Visitors, a family opera classic reimagined by Tony-winning director Kenny Leon and starring opera icon Joyce DiDonato. This production marks LCT’s first official seasonal holiday offering.
• The Whoopi Monologues, a reimagining of Whoopi Goldberg’s iconic 1984 solo debut. Directed by Whitney White and featuring an all-star ensemble led by Kerry Washington (American Son, “Scandal”), and Tony^®  Award winner Kara Young(Purpose, Purlie Victorious) lead a remarkable ensemble of 5 women in bringing Goldberg’s unforgettable characters back to the stage, in this new production directed by Tony^® Award nominee Whitney White. This revival reclaims Whoopi’s groundbreaking work for a new era.

Expect laughter. Expect truth. Expect legacy to meet liberation.

LCT3: COMEDY, HEALING, AND BLACK JOY

At the Claire Tow Theater, LCT3—under Artistic Director Maria Manuela Goyanes—continues to be the incubator for boundary-breaking work:

• The Comedy Series featuring Jenny Slate and more, in a dynamic new stand-up/storytelling experiment with Seaview.
• Night Side Songs, a folk-infused new musical by The Lazours (We Live in Cairo), directed by Taibi Magar, exploring illness, caregiving, and resilience.
• A Woman Among Women by Julia May Jonas, a feminist reply to Arthur Miller’s All My Sons, in partnership with The Bushwick Starr and New Georges.
• The Reading Series curated by a dream team of playwrights including Lynn Nottage, Branden Jacobs-Jenkins, and Sarah Ruhl, featuring new voices handpicked for one-night-only staged readings and conversations.

This isn’t just programming—it’s legacy-building.

EXPANDED PROGRAMMING: FROM SILENT DISCOS TO COMMUNITY SINGING

Lincoln Center Theater is breaking beyond the proscenium with a series of free, community-focused events:

• WARRIORS Silent Disco – Inspired by the 1979 cult film, this concept album from Lin-Manuel Miranda and Eisa Davis, produced by Nas and Mike Elizondo, will come to life in a silent disco dance party at Lincoln Center Plaza on July 30.

• COME & SING – A public choir series co-created with Jeanine Tesori, inviting New Yorkers to sing together—no audition, no pressure, just joy and harmony.
• Collaboration with Chef Kwame Onwuachi – Culinary meets culture as the celebrated chef behind Tatiana partners with LCT for a future creative collaboration.

CENTERING COMMUNITY: A NEW DEPARTMENT, A NEW VISION

One of the most exciting announcements is the expansion of LCT’s Education Department into the Education and Community Engagement Department, signaling a deeper investment in connecting the theater’s work to the everyday lives of New Yorkers.

With expanded initiatives like storytelling workshops, book clubs, and artmaking projects, this department—under the continued leadership of Kati Koerner—will focus on making the theater a “third space” for all: a place of belonging, creativity, and cultural healing.

WHAT THIS MEANS FOR BROADWAY BLACK

The 2025–2026 season at Lincoln Center Theater is more than artistically ambitious—it’s inclusive, intergenerational, and deeply rooted in community. Black artistry isn’t a side note; it’s the foundation. With talents like Joshua Henry, Kenny Leon, Eisa Davis, and Kara Young at the forefront, Lear deBessonet’s inaugural season isn’t just a debut—it’s a declaration of legacy in the making.

And we’re watching, front row.

The post Whoopi Returns, Ragtime Rises: Kerry Washington, Kara Young, Joshua Henry Lead Lincoln Center Theater’s New Era appeared first on Broadway Black.

WHO: Amber Iman – Broadway Actor, Writer, & Producer.

Co-Founder of Broadway Advocacy Coalition & Black Women on Broadway

WHAT: WHAT TO SEND UP WHEN IT GOES DOWN

by Alesha Harris

Directed by Whitney White

WHERE: co-presented by BAM and Playwrights Horizons,

at the Fishman Space in the Brooklyn Academy of Music

I went to see What to Send Up When It Goes Down by Aleshea Harris, directed by Whitney White. It was my first theatre experience since the panini shut us down 15 months ago. Will the theatre be at full capacity? Will everyone be wearing masks? Are we showing vaccination cards at the door? Anxiety mixed with anxiousness mixed with excitement… I didn’t know what was about to happen, but I was ready for it…. at least I thought I was. 

The first thing I saw was a lobby full of pictures. The walls were covered with these stunning,  colorful, oversized photos of beautiful Black faces – smiling, mid-laugh posted up at a kickback.  It took a second, but I realized that several of these people were familiar….faces that I’ve come to know over the years… Eric Garner, Trayvon Martin, Breonna Taylor…. And then I knew where I was and what this was.

I looked around for a while, and then I didn’t want to look at the photos anymore. So I went to the bathroom just for a change of scenery. I searched for people I knew in the crowd, I scrolled my phone, I got some water… anything to distract from the eyes looking down at me.

One of the actors gave a sort of “curtain speech” before we moved into the theatre. It set the tone. This wasn’t just another night at the theatre. This was sacred. Special. It required reverence and respect. In her speech, she mentioned that Alesha Harris created this play for Black audiences, but all were welcome. She was wrong. This wasn’t for me. I know these stories, these names, these faces. I’m a Black woman in America. I don’t want to do “this” anymore; I don’t need this…

As we moved into the theatre, we were ushered away from our seats and into a circle, two circles of actors mixed in with patrons. I’m rolling my eyes internally, cuz my back hurts, and my feet are tired, and I want to sit down. But, honestly, I’m fine, just uncomfortable because I know this is about to be some level of an emotional roller coaster that I’ve been trapped on since maybe 2012..ish (has Trayvon been gone that long?)

I don’t want to spoil it for you, so I’ll say this…

I’ve never experienced theatre that held space for us. For me. Intentionally. Alesha Harris wrote this show for us. With us in mind. Our pain, our grief, our joy, our light, our heavy, our flesh, our song, our history, our legacy. It felt like a long hug from a knowing Auntie. I felt welcomed and cared for, and covered. I fought back the tears because I didn’t want to cry anymore. But by the end, I was powerless. And then, out of nowhere, joy washed over me. And pride and love and peace. There’s something beautiful about knowing you are seen and heard, and affirmed. And not alone. 

I feel like I’m doing a poor job by not summarizing the plot or revealing the structure, but I feel this odd responsibility to protect it. If you want to know more before you go, I’m sure you can find a review somewhere. But know that the actors are bold, vibrant, vivacious storytellers, using movement and song and dance and fire to tell these tales. It’s one of those pieces that you don’t want to leave right away. You’ll linger in the theatre when it’s over, and the words will stay with you, tucked safely away, for many moons…

Just see it.

This production of What to Send Up When It Goes Down at the Fishman Space in the Brooklyn Academy of Music, co-presented by BAM and Playwrights Horizons, closed on July 11th. Subsequent production at Playwrights Horizons will run from September 24th – October 17th, 2021.

The post We Were There: <em>What To Send Up When It Goes Down</em> by Alesha Harris</em> appeared first on Broadway Black.