Curtain Call - Black History by Curtain Call

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curtain THE SPECIAL EDITION

BLACK

HISTORY HIGHLIGHTING THE WORK OF BLACK ARTISTS IN THEATRE

content Playlist page 3 West End Against Racism page 4-7 Behind The Curtain With Angela Birchett page 8-10 Behind the Curtain With @broadwayisracist page 11 Hamilton - Representation/Accessibility page 12-13 Behind the Curtain with Jenny Laroche page 14-15 Ainâ&#x20AC;&#x2122;t Too Proud page 16-17 Broadwayâ&#x20AC;&#x2122;s Black History Milestones page 18-19 Spotlight : Black Performers page 20-25 Black Characters on Broadway page 26-29 Stars Of Broadway page 30-35 Resource Guide for Anti-Racism in Theatre page 68-69

Letter from our team Dear Curtain Call readers, It’s been a while. With everything happening in the world right now - from a global pandemic to riots - we thought we had to take a bit of time off to reflect on those subjects. As it was not our place to talk, we decided to create a unique issue, highlighting the work of the black community in theatre. Creators, actors, activists... An issue made for them, with them. Stay safe, educate yourself, love,

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Playlist of the month Black Artists and Black Stories in Theatre

by Constance Drugeot

Believe in Yourself - The Wiz Where I’ve Been - Hairspray I’m Here - The Color Purple

I’m Gonna Make You Love Me - Ain’t Too Proud My Shot - Hamilton River Deep Mountain High - Tina: The Tina Turner Musical Ain’t Too Proud to Beg - Motown And I’m Telling You - Dreamgirls Lot’s Wife - Caroline, or Change Make Them Hear You - Ragtime

AGAINST West End

RACISM LONDON

by Clélia Gessner

When the Black Lives Matter movement gained more momentum after the tragic death of George Floyd at the hands of police officers in Minnesota, West End performers soon started sharing the same picture on their social media pages: a brown background with a single date : June 5th. June 5th arrived and Twitter and Instagram were flooded with videos of Black West End performers singing Ben E. King’s song « Stand By Me », mostly acapella, sometimes accompanying themselves on the guitar or piano or with a backing track. Among them: Danielle Steers (Six), Miriam-Teak Lee (& Juliet), Shan Ako (Les Misérables), Marisha Wallace (Waitress), Idriss Kargbo (Wicked), Allyson Ava-Brown (Hamilton), and many others, including the two actors responsible for the project, Nicole Raquel Dennis (Dear Evan Hansen) and Billy Nevers (& Juliet). The covers were usually about one minute

long and featured the following lyrics:

“When the night has come And the land is dark And the moon is the only light we’ll see No, I won’t be afraid Oh, I won’t be afraid Just as long as you stand Stand by me So darlin’, darlin’ Stand by me, oh, stand by me Oh, stand, stand by me Stand by me“ These powerful lyrics express a simple message from the Black community, asking the rest of the world to stand by them and help them fight the oppression that they have always had to endure. Watching these videos was extremely moving. There was a sense of unity like

I’d never witnessed before, and this unity only grew bigger when other West End performers answered by starting to share their own covers with tweaked lyrics saying « don’t be afraid » instead of « I won’t be afraid » and « I will stand by you » instead of « stand by me ». Theatre is known for being a (typically) kind and accepting place but even in this industry there is still much to be done to reach equality, notably in terms of access to jobs. But what this movement is about is first and foremost simply the security of Black people which is sadly still not granted. And showing that the theatre community is united in that fight is symbolically significant.

The #StandByMeChallenge was the first big response from West End performers, but something even bigger was in the works. The following month, a fundraising event called Turn Up London was streamed for three nights. Directed again by Ms Nicole Raquel Dennis, joined by Ryan Carter, the concert was filmed on stage (strictly observing social distancing rules) at the Cadogan Hall (London) and featured an all-Black cast of West End performers with a live band, complete with poetry readings and other performances from Black artists all around the world, recorded in their own homes. Not only was the event organised as a fundraiser in support of the Black Lives Matter movement (with money going to several organisations: The Bail Project, The Okra Project, The Black Curriculum and

UK Black Pride), it was also a way to put forward Black artists and voices, as well as being one of the first gigs filmed on a stage since theatres closed back in March. We bought a ticket to the second night of streaming and were truly floored by the talent featured in this concert. Our highlights include a duet on the song « For Good » from Wicked, featuring Alexia Khadime (the only Black woman to have played Elphaba full time) and Brittney Johnson (the only Black woman to have ever played the role of Glinda). Ms Khadime’s performance was recorded on the stage of the Cadogan Hall with the band and Ms Johnson recorded her part from her own home in the US. This duet was incredibly moving, not only because these two actresses are absolutely phenomenal, but also because it highlighted how shocking it is that there are so few Black women who have played these iconic roles, while there is no reason these should be played by white women specifically. Hopefully, seeing these two talented women sing this duet inspired or will inspire more Black children and show them that it is possible for them (as it should) to play iconic roles like Elphaba and Glinda, even though right now there is clearly still a long way to go to reach actual equality in opportunities.

The poetry/speech readings were also very inspiring and featured texts by various Black performers or prominent figures in the Black community such as Angela Davis and Maya Angelou. 5

Another highlight of mine was the closing performance of the song « Glory » by Common and John Legend, which was part of the soundtrack of the movie Selma. It was very powerful and featured many different artists, some on stage at the Cadogan Hall and others at home, including Trevor Dion Nicholas, Danielle Fiamanya, Billy Nevers, Shekinah McFarlane and Tarinn Callender. There were of course other fantastic performances by Danielle Steers, Claudia Kariuki, Melanie La Barrie, Nicole Raquel Dennis, Kelly Agbowu, Cedric Neal, Vinegar Strokes, Tanisha Spring, Rhianne-Louise McCaulskey, Rachel John, Ciara Renée and many, many others. I think this was a perfect way to raise money for the cause as well as support Black artists directly and to give the audience an incredible show to uplift them during these hard times. The event was clearly a success as many fans (and other performers) attended the virtual event, some even did more than once, and everyone seemed to have loved it as much as we did. All in all, it was truly incredible to witness how the West End has come together over the last couple of months to support this cause which is critically important. This shows that there is still work to be done in all fields, theatre included, and we all have our own part to play in this fight.

Hannah Abdool - Rachel Adedeji - Kelly Agbowu David Albury - Lauren Azania - Melanie La Barrie Jeannette Bayardelle - Timothy Benjamin - Kyle Birch - Michaela Blackburn - Ashh Blackwood - Arun Blair-Mangat - Tsemaye Bob-Egbe - Althea Burey Chanice Alexander-Burnett - Dawn Butler - Tarinn Callender - Kayla Carter - Ryan Carter - Sharon D. Clarke - M-Jae Cleopatra Isaac - Marcus Collins - Chloe Davies - Nicole Deon - Kofi Dennis - Nicole Raquel Dennis - Eboni Dixon - Vanessa Dumatey Noma Dumezweni - Brenda Edwards - Matthew Elliot-Campbell - Johnnie Fiori - Vanessa Fisher - Danielle Fiamanya - Chloe Gentles - Alexandra Grey - Adrian Hansel - Ahmed Hamad - Portia Harry - Zaris-Angel Hator - Michelle Hopewell - Cooper Howell - Ashlee Irish - Aisha Jawando - Rachel John - Brittney Johnson - Rahne Jones - Cameron Bernard Jones - Claudia Kariuki - Natalie Kassanga - Aoife Kenny - Alexia Khadime - Kwame Kwei-Armah Becca Lee-Isaacs - Aaron Lee Lambert - Norm Lewis - Stephanie Lindo - Vula Malinga - Sandra Marvin Brandi Chavonne Massey - Simeon Montague - Paul Mukembo - Rhianna-Louise McCaulsky - Shakinah McFarlane - Cedric Neal - Billy Nevers - Shakira Newton - Trevor Dion Nicholas - Annell Odartey Jay Perry - Maiya Quansah-Breed - Tumo Reetsang Annabel Mutale Reed - Joe Aaron Reid - Ciara RenĂŠe - Ilana Richardson - Sharon Rose - Bree Smith - Sis - Clive Rowe - Anna Van Ruiten - Rachel Seirian - Jordan Shaw - Carl Spencer - Tanisha Spring Danielle Steers - Vinegar Strokes - Shaq Taylor Renan Teodoro - Meesha Turner - Obioma Ugoala Rodney Vubya - Cherelly Williams - Layton Williams - Lashane Williams - Natasha Yvette Williams 7

BEHIND THE Angela Birchett

CURTAIN

Detroit, Michigan’s Angela Birchett is a vocal powerhouse, a veteran of Broadway, and a longtime theatre educator with a host of credits from Dreamgirls to The Color Purple. Curtain Call spoke to her this month about her experiences in the industry and how to tackle theatre’s problems with race.

PRACTICE EVERY MOMENT YOU GET TO SPEAK UP 8

How did you first start performing?

I began singing in front of my church very young, around 10 years old. My home church growing up was very large, maybe 2000 members or more every Sunday.

How did you first become involved in theatre? My first professional acting role came along at the age of 14 in Detroit. I was doing the musical Purlie.

Did theatre differ from your experiences as a singer and percussionist?

Well, theatre definitely taps into a part of my artistry as an actor that isn’t in the performance aspect of singing or being a percussionist necessarily.

If so, how?

Mainly having artistic input and collaboration with other actors and creatives. I have more autonomy as a singer and percussionist.

Tell me about your experience studying music in college.

When I first began my vocal studies as a freshman and sophomore I was so obsessed with opera and singing classical music exclusively. I loved grasping the technique and being able to do something different. Ultimately I decided that I loved singing other genres too much to only sing classical music so I branched out and worked on being able to sing varieties of music styles.

What made you decide to pursue a career in teaching?

Leading up to college and throughout high school I was directing choirs and teaching already so it seemed like the logical next step.

What was the most rewarding part of being an educator?

Seeing my students grow and have ah-ha moments was the most rewarding moments!

When did you become a full-time performer? About 15 years ago.

What made you decide to make that switch?

I knew it was my life’s passion. I couldn’t spend another day or year not fully immersing myself in pursuing that.

Of the shows in which you’ve performed, do you have a favorite?

That’s such a hard call. If I have to choose I’d have to say Dreamgirls. The music is just the most amazing and playing the role of Effie was so challenging so it’s an amazing feeling when you conquer her!

What’s been your favorite memory from your stage career? Definitely when I made my Broadway debut with The Color Purple. It’s a moment I will never forget.

Tell me about your Lights Out on Broadway show.

Lights Out On Broadway is a curated open mic that was established to give performers in the Broadway community a place to come on Monday nights (when Broadway is off or “Dark” hence the “Lights Out” in the title) to sing the kinds of songs and maybe even originals that they don’t get to do during their 8 show week. I and the B Side Band (which was formed for this residency) bookended the nights’ teo sets. It became a sanctuary of sorts; most people just came to hear good music and fellowship as a community even if they didn’t sing that week. We played every Monday for several years. Hopefully we will be back up and running once things settle down and open up a bit.

You’re probably most well-known for your role in the revival of The Color Purple. What was that experience like, particularly in regards to performing both on Broadway and on the national tour?

I found that this story has a universal appeal and fan base because it is such good storytelling, it pulls at the heartstrings of everyone that sees it. We all want to see Celie win; we all want to see love win. My favorite part of the show both on Broadway and the National Tour is the opening church scene. It’s electric!

Do you have any dream roles?

It hasn’t happened…yet. I’d love a role that showcases a funny, witty, sexy, full figured leading lady that doesn’t necessarily sing the big belty eleven o’ clock number; a fully fleshed out, layered, irresistible fully realized black woman. We haven’t seen that so far.

How has your experience in academia and/or theatre been shaped by your identity as a Black woman?

It’s been a challenging one. One blaring reality is the looming feeling to always censor myself and make sure I’m not being too vocal about certain things or being too contrary about things artistically. More often than not I am resigned to most roles for me being the big belty songs, the feature, the comedic portion of the show that we don’t often get to know fully.

What steps do you think universities and theatre professionals need to take to be more inclusive?

Require curriculum and theatres’ show seasons to have a plethora of diverse black offerings that aren’t just roles. There are so many brilliant playwrights, choreographers, directors, musical directors, et cetera that need to be infused into what is being taught and what is offered to the public. Marketing also plays a big role in getting the information about black theatre and black art out there. There should be a huge boost in marketing campaigns in urban cities and neighborhoods to ensure they can plan and purchase tickets.

How do you think fans can support Black voices in theatre?

Come to the theatres where Black art is happening and DEMAND to have more of it if there is a lack of it where they are. Black

people come to the theatre but the majority of Broadway and theatre at large audiences are non-POC.

What advice would you give to up-andcoming Black performers?

Never stop working on your craft. Know your mind, body, soul and talents inside and out so that you know who you are and what you bring into an audition room or to a stage or in front of a camera lens. Practice every moment you get to speak up and speak out when things are not right or you feel unseen or under represented.

BEHINDbroaTHE CURTAIN acist_ dwayisr As protests surrounding the Black Lives Matter movement sweep not only the United States, but the entire world, efforts to expose the racism ingrained in the theatre industry are sweeping social media. One of these, @ broadwayisracist_, spoke anonymously with us over Instagram Direct Message to discuss their motivations behind starting the account, the public’s response, and what fans and theatre professionals can do to be allies.

By Moira Armstrong What role do you play in theater (actor, director, etc.)? I’m an actor.

What inspired you to create this initiative?

Griffin Matthews’ post titled “Dear Amy Cooper, Broadway is racist” inspired this initiative. His statement shook something in my core because I’ve personally experienced racism in the theater system. Then I started to think about all the stories which would go unheard because others may not be as brave or forthcoming with their stories and wanted to give them a voice as well.

What has the response been like?

The response has generally been very receptive. Black people feel inspired to share as well as non-black people having the opportunity to listen and even remember when they stood by and let racist microaggressions happen in front of them. This is a first.

Has there been any negativity?

There hasn’t been negativity so much as questions around the vetting part and mission of this page. We do not yet have the capacity to screen each submission for validity. But this platform was created to amplify the voices of the unheard first and is functioning effectively as such. We hope that these incidents will spark awareness and open the door for accountability for the racist system that Broadway was built on and continues to operate from.

What effect do you hope this has on Broadway?

We hope that people will stop turning a blind eye and learn to identify instances of racism of all facets. All change first starts with awareness/ acknowledgment and we’re here to help with that.

What can fans do to support black people in the theater industry?

Fans can contact theatre companies asking them to identify their plan of action for support for their black artists, black communities and black patrons. You can also donate to and amplify the voices of the many black theater companies who already exist.

What can theater professionals do to support black people in the theater industry?

Remove the taboo surrounding racism in the theater industry. Tell black stories from black artists. Ask for feedback. Face the issue head on. Create safe spaces in your area of work where black people can feel heard and then build a plan of action to address their concerns once you’ve learned them.

Are there other Instagram accounts, shows, or resources that non-black people involved in theater should explore to educate themselves? @broadwayblack, @Broadwayforracialjustice, @fubucollective @iamaboldwoman and @ hashtagbooked are Instagram accounts who also have resources for non-black people involved in theater to educate themselves.

Is there anything else you’d like to add?

Yes. I would like to add that there are many parts of the change and this page was built to be inclusive of all black people dealing with racism in the industry INCLUDING those too afraid of being black balled to speak out- they matter JUST as much.

REPRESENTATION

Hamilton ACCESSIBILITY

For those who might have been living under a rock or are very new to the theatre community, Hamilton: an American Musical is a sungthrough musical about the life of Alexander Hamilton and the birth of the United States. Hamilton is known as one of the ‘Founding Fathers’ of the US and his face is on the ten-dollar bill. The show, with music and book by LinManuel Miranda, is written in a mix of musical theatre and hip-hop, with a lot of the story told through rapping. It is a very modern piece, but it goes even further by having cast mostly non-white actors over 4 years of performances across the globe. It is, of course, intentional as Miranda stated, “This is a story about America then, told by America now.” Hamilton has faced some criticism, even recently, about the fact that it is not totally historically accurate but the show has been extremely successful worldwide and is known and praised for its very diverse casting. The original cast features Lin-Manuel Miranda as Alexander Hamilton, Philippa Soo as Eliza Hamilton, Lesley Odom Jr as Aaron Burr, Renée Elise Goldsberry as Angelica Schuyler and Christopher Jackson as George Washington.

There are a lot of mixed feelings among the theatre community for Hamilton, though. Some love it immensely while others were ashamed of their 2016 Hamilton phase and

wanted to leave it in the past. But when it was announced that the pro-shot of the original Broadway cast was going to be released, pretty much everyone lost their minds. Even more so when it was announced it would be released a whole year and a half earlier than planned— in the middle of a global pandemic where the whole world is instructed to stay at home— and on the brand new streaming platform Disney+ instead of cinemas, therefore making it even more accessible. On July 3rd, day of the release, my entire Twitter and Instagram timelines were all about Hamilton. I was very excited to watch the so-called ‘Hamilfilm’ as I do love the music and have only seen the show once, from the upper circle of the Victoria Palace (London)— although I am very grateful I saw it at all, as many have never had a chance to see the show. Maybe the elephant in the room should be addressed: the OBC bootleg. This bootleg has been the only way for many to see the show until now. It is probably in part responsible for the success the show has had (like many others). But not only is it obviously illegal, it is also not a great way to watch a show and having a pro-shot available is certainly the best thing that could happen for fans across the globe! Which brings me to my next point: accessibility. Hamilton is very much known for being one

of the most (if not THE most) expensive ticket, especially on Broadway where prices are already lavishly high. For a show that intentionally focuses on racial representation in its casting, it seems illogical that a show that promotes BIPOC representation is also a show that many BIPOC cannot afford to be in the audience to see. Now, of course, there have been many actions to push for more accessibility: the Ham4Ham performances outside the Richard Rodgers Theatre and low-price lottery, as well as tours and overseas productions to bring the beloved show to theatre fans all around the world. But a professionally filmed version of the show featuring its legendary original Broadway cast, available to anyone with an internet connection and a few dollars/pounds/ euros/… for the Disney+ subscription? That is powerful and brings the show to a whole lot more people of all backgrounds.

Every single character in Hamilton was notoriously white as they existed in history. But a story of people fighting for freedom told by non-white people is so much more powerful.The facts presented on stage are more or less what happened back then and it is still a somewhat historical piece of art, despite the romanticization of the characters to make them more appealing for the stage. Who plays the characters literally does not change the story being told. All kids, regardless of the colour of their skin, should feel like they have an equal chance to make it in the business if that is what they want to be in their lives. What’s more, they should not have to rely on playing roles that are based on their ethnicity, they should be allowed to play any kind of role! And Hamilton is certainly helping with that, especially now since it has become accessible to so many.

One tweet by West End actress Nicole Raquel Dennis caught my attention: “Thinking of all the little blacks boys and girls that watched #HamiltonFilm today and experienced theatre for maybe the first time ever. Experienced seeing themselves represented onscreen. Experienced feeling like anything is possible. A lot of new performers were born today.” I am white and when I was younger I didn’t even THINK of representation. I would see people like me all the time in art. But one day I had to realise that many people sadly still scarcely ever see people who look like them on TV, on stage, etc. And people around the world being able to see such representation in the Hamilfilm is one more step towards more representation.

Hamilton is the perfect example that shows no roles absolutely have to be played by white actors. 13

BEHIND THE Jenny Laroche

CURTAIN

“EVERYONE CAN FIX STRUCTURAL ISSUES IN THE FOUNDATION OF THEIR HOUSE, LENDING TOOLS TO THEIR NEIGHBORS ONCE THEIR OWN STRUCTURES ARE FIXED, RESULTING IN A NEW REFORMED NEIGHBORHOOD DONE BY THE COMMUNITY”

Just before the COVID-19 pandemic hit, Jenny Laroche was busy working with the first national touring company of Summer: The Donna Summer Musical as associate choreographer and preparing for her role in the upcoming film adaptation of Tick, Tick Boom. However, like the rest of Broadway, the pandemic has shut down her in-person performances and even changed the city she calls home. Shortly after New York City went into lockdown to stop the spread of the virus, she ventured into Times Square with her friends and called the sight “hauntingly empty.” But Laroche hasn’t let the shutdown get her down, instead taking advantage of the time to focus on advocacy work. She recently spoke with Curtain Call about her efforts.

Laroche is the founder of The Laroche Approach, a mentorship program for those in the arts that covers six main areas: selfawareness and confidence, stage presence, quality in movement, storytelling through song and dance, strategic budgeting and marketing, and guidance and mentorship. She describes that her motivation is how difficult it was to find mentorship during her own time as a young person in the industry, especially as a Black woman. Even her BFA from SUNY Buffalo, while excellent, didn’t completely prepare her for all of the realities of a life and career in show business. “None of our classes ever covered the basics of how to find an agent, what our working conditions would be like,” she explains. “I did a paper on that to fill in the gaps...it really did give me a leg up and help me make sure I wasn’t being taken advantage of.” This served her well as she began her career, which started as a part of the Radio City Rockettes and brought her to many different stages and screens. She is probably most well known for her recurring role as Sue on NBC’s Smash. Her role as a mentor has continued virtually throughout the pandemic, as has her work

with Period: the Menstrual Movement. Period was founded in 2014 by Nadya Okamoto and Vincent Forand, two sixteen-year-old high school students who had learned about period poverty when Okamoto’s family experienced housing instability.

“I was horrified when I found out that period poverty happens in our own country,” Laroche says. “We all need to be advocates for all women, and that includes making sure that everyone has the menstrual products that they need.” She has also been very active in the recent wave of Black Lives Matter activism. In a guest piece for BroadwayWorld, she described many of the microaggressions and racist comments that she has experienced throughout her career by directors, choreographers, producers, wardrobe designers, and casting directors, including: «Oh wow you’re a dark one! Let me play with the lighting some more» «Jen, ******, asked if you can tone down the flavor a bit» «Wardrobe doesn’t want to dress you. They don’t like you or your look» «I want this moment to feel like you’re a slave in the fields and you’re hot!» «I need to stop creating hip-hop shows. That’s not where the money is» «Oh, they made Jenny center girl because she’s black.» «Oh you got the token spot!» «You’re so articulate.» «I don’t get it, what’s so wrong if I do black face for Halloween?»

• Ban of token casting and colorism in hiring in all media • Requiring a private Human Resources department in each production, not affiliated with the production or creative team When we spoke, she placed particular emphasis on the Human Resources aspect, declaring, “too many times, we as performers don’t have access to a Human Resources department...or if we do, they’re associated with our bosses’ companies. I know way too many stories of people who have reported issues only to be retaliated against because the reps are tied closely to the people who were being reported.” She says that it’s not just the actors’ responsibility to ask for these improvements; fans can, too, by reaching out to producers, directors, and other powerful individuals in the industry and asking for accountability. The same goes for supporting actors during this difficult time for the industry. If fans can, they should donate to actors and organizations.

She also proposes several changes that are necessary in the industry to create permanent, positive developments, because many of these are individuals who she likes and will work with again. These include: • Mandatory education on skin color bias, appropriation, and sexual harassment for all creative teams and cast

In the late 1950s and early 1960s, Otis Williams began to form a singing group which would later become known as the Temptations. In their earlier days, though, the group would cycle through several names before becoming the one we know today. The story of the Temptations captivates and intrigues the audience from start to finish. While the genres they performed weren’t exactly seen as theatre material, the band’s story is interestingly dramatic enough to tell an amazing story. I was fortunate enough to see the jukebox musical entitled “Ain’t Too Proud: The Life and Times of The Temptations,” on a whim a few months before the shutdown and I am very grateful. Going into the show, I knew none of the band’s history and was barely familiar with a few of their songs. Afterwards, I became more interested in the band’s artists and their music became regularly added into my playlists. Otis Williams is the founder and last surviving original member of the Motown vocal group. A group in which he continues to perform to this day. In the musical, Williams is portrayed as a sort of narrator which mirrors his position as the founder. Although Otis has performed in the Temptations the longest, he rarely sings lead. Instead, he focuses on his role as the group’s leader and organizer, and as the trademark «baritone in the middle». Many

disagreements occur in the show as to who the “leader” of the group is but Otis was never one of the participants. While there have been a grand total of 25 members in the Temps, past and present, the show focuses mainly around the “Classic Five” era. This is probably their most well known and influential era of music. During this time, the members consisted of Otis Williams, Melvin Franklin, Paul Williams, Eddie Kendricks, and David Ruffin. These members performed together from 1964 to 1968. In the Original Broadway Cast, the group is portrayed by Derrick Baskin, Jawan M. Jackson, James Harkness, Jeremy Pope, and Ephraim Sykes. The musical genre of Motown was, at the time of its creation, something that helped attribute to knocking down color barriers since it was played by people of every race, color, and creed. The Temptations’ music was mostly Motown and they are attributed as the most successful African-American recording group in history. While the musical mainly focuses on the group members and the history of the band, it also discusses the harsh racial discrimination that they had to face in their earlier days of performing. Two pivotal scenes in the show place the group in tough situations facing racism in America.

While traveling on a bus in the deep South, the group gets shot at and taunted by racist Southerners. Another heartbreaking scene is when the group receives the news that Martin Luther King Jr. was assassinated. This leads into a rendition of one of their most famous songs, “I Wish It Would Rain”. Even though the men were famous and their music was known for crossing color lines, they were still subject to racism during its rise in the 1960s. The Temptations are an AfricanAmerican Motown group who have been performing influential music for decades. Their origins had many trials and tribulations which ultimately led to their success. They’ve made history by being one of the first and most successful African-American groups of all time. In the musical “Ain’t Too Proud: The Life and Times of The Temptations”, their story is told in a new light with the essence of musical theatre. It’s cast did a fabulous job of bringing the Temptations story to life on a Broadway stage. As a result, the show took home four Tony awards and has been running for over a year now. The representation of black people in this show is truly an amazing sight to behold. The cast, crew, and creators are clearly making history in the theatre industry just as the Temps have done in the music business for many years.

We All Men

We All equal 17

BROADWAY’S BLACK HISTORY MILESTONES

1898

“Clorindy” becomes the first all-Black show to be produced at a Major House.

1920

Charles Gilpin becomes the first AfricanAmerican honoured by the Drama League.

1950

Juanita Hall becomes the first Black performer (and the first black woman) to win a Tony Award for her role as Bloody Mary in “South Pacific”.

1954 1962

Harry Belafonte becomes the first Black man to win a Tony Award for his role in “John Murray Anderson’s Almanac“.

Diahann Carroll wins a Tony Award for “Best Lead Actress in a Musical” for her work in “No Strings”, becoming the first Black woman to win that award.

1975

Geoffrey Holder wins two Tony Awards (Best Costume Design and Best Direction of a Musical) for his work on “The Wiz”. He is the first Black man to be nominated for either category, as well as being the first Black man to win either category.

1981

“Dreamgirls” opens on Broadway, with a mostly Black cast.

1984

Playwright August Wilson has his Broadway debut with his show “Ma Rainey’s Black Bottom”, about a group of blues musicians in the 20s.

2002

Whoopi Goldberg becomes the first (and, currently, only) Black woman to complete an EGOT, and win a Tony award, a Grammy award, an Oscar and an Emmy award.

2005

“The Colour Purple” premieres on Broadway, based on the film and book of the same name.

2009

Alexia Khadime becomes the first Black woman to play Elphaba full-time, in any production of “Wicked” around the world.

2014

Audra McDonald sets two Tony Awards records - she becomes the first performer to ever win six Tony Awards, and she also becomes the first performer to win all four acting categories.

2015

”Hamilton” has its Broadway debut, and makes a point to cast a diverse range of actors.

2016

Renée Elise Goldsberry, Leslie Odom Jr. and Daveed Diggs all win Tony Awards for their work in “Hamilton”, and Cynthia Erivo wins a Tony Award for “Best Leading Actress in a Musical”, for her work in the revival of “The Colour Purple”.

2018

John Legend becomes the first (and currently, only) Black man to complete an EGOT, after winning an Emmy for his work producing “Jesus Christ Superstar: Live”.

2019

Brittney Johnson becomes the first (and currently, only) Black woman to play Glinda in an English-Language production of “Wicked”.

SPOTLIGHT

black performers

WHO MADE

ACTORS EQUITY DEFINES “NON-TRADITIONAL CASTING” AS “THE CASTING OF ETHNIC, MINORITY AND FEMALE ACTORS IN ROLES WHERE RACE, ETHNICITY OR SEX IS NOT GERMANE TO CHARACTER OR PLAY DEVELOPMENT.” ACCORDING TO THAT DEFINITION, ACTORS OF COLOUR COULD BE ELIGIBLE FOR 80% OF ROLES ON BROADWAY. YET, NON-TRADITIONAL CASTING RATES ON AND OFF-BROADWAY ALTOGETHER HAVE ONLY BEEN AROUND 10% OF ALL ROLES FOR YEARS (AAPAC). DESPITE THE APPARENT INCLUSIVITY OF MUSICAL THEATRE, BROADWAY IS FAR FROM BEING DIVERSE. SHOWS LIKE WAITRESS, LES MISÉRABLES, DEAR EVAN HANSEN, PHANTOM OF THE OPERA, FROZEN ETC. FEATURE STORYLINES WHICH DO NOT RELY UPON THE RACE OR ETHNICITY OR SEX OF THEIR CHARACTERS AND YET, THERE ARE STILL VERY FEW LEAD ACTORS OF COLOUR AMONG THESE CASTS. IN HONOUR OF BLACK LIVES MATTERS, WE HAVE DECIDED TO HIGHLIGHT SOME BLACK PERFORMERS WHO HAVE MADE HISTORY, ON BROADWAY AND ON THE WEST END, BY PLAYING TRADITIONALLY WHITE ROLES.

Brittney Johnson is currently the Glinda standby in Wicked. On January 10th, 2019, she became the first Black actress to play Glinda on Broadway, but this isn’t the first time Brittney has made Broadway history! Back in 2015, she became the first and only Black woman to have played both Eponine and Fantine in Les Misérables on Broadway, as well as the only woman ever to play both roles on the same day!

Wicked, for a show whose lead character is a green witch who is being persecuted because of her skin, does not have a lot of diversity in its casting… On March 9th, 2005, Saycon Sengbloh became the first Black Elphaba on Broadway! At the time, she was Shoshana Bean’s standby. No other Black woman portrayed the green girl on Broadway since then… On November 1st, 2016, Wicked welcomed Sheryl Lee Ralph as Madame Morrible, making her the first Black actress to play her role on Broadway! Sheryl began her run the day after the 13th-anniversary celebration of the show. Brittney Johnson - Wicked

Another wildly popular show, Les Misérables, featured very few actors of colour throughout its years on Broadway. Singer Shanice took over the role of Eponine in 1997 and thus became the first Black performer to play the role on Broadway. During the 2006 Broadway revival of Les Misérables, Norm Lewis was cast as Javert, making him the first African American actor to play the role on Broadway. He later reprised the role in the West End and very famously, in the 25th-anniversary concert of the show. Years later, on May 12th, 2014, Norm took over the role of the Phantom in The Phantom of the Opera on Broadway, becoming once again the first Black performer to play the role.

Norm Lewis - Les Misérables

In 1998, Toni Braxton made her Broadway debut in Disney’s Beauty and the Beast. Not only did this mark the first time a Black woman starred in a Disney musical on Broadway but she also became the very first Black actress to portray the Princess on Broadway. A new song called ‘A Change in Me’ was added specially for her and has been used in the musical ever since. On February 18th, 2020, Ciara Renée replaced Cassie Levy in the role of Elsa on the Broadway adaptation of Frozen. Ciara then became the first Black actress to play the Queen of Arendelle. Unfortunately, due to the COVID-19 shutdown, her run has been cut short as the show Frozen announced it wouldn’t be reopening after the lockdown is lifted. Moreover, 2 years before Ciara took over, Frozen celebrated their first milestone! On March 28th 2018, Aisha Jackson stepped into the shoes of Anna, making her the first Black woman to portray the Princess of Arendelle on Broadway. Aisha was Patti Murin’s understudy and went on as Anna a few times after that. Ciara Renée - Frozen

In December 2018, Roman Banks made his Broadway debut and Broadway history by being the first actor of colour to play the title role in Dear Evan Hansen. The 20year old performer was understudying Evan, portrayed by Taylor Trensch at the time, as well as two other characters in the show. Evan Hansen is currently played by Jordan Fisher. Nicolette Robinson made her Broadway debut in Waitress the Musical on September 4, 2018. That day, she also made Broadway history: she was the first Black actress to play the role of Jenna Hunterson, the lead role.

Nicolette Robinson - Waitress

In 2008, Alexia Khadime replaced Kerry Ellis as the Wicked Witch of the West in the West End, making her the only Black woman to play the role of Elphaba fulltime in any production of Wicked around the world. In 2011, Alexia also became the first Black woman to portray adult Eponine in Les Misérables in the West End. The role is currently played by Shan Ako. In 2018, Amara Okereke won ‘Best Actress In A Musical’ at The Stage Debut Awards for her iconic performance as Cosette in Les Misérables at the Queen’s Theatre. Not only that, but Amara also made history that year by being the first actress of colour to play the role of Cosette in the West End! Kelly Agbowu is in the ensemble of Les Misérables in the West End. On March 4th, 2020, she made her debut as Madame Thenadier, making her the first actress of colour to portray the character in this production of the show.

Amara Okereke - Les Misérables

Michelle Gayle took over the role of Belle in Beauty in the Beast in London in 1999. She thus became at the same time the first Black woman to play the Disney Princess in the West End! Layton Williams succeeded John McCrea in the lead role in Everybody’s Talking About Jamie in the West End, making him the first actor of colour to portray Jamie. His run was wildly applauded and he is now playing the role in the U.K. touring production of the show. Layton also made history back in 2007 by being the first Black actor to play the title role in Billy Elliot the Musical. In 2006, Melanie La Barrie took over the role of Madame Morrible in Wicked, becoming then the first actress of colour to play the role in the West End. Before Wicked, Melanie originated the role of Mrs Phelps, in the West End Transfer of Matilda, making her also the first Black performer to portray this character in London. In the U.K tour of Matilda, Samara Casteallo went on as Mrs Wormwood, making her the first Black actress to ever play this role in a production of the show!

Layton Williams - Everybody’s Talking About Jamie

Alex Thomas Smith is a standby in Dear Evan Hansen in London, thus becoming the first black Evan Hansen on the West End. Back in 1982, for the Royal National Theatre Production of Guys and Dolls, Clarke Peters was cast as the lead Sky Masterson, making him the first Black actor to play this role in the West End. The London revival of Carousel starred Clive Rowe as Enoch Snow in 1993. Clive was then the first Black performer to portray that role and was even nominated for an Olivier Award for his performance.

Alex Thomas Smith - Dear Evan Hansen

AND MANY, MANY MORE THAT WE PROBABLY DON’T KNOW OR DO NOT HEAR ENOUGH ABOUT… THE THEATRE INDUSTRY STILL HAS A LONG WAY TO GO BUT I THINK WE COULD ALL AGREE THAT NON-TRADITIONAL CASTING COULD IMPROVE THE DIVERSITY ON STAGE AND GIVE ACTORS OF COLOUR A CHANCE TO SHINE IN A VARIETY OF ROLES!

BLACK

OTIS WILLIAMS Featured in “Ain’t Too Proud: The Life and Times of The Temptations”, Otis Williams is the founder and creator of the Motown singing group. The show, based on real people and events, places Williams as the narrator and practically the lead of the show. While he wasn’t the lead singer in the group, he is the only surviving member of the “Classic Five”, making him fit to tell the story. Otis was originally portrayed by Derrick Baskin in the production but is now played by Nik Walker, as Baskin departed on March 1st, 2020.

GENIe From the hit Disney movie “Aladdin”, Genie is a character who followed the show to the stage in the hit Broadway production. With his showstopping musical numbers and amazing humor, the Genie is the powerhouse of the show who hooks the audience in from the start. Originally a movie character, Genie was merely voiced by Robin Williams to begin with and his ethnicity was never a factor until the show came to the stage. Thankfully, the creators paved the way for more representation and cast James Monroe Iglehart to play the Genie in the Original Broadway Cast. Now, the Genie is being played by Michael James Scott.

HERMIONE GRANGER 28

A character from the beloved book series we know and love, Hermione is a strong and extremely intelligent woman. In “Harry Potter and the Cursed Child: Parts One and Two”, Hermione is no longer a teenager but instead, an adult woman. She is married with children while still dealing with similar antics that her and her friends have gotten into in the past. This addition to the series was created solely for the stage and the creators made the choice to cast Hermione Granger as a woman of color. Noma Dumezweni was the first to play the new and improved Hermione in London and then move with the production to Broadway. Currently, Jenny Jules is playing Granger on Broadway.

AARON BURR

In the musical sensation that is “Hamilton”, Aaron Burr is just as important as Hamilton himself. Burr tells the story of the First Secretary of the Treasury while also having his own struggles. Burr was the one who shot and killed Alexander Hamilton. His songs range from being solemn and inspirational to being vibrant and showstopping. LinManuel Miranda, the creator of the show, believed that the story of American then should be told by America now. This means more representation for POC. Aaron Burr was first played by the sensational Leslie Odom Jr. and is now being portrayed by Daniel Breaker.

CALPURNIA “To Kill a Mockingbird” is a classic American novel that was adapted for the Broadway stage. Calpurnia is the Finch family housekeeper. She is one of the only Black people in the story that can read and write. Calpurnia was the one who taught the main character, Jean Louise ‘Scout’ Finch, how to read and write as well. She faces racism from some characters in the story since it was set in the late 1920s in America, when racism was still on the rise. In the OBC, Calpurnia was played by LaTanya Richardson Jackson. LisaGay Hamilton is the current actress to portray her on Broadway.

ALANA BECK

Beck is a character in the hit musical “Dear Evan Hansen”. Alana is a fellow classmate of the teenage cast in the show. She co-created the Connor Project alongside Evan which is a pivotal plot point in the show. Alana is a bright young woman who participates in many school activities. Her smarts allow her to realize that Evan’s made up story has some flaws and she pieces together the fact that he has been lying for a long time to many people. This eventually forces him to come clean. She was originally played by Kristolyn Lloyd and is currently being played by Phoebe Koyabe.

stars OF

BROADWAY

Angela Birchett Angela Birchett is an American singer, actress and concert vocalist

who sang her first solo at her home church, Greater Grace Temple, and formed a trio with her sisters which was known as ‘The Birchett Sisters’. In 2005, she moved to New York to follow her dreams of musical theatre and starred in many regional and touring productions including Dreamgirls, Hairspray, Once on This Island, Rent, Ain’t Misbehavin, Smokey Joe’s Cafe. In 2015, she was cast in the Broadway revival and First National Tour of The Color Purple. Angela appeared on many TV shows and performance venues. She is also a recording artist releasing her debut, solo album “I Know Where I’ve Been” in 2009. @angelabirchett.

DeMarius Copes

DeMarius Copes is an American stage actor and singer, best known for his role in Mean Girls on Broadway. DeMarius made his professional acting debut in the Philip Company First National Tour of Hamilton as an ensemble member. He was then cast in the original production of Mean Girls in Washington in 2017 and moved to Broadway with the show in 2018, making his Broadway debut at the same time. DeMarius also understudies the role of Damian Hubbard. @demariusr_copes

Genesis Lynea

Genesis Lynea are a Bermudian-born actor, singer, dancer and model. Genesis made their West End debut in The Bodyguard at the Adelphi Theatre. They then starred in many productions such as Bend It Like Beckham: The Musical, Jesus Christ Superstar, In the Heights and Legally Blonde. In 2016, they were cast as Anna of Cleves in the original production of Six the Musical at the Arts Theatre and features on the 2018 recording of the show. Genesis also appear in TV shows (O’Clock Club, Casualty) and music videos (Jessie J’s Do It Like A Dude, Mont Jake’s Sexual Fantasies). @genesislynea

Kyle Taylor Parker Kyle Taylor Parker is an American performer and singer, best known

for his role in Kinky Boots on Broadway. Kyle made his Broadway debut with the original company of Kinky Boots in 2013 as an ensemble member and Lola and Angel understudy. He also starred in the original Broadway production of Charlie and the Chocolate Factory in 2017 as Mrs Green and Mr Beauregarde understudy. Kyle released an album entitled Broadway Soul, Vol 1 in 2019, which marries his love for both musical theatre and soul. @ktpway

Brittney Mack

Brittney Mack is an American actress, singer and dancer, most known for her role in Six the Musical on Broadway. Brittney made her acting debut in Rent in 2010 at the Seacoast Repertory Theatre in Portsmouth. She starred in many regional productions such as The Wiz, Ain’t Misbehavin’, Hairspray, Avenue Q, In The Heights, Little Shop of Horrors. Brittney was cast in the Chicago production of Six as Anna of Cleves and in the North American Tour. She is currently playing the role on Broadway as the show was supposed to open the day of the shutdown. @msbrittneymack

Courtney Bowman

Courtney Bowman is a British stage actress and singer, best known for her work in Everybody’s Talking about Jamie and Six. After graduating from Guildford School of Acting in 2016, she starred in The Wind in the Willows at the Theatre Royal, Plymouth and on tour and in Blondel at the Union Theatre in London. Courtney was then cast in the original production of Everybody’s Talking about Jamie, originating the role of Fatimah at the Crucible Theatre in Sheffield and then in the West End. She is currently playing the role of Anne Boleyn in Six at the Arts Theatre. @courtneybowman_

Ari Groover Groover is an American actress,

Ari producer, writer and choreographer, who is currently starring in Tina: The Tina Turner Musical on Broadway. Ari had been in many regional and offBroadway productions such as Summer: The Donna Summer Musical in San Diego in 2017, Alice By Heart in 2018 and Little Shop of Horrors in 2019. She made her Broadway debut in Holler if Ya Hear Me in 2014 in the ensemble and went back to Broadway in 2018 in Head Over Heels. Ari has also done a lot of TV and movies including Spider-Man: Homecoming, Permission and Law & Order: Special Victims Unit. @ari_grooves

Arun Blair-Mangat

Arun Blair Mangat is a British actor, singer and composer who is best known for his work in Angel in America in the National Theatre Live production. Arun has been on many West End shows including Kinky Boots and In The Heights as Benny in 2015, Wigout in 2017 and &Juliet since 2019. He has also played at the Shakespeare’s Globe in Titus Andronicus and been on many touring productions. Arun is currently starring as May in &Juliet at the Shaftesbury Theatre. @arunblair

Billy Porter Billy Porter is an American performer and singer, best known for his

role as Lola in Kinky Boots on Broadway for which he won the 2013 Tony Award for Best Actor in a Musical. Billy made his Broadway debut in the original cast of Miss Saigon in 1991. He then starred in many on and off-Broadway productions such as Grease, Smokey Joe’s Cafe, Jesus Christ Superstar, Little Shop of Horrors, Angels in America and Shuffle Along. Billy appeared in many concerts, films and TV shows and has three solo albums released. He also wrote the play While I Yet Live, which premiered Off-Broadway in 2014. @theebillyporter

Antoine L. Smith

Antoine L. Smith is an American performer who’s been on the Broadway stage for more than a decade. Antoine made his Broadway debut in the original cast of Memphis in 2009 as an ensemble member and understudy. He was then cast in many Broadway productions such as The Color Purple, Miss Saigon, and Carousel. Antoine also starred in the First National Tour of Rodgers + Hammerstein’s Cinderella in 2014 as Pinkerton. He is part of the original Broadway cast of MJ the musical due to open in 2021. @antoinelsmith32

Resource Guide

FOR ANTI-RACISM IN THEATRE

As we create lists of resources for educating yourself on anti-racism, diversifying your social media feeds, and supporting Black organizations circulate, we wanted to compile a similar list focused around Broadway! Thank you to @afterastorms and @taylorswift for the original posts that inspired this, and the news outlets and creators whose content is linked. This would not have been possible without you. This is, of course, nowhere near complete; you can always reach out to us on Instagram, Twitter, or via email to suggest additions. We would love your input! Additionally, anti-racism is not simply a problem in the professional theatre world. While these resources are (almost) exclusively about Broadway, we encourage our readers to seek out similar content regarding high school, university, and community theatre. If you are not Black, offer your support to peers and colleagues who are. And if you are Black, working in one of those spaces, and willing to speak out about your experiences, please contact us. We would be thrilled to use our platform to amplify your voice.

BROADWAY READ Plays and musicals by Black playwrights: this list provides shows written by Black creators, such as Eclipsed by Danai Gurira and Ain’t Too Proud by Dominique Morissea. Created by Dahlia Al-Habieli. “Broadway for Racial Justice Demands Collaborative Action to Protect Black, Indigenous, People of Color in Theatres Nationwide” by Ruthie Fierberg for Playbill: this article speaks to Brandon Michael Nase, founder of Broadway for Racial Justice, about his vision for the organization and its necessity. BOLD NYC’s At the Table Discussions: BOLD, an organization that works to empower Black women in the performing arts, interviews a Black woman each month about their experiences and archives each interview. Broadway!Black: this news site highlights the achievements of Black actors and theatremakers through articles, the #bwyblk hashtag, and the “Off Book” podcast. Go on broadwayblack.com to find out more. The Asian-American Performers Action Coalition’s 2016-2017 Report on Ethnic Representation on New York City Stages: this report reveals some sobering statistics about diversity, or lack thereof.

“I’m Tired of Being the Token Black Friend” by Asmeret Ghebremichael: this opinion piece discusses and demands an end to being subjected to tokenism and racism in Broadway. Read it on broadwaynews.com. “Queer Black Playwrights to Know and Support” by Felicia Fitzpatrick for Playbill: these playwrights all have powerful pieces about the Black queer experience, and this article outlines how to support their work even when most theatres remain shuttered. Playbill’s Black Lives Matter page: this page updates with every new article Playbill releases in relation to Black Lives Matter. White Theatrical Privilege: this list from a white person in the theatre industry outlines ways his white coworkers experience white privilege, asking them to hold themselves accountable. Go on Joe Hornberger III’s Instagram to read it @hornburgalar. “BWW Exclusive: Jenny Laroche Speaks Up About Racism on Broadway” by Jenny Laroche: this piece outlines some of the racist comments and behavior Laroche has experienced throughout her Broadway career and proposes potential solutions. “A Look at the Diversity of Creative Teams on Broadway” from @wssprotest on Instagram: using data provided by TheaterMania, this post analyzes the lack of representation of POC on Broadway during the 2019-2020 season, regardless of its early cutoff due to the Coronavirus.

WATCH American Son: the Netflix adaptation of the Broadway play, starring Kerry Washington and directed by Kenny Leon, addresses topics such as police brutality and white privilege. “Broadway Is Racist”: this video from actor and playwright Griffin Mathews covers his experiences as a Black creator on Broadway, including so-called “diverse” shows and white allyship. @griffinsthread “Broadway’s Jelani Alladin explains why white silence is so painful”: this video brings to light the issues of anti-Black racism often ignored by those in power in the theatre industry. @jelanialladin “#StarsInTheHouse”: Schele Williams and Robin DeJesus discuss Broadway silence, equity, and appropriate etiquette for allyship; the episode also raised money for the NAACP Defense Fund. Watch on Broadway.com YouTube’s channel. “Black Lives Matter: A Virtual Celebration of Black Theatre Artists”: this special centers around artists from shows like Six, Hamilton, and Tina, exploring their thoughts on racism and police brutality. Viral Monologues: a series of monologues, performed by Black actors, that describe the experiences of incarcerated or formerly incarcerated individuals and activists in the United States. Go on nowhearus.org to watch it. “Is the Writing on the Wall?”: this piece was created by dancer Ray Mercer of The Lion King after the death of Eric Garner and presented at the 2014 Broadway Cares/Equity Fights AIDS Red Bucket Follies Event. Find it on theatermania.com.

Colman Domingo On How Theaters Can Live Up to Their Black Lives Matter Statements: in this video interview with TheaterMania, Tony nominee Colman Domingo addresses how theaters can become better allies. Find it on theatermania.com.

GROUPS

@broadwayforracialjustice @broadwayadvocacycoalition/@BwayAdvocacyCo @iamaboldwoman @broadwayblack @broadwaydiversityproject

ACTORS

Jelani Alladin - @jelanialladin Christiani Pitts - @christianiworld Ephraim Sykes - @ephsykes Billy Porter - @theebillyporter Antoine L Smith - @antionelsmith32 Warren Egypt Franklin - @warrenegypt Ari Groover - @ari_grooves Angela Birchett - @angelabirchett Douglas Lyons - @chocolatehipster Kyle Taylor Parker - @ktpway DeMarius Copes - @demariusr_copes Asmeret Ghebremichael - @asmeretghebremichael Brittney Mack - @msbrittneymack Sasha Hutchings - @sashahutchings LaQuet Sharnell Pringle - @mrslaquet Destan Owens - @destanvocalstudio Joy Woods - @joynwoods Jenny Laroche - @jennylaroche

CREATORS

Jeremy O. Harris, playwright - @jeremyoharris Charly Evon Simpson, playwright - @charlyesimpson Loy A. Webb, playwright - @mslawebb Suzan-Lori Parks, playwright - @suzanloriparks365 Dominique Morisseau, playwright - @domorisseau Mbongeni Ngema, playwright - @mbongeni_ngema Liesl Tommy, director - @liesltommy Kenny Leon, director - @iamkennyleon Paul G. Tazewell, costume designer - @paultazewell/@paulgtazewell Toni-Leslie James, costume designer - @tonileslij Camille A. Brown, choreographer - @camilleabrown Savion Glover, choregrapher - @the_savionglover/@TheSavionGlover George Faison, choreographer - @therealgeorgefaison Bill T. Jones, choreographer - @bill_t.jones Lita Gaithers Owens, composer - @litagaithersowens

DONATE ORGANIZATIONS Broadway for Racial Justice Broadway Advocacy Coalition Broadway!Black

BLACK-OWNED OR BLACK-FOCUSED THEATRES The August Wilson African American Cultural Center The Billie Holiday Theatre Black Ensemble Theater Ebony Repertory Theatre The Ensemble Theatre Harlem Stage National Black Theatre Penumbra Theatre Pyramid Theatre Company True Colors Theatre Company

SIGN We See You, White American Theatre Petition for Change for BIPOC Theatremakers Call on Prominent Theatre Owner James Nederlander to Apologize for Donations to Trump and to Donate to Black Lives Matter Causes Require a Private HR Company Present in Every Production Featuring Actors Equity Members

WEST END READ Black British theatre: 1950–1979: This article from the British Library brings to light the birth of Black British Theatre in the 1950s and introduces several of the most important black playwrights of the period, including Errol John and Wole Soyinka. Black British Theatre: Where are we now?: This article from ‘A Younger Theatre’ reflects on the changes in British theatre to be more diverse and how far there is still to go. Better, bolder, further to go: the decade in black British theatre: The Guardian highlights the voices of Black actors, writers, stage managers, producers and artistic directors about the changes on and off-stage in the industry. ‘We’re here!’ The black playwrights storming the West End: Another article from the Guardian celebrating Black playwrights Arinzé Kene and Natasha Gordon about the changes in the West End.

Eclipse Report: Developing strategies to combat racism in theatre: The 2001 Eclipse conference follows a discussion on cultural diversity and the roles and responsibilities of regional theatres. ear for eye by debbie tucker green: Debbie Tucker Green’s play is available for free to read until September 2020. The play showcases how patience is running out when it comes to change for Black British and African American communities. Go to the Royal Court Theatre to access it. How to avoid tokenism: Tarik Elmoutawakil from Marlborough Theatre discusses how arts organisations and programmers can improve inclusion without resorting to tick-box diversity and tokenism. Go to the British Council website - Theatre and Dance - to read it. Drama school racism: Students call out top schools and reveal stories of abuse: The Stage shares the stories of Black students from the UK’s top drama schools about the racism they faced while studying. An Open Letter from Mark Dakin: Royal Opera House’s Technical Director, Mark Dakin, condemns the silence of his organisation in an open letter: “Your silence is deafening”. Thought of the week: ‘O this learning, what a thing it is’: Shakespeare’s Globe has compiled a list of books, articles and podcasts with a particular focus on race within the playwright’s works. Drama Online Black Theatre Collection: A catalogue of plays written by black playwrights put together by Drama Online (accessible through Raven). Anti-racist Shakespeare: Professor Farah Karim-Cooper examines the racial meanings behind the language of light/dark and white/black used in Shakespeare’s England. Find it on Shakespeare’s Globe website. Black Lives Matter: four plays that resonate amid the protests: Roy Williams, Rachel Delahay, Justin Audibert and Charlene James select four plays that speak to our current situation in the world. Go to the Guardian to access the list.

WATCH Bush Theatre’ series «The Protest» in response to the killing of George Floyd: The Bush Theatre launched a series of short online works, collectively titled The Protest in response to the death of George Floyd. Members of the Bush Theatre used their voices together “in a myriad of ways that mirror the diversity within the Black community…” Watch West End stars perform in the #StandByMeChallenge: WhatsOnStage put together a collection of videos by West End performers singing ‘Stand By Me’ by Ben E. King, quoting Rosa Parks and calling for solidarity during a time when the mistreatment of Black communities has prompted mass rallies and protests across the world. Discover it on the WhatsOnStage website. National Theatre: National Theatre streams a set of shows for free on their youtube channel every Thursday. Plays like Small Island will be then available. Black Plays Archive: BPA: National Theatre offers a catalogue of the first professional productions of African, Caribbean and black British plays produced in Britain.

Dear Mister Shakespeare: inspired by Shakespeare’s Othello: Discover this original piece by Phoebe Boswell which questions William Shakespeare about the racial tensions in Othello and explore how these anxieties resonate today. (Available through Digital Theatre Plus). Sounds - Raising the Bar: 100 Years of Black British Theatre and Screen: Lenny Henry presents a series of programmes tracing a century of black British theatre and screen. Discover it on BBC website. Julius Caesar - Illuminations: Directed by Gregory Doran and featuring an entirely black British cast, this adaptation relocates Shakespeare’s tale of power and corruption to postindependence Africa. Available on Digital Theatre. Available on Digital Theatre Plus. Hamlet - Tara Arts: This was the first all-black cast production of Shakespeare’s classic tragedy in the UK. Q&A with the director follows the screening. Available on Digital Theatre. Available on Digital Theatre Plus. Othello - Royal Shakespeare Company: Iqbal Khan’s adaptation of Othello was the first RSC production to cast a black actor as Iago, offering a new view on the racist themes within the play. Available on Digital Theatre. Available on Digital Theatre Plus.

ACT Black Lives Matter: organisations and theatre companies to donate to and support: WhatsOnStage put together a list of organisations and companies to follow and support. Black Ticket Project: Black Ticket Project is creating cultural access points for Black young people across England, by building relationships between artistic institutions and communities that are often racially and socio-economically marginalised. They offer free tickets to shows, talks and exhibitions, organise free training and development opportunities and help people access these opportunities by helping with travel and accommodation costs. Turn Up London: Club 11 London organized an exclusive concert at Cadogan Hall with performers of color from the West End to Broadway designed to raise money for 4 black charities: The OKRA Projet, The Black Curriculum, UK Black Pride and The Bail Project. You can still donate to these organizations. Turn Up will be back in 2021.

KNOW Black British Theatre Awards: Awards to celebrate Black British performers and artists as well as their impact on an international level. Talawa Theatre Company: Talawa Theatre Company is Britain’s foremost Blackled theatre company. Talawa was created in direct response to the lack of creative opportunities for actors from minority ethnic backgrounds and the marginalisation of Black peoples from cultural processes prevalent at the time of the Company’s inception.

Black Theatre Live: Black Theatre Live is a useful resource for representing BAME companies, artists and tours all across the UK. Eclipse Theatre: Eclipse Theatre is the leading Black-led touring company in the UK, at the forefront of delivering diverse programming in theatre, film and radio. Tangle Theatre Company: Tangle is a touring theatre company championing African Caribbean artistic excellence.

GROUPS

Black Lives Matter UK: @ukblm Lovers of Black Theatre: @luvblktheatre Black Theatre Club: @blcktheatreclub Black Ticket Project: @BTProject_ Blacktress UK: @blacktress_uk Critics of Colour: @CriticsOfColour Alfred Fagon Award: @AlfredFagonAwrd

COMPANIES

Talawa Theatre Co: @TalawaTheatreCo Black British Theatre Awards: @thebbtas Black Theatre Live: @BlackTLive Eclipse Theatre: @eclipsetcl Tangle Theatre Company: @tangletheatre Cambridge-based Bread Theatre and Film Company: @bread_film

ACTORS

Arun Blair-Mangat: @arunblair Noel Clarke: @noelclarke Marisha Wallace: @marishawallace Nicole Raquel Dennis: @NicoleRaquel_D Kelly Agbowu: @kellyagbowu Billy Nevers: @NeversBilly Ashford Campbell: @CampbellAshford Gabriel Mokake: @gabrielmokake Tosh Wanogho-Maud: @TOSHEE Nathaniel Morrison: @NateMorrison012 Aisha Jawando: @aisha_jawando Rodney Vubya: @RodneyVubya Idriss Kargbo: @idrissk Alex Thomas-Smith: @AlexThomasSmith Courtney Stapleton: @CourtneyJStapes Natalie Kassanga: @NatalieKassanga Ciara Harris: @ciaraalyse Melanie La Barrie: @melabarrie Marcus Collins: @MarcuscollinsUK Jeannette Bayardelle: @JBayardelle Alexandra Grey: @1alexandragrey

CREATORS

Cameron Bernard Jones: @CBJarts Claudia Kariuki:@Claudia_Kariuki Alexia Khadime: @alexiakhadime Sandra Marvin: @sandramarvinuk Cedric Neal: @iamcedricneal Trevor Dion Nicholas: @astonishingtrev Jay Perry: @MrJayPerry Sharon Rose: @SharonRoseLive Jordan Shaw: @jordanshawuk Danielle Steers: @DanielleSteers Obioma Ugoala: @ObiomaUgoala Layton Williams: @LaytonWilliams Saffron Coomber: @CoomberSaffron Adelle Leonce: @AdelleLeonce Clare Perkins: @ClarePerkinsBBC Kwame Kwei-Armah: @kwamekweiarmah Roy Williams: @royboywilliams Arinze Kene: @arinzeingwekene Tobi Kyeremateng: @tobikyere Bridget Manimore: @bridgetminamore Sharla Smith: @Sharla1_Smith ShanaÃ© Chisholm: @rihmariec Lynette Linton: @LynetteLinton Michael Buffong: @MichaelBuffong Winsome Pinnock: @winsome_pinnock Tiata Fahodzi: @tiatafahodzi Bola Agbaje: @bolaagbaje

WHEN BROADWAY OPENS AGAIN, SUPPORT THESE THEATRES, ACTORS, COMMUNITIES WHO PROVIDED SANCTUARY TO PROTESTERS, MARCHERS, AND ACTIVISTS AND HELP TO THOSE IN NEED! By Constance Drugeot and Moira Armstrong

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