By Kendra James There wasn’t a single cast member of NBC’s The Wiz Live! who looked trapped. No…
Words cannot express how hyped I am for Hamilton: An American Musical.
The sold out show (seriously y’all, all the tickets left are resales and they start around $350) is setting records on Broadway thanks to MacArthur winner Lin-Manuel Miranda’s defiant interpretation of Hamilton’s story.
Our own Kendra James reviews the play on the Toast:
This is part musical, part protest music; characters rap their way through songs with themes and lines that wouldn’t be entirely out of place at a Black Lives Matter protest (“and though I’ll never be truly free / until those in bondage got the same rights as you and me”) or a Bernie Sanders rally (“They tax us unrelentlessly / Then King George turns around and has a spending spree”). Both lyrics come from “My Shot,” a song that turns into a rallying cry for protest and revolution: “Rise up / when you’re living on your knees / you rise up / tell your brother that he’s gotta / rise up / tell you sister that she’s gotta / rise up.” In 2015, it was hard for me to watch so many brown bodies play this scene out onstage and not immediately think of the images that came out of Ferguson.
If Alexander Hamilton is the show’s protester/agitator, then Aaron Burr — with his advice of “talk less / smile more” — is the show’s Respectability Politic. Burr’s lines are quieter, more spoken word than the driving raps performed by Hamilton and the other revolutionaries like Lafayette, Hannibal, and Laurens. In “Farmer Refuted,” Hamilton shouts down the Tory representative Seabury rather like Marissa Johnson and Mara Willaford with Bernie Sanders in Seattle, while Burr urges “let him be.” Burr’s philosophy is mapped out perfectly here: “Geniuses, lower your voices / You keep out of trouble and you double your choices / I’m with you but the situation is fraught / You’ve got to be carefully taught / If you talk you’re gonna get shot.” It’s a “you catch more flies with honey than vinegar” strategy that mirrors accusations from GOP candidates like Ben Carson that the Black Lives Matter movement is too “divisive.”
And after the jump, more reading on Hamilton, including the inspiration behind the work and how the money flows. Read the Post Friday Hotness: The Hamilton Cypher
To the credit of Sunday night’s Tony Awards, I wasn’t tempted once during the broadcast to check in on the inmates at Litchfield or those who’ve taken the black at the Wall. That’s the magic of a well paced, mostly inoffensive, and relatively diverse major televised awards show.
Hosted by Hugh Jackman (returning to Broadway in The River this fall), the show began with a great (if slightly obscure to those not obsessed with the MGM Studios of the 1953) homage to Bobby Van with a performance from the cast of After Midnight following, featured Audra MacDonald’s 6th Tony win, that one time when Hugh Jackman, TI, and LL Cool J rapped lyrics from The Music Man , Neil Patrick Harris licking Samuel L. Jackson’s glasses during a performance of ‘Sugar Daddy’ from Hedwig and the Angry Inch, a montage of nominated playwrights that reminded us just how white and male Broadway has chosen to let that world become, and a performance of ‘One Day More’ from Les Miserables that was just the opposite.
Kenny Leon’s third iteration of A Raisin in the Sun took home 3 awards including Best Revival of a Play, Best Performance By An Actress in A Featured Role In A Play for Sophie Okonedo, and Best Director of a Play for Leon himself. Audra McDonald won Best Performance By An Actress For A Leading Role In A Play for Lady Day At Emerson’s Bar And Grill, James Monroe Iglehart of Aladdin won for Best Performance By An Actor For A Featured Role In A Musical, and Linda Cho won for Best Costume Design of a Musical for A Gentleman’s Guide to Love And Murder. The send up to 1920s Harlem After Midnight which has, at different times, starred Fantasia Barrino, Toni Braxton, Baby Face, Dule Hill, and Vanessa Williams, with Patti LaBelle starting this week, also took home a win for best choreography.
Even if The Great White Way is still pretty white the Tonys seem to at least make more of an effort to showcase the diversity that does exist on New York stages. Six winners of colour make for two more than we saw last year, and certainly more than we’re going to see at, say, this year’s Oscars. With shows like Holler If Ya Hear Me (aka, ‘The Tupac Musical’), You Can’t Take It With You (starring James Earl Jones) opening this summer and The King and I, and Oprah produced ‘night, Mother eyeing 2015 runs the future shows that theatre will at least stay the course.
For more highlights highlights, tweets, and performances jump under the cut!
By Kendra James On Thursday night WNYC presented A Raisin In The Sun: Inside Look at…
I know that that there was some excitement of seeing the interracial recasting of Romeo…
• On New York City stages during the 2011–2012 season, African American actors were cast in 16% of all roles, Latino actors in 3%, Asian American actors in 3%, and other minorities comprised 1%. Caucasian actors filled 77% of all roles. Caucasians continue to be the only ethnicity to over-represent compared to their respective population size in New York City or the Tri-State area.
• The percentage of minority actors rose to 23% this past year, a 2% increase from the year prior. While a significant jump, this level is fairly consistent with levels of minority representation which have consistently remained within the low twenty percent range. The last time representation hit 23% was during the 2007/08 season.
• African American actors increased by 2% compared to last season.
• Latino actors remained at 3% for the third straight year in a row.
• Asian American actors increased slightly from 2% to 3% this past season.
• Only 10% of all roles played by minority actors were non-traditionally cast. This remains the same as last season.
• African Americans were far more likely than any other minority to be cast in roles which were not defined by their race.
• For the second year in a row, the not-for-profit sector lagged far behind the commercial sector when it came to hiring minorities. The opposite was true in the four years preceding this shift, where actors of color were once more likely to find employment within the not-for-profit sector. While total number of minority actors in this sector increased by 3% from 19% the year prior, this is still far below the industry average and is the second year in a row that minority employment among the not-for-profit companies fell below 20%.
• This past season, African Americans and Latinos on non-profit stages increased 1% and 2%, respectively. Asian American actors, however, have been at their lowest point, 2%, for three years in a row now. This is a substantial drop from where they were six and five years ago (4% and 7%, respectively).
— “Where’s The Diversity? The Tony Awards Look In The Mirror” by Jason Low of LeeandLow.com, June 6, 2013
Read the full report from the Asian American Performers Action Coalition here. We have the list of last night’s individual winners (performers) of color under the cut. Black actors and actresses, at least, had a good showing in top categories, but four wins can’t negate the facts.
By Arturo R. García
If you’ve got a little less than 10 minutes to spare, the short film The Language of Love is worth your time, as 17-year-old writer and performer Kim Ho navigates young Charlie’s coming to terms with his own sexuality when asked to write an essay describing his best friend.
“What the f-ck is happening to me?” he gasps after confessing to the viewer how he really feels. “Like, my heart beats faster when he’s around. And I can’t think of anybody else. I don’t need that. Especially not in a French exam. But, I can’t help it. I can’t control it.”
The film was produced as part of The Voices Project, part of the Fresh Ink development initiative organized by Australian Theatre for Young People. Now in its’ third year, Voices began as a way with a stage show involving various monologues dealing with the subject of young love. Ho’s piece follows in that tradition; it began as a monologue and was adapted into film format after winning a competition.
The language in the film gets a little NSFW, but overall do give this a shot. The film, and a look at the making of it, are both under the cut.
By Andrea Plaid
Anyone who know me very well just waited for me to write this one. Something about his beauteous combination of brilliance and chest hair keeps me on Team Chiwetel.