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LARRY OWENS. Musical theatre actor.
“Theatre, like Hollywood, are working so far behind trend. The movie that we’re watching this summer was filmed two years ago. The Broadway show that’s coming in next year has been in development for 5 years. The way that life works is that every day we’re changing rapidly, honey. We literally have new values every new day because of how hyper-socialized we are as an interconnected, technological world...so they’re just slow.”
Growing up in Baltimore, Larry Owens had access to theatres like Kennedy Center and Signature Theatre, but his passion for theatre grew while learning about it in solo. It wasn’t until he went to Stage Door Manor in high school that he found his tribe.
Gigantic (formerly known as Fat Camp) was another space where he found his multi-dimensional truth reflected. Larry often sees characters of size and of color only represent a single idea and one-dimensional personalities. “Everyone in that space was of size, so then I’m not token size person.” Although, he did find himself the token racially.
Only recently has started creating his own work and shows, like Putting Y’all Together with James Jackson, Jr. This is in addition to his acting work in shows across the city—like Spamilton, and Cabaret at the Secret Theatre, where Larry played the Emcee as a drag den mother. It’s these types of productions that put new perspectives on old work to make them even more relevant that excites Larry.
Listen to his episode here.
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Recommendation: Kara Walker. Michael R. Jackson. Fela! original Broadway cast recording.
Shout out: Ines Nassara.
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Follow him on Twitter, and Instagram.
#podcast#black boy joy#black excellence#blackness#black art#black actor#actor of color#musical theatre#broadway#musical#cabaret#sondheim#steppenwolf
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FELICIA BOSWELL. Broadway performer.
“You have to chip away at it. [It’s] creating our own work, but that’s easier said than done. It’s not as easy as people think it is. If it doesn’t fall into the laps of the right people, the people that will give it an ear...funding and producers are necessary and there is a serious issue on that side of the table...I don’t know if it is a lack of the work being good as much as it is people not believing in it because it came from a particular color.”
Felicia Boswell began her career as a part of her family gospel group. She knew she always wanted to be a performer, and that’s exactly what she’s done.
The two-time Helen Hayes Award winner believes in leading with your spirit and telling one’s truth as an absolute truth, which you can see with any of the roles she has played.
From starring as the title player in Aida to Mary Magdalene in Jesus Christ Superstar to Felicia Farrell in Memphis, Felicia is no stranger to portraying strong women onstage—something that she carries with her offstage.
On Broadway, she also has played Diana Ross in Motown and Josephine Baker in Shuffle Along. Soon you’ll see her in Jesus Christ Superstar Live in Concert on NBC!
Listen to her episode here.
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Recommendation: I Am Malala
Shout out: Imani Uzuri, Zakiyyah Alexander
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Follow her on Twitter and Instagram.
#podcast#black girl magic#black excellence#black art#black actor#performing arts#blackness#musical theatre#musical#broadway#memphis
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Vincent Hooper. Musical theatre actor (and interdisciplinary artist).
“A lot of times people want to see the change but they don’t want to have to sacrifice or challenge themselves to get there. So in the case of all this casting and white-washing, there are a lot of people within in the industry who are like ‘I’m all for diversity in the arts!’ but then they will also accept a role that should be going to someone of color.”
Vincent Hooper began his artistic journey in Austin, Texas. He was only a sophomore when he auditioned and got a part in Ragtime at the regional house in Austin, ZACH Theatre. His career spring-boarded from there. At ZACH Theatre alone, he acted in shows such as Gospel at Colonus, Les Misérables, and In The Heights.
Now, Vincent is continuing his performing arts work, but also working on creating his own work as well, like Stedfast Tin Soldier with fellow ZACH alum and current Hamilton actor, J. Quinton Johnson.
Listen to his episode here.
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Recommendation: Kehinde Wiley
Shout out: Cynthia Erivo, Leslie Odom Jr., Denzel Washington, Jeffery Wright, Viola Davis
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Follow him on Twitter and Instagram.
#podcast#performing arts#actor#musical#musical theatre#broadway#black actor#blackness#black excellence#black boy joy
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NICK REID. Creative.
“How can we get our stories out there and dictate how those stories are told?”
Nick Reid first discovered musical theatre through Seussical: The Musical during a school research project for Dr. Seuss.
It was actually during a particularly challenging year at an all-boys Catholic school that Nick discovered a theatre class which gave him a sense of light and hope.
As he continued his education, Nick immersed himself more into theatre. He found himself having to confront moments of race within his theatrical communities—whether it was straightening his hair to appear more versatile as an actor, or being forced to audition for Audrey II in Little Shop of Horrors, when that was not the role for which he had prepared.
When he made his way to New York, Nick interned at Situation Interactive and worked his way up to be a Junior Producer. He’d often be the only black person on the red carpet (besides Felicia), which made him committed to changing the landscape of media. Since this interview, he has moved on to become the Talent Coordinator at Channel Frederator Network.
Listen to his episode here.
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Recommendation: The Read podcast
Shout outs: Cynthia Erivo
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Follow on him on Instagram.
#podcast#blackness#black excellence#black boy joy#black actor#performing arts#theatre#broadway#creative
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ZHAILON LEVINGSTON. Theatre-maker, producer.
“I think that the role of producer is incredible important in these times because they are the Chief Imagineer. In this crazy political moment that we live in what we need more of is imagination. We need more people imagining a different way in which we should to be together. We need more people imagining new radical spaces.”
Zhailon Levingston got his first taste of theatre by performing in his elementary school production of Aladdin in Shreveport, Louisiana. He knew he would have to eventually leave Louisiana in order to pursue a career in the performing arts, so he made his way to American Music and Dramatic Academy in Los Angeles.
So why did he end up in New York City? “New York moves as the pace of my ambitions.” Now, Zhailon wears several hats when working on art -- actor, director, writer, and producer. When it comes to determining which role he will take on for different works, Zhailon says he is “in service of the story, under the direction of form.” He is always asking, how can he best serve the story?
One of his more recent projects, Words on White, literally gave space for folks to process and discuss moments of social injustice happening. Using art as a tool, Words on White builds a new community and allows a different way to have difficult conversations.
Listen to his episode here.
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Recommendation: We Were Eight Years in Power and Donald Trump Is the First White President by Ta-Nehisi Coates, Daniel Caesar’s album Freudian
Shout out: Ben Vereen, Adrienne Warren, Britton Smith
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Follow him on Twitter.
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ALTON FITZGERALD WHITE. Broadway performer.
“I remember a time there were no black shows...[you would see] one of us. A lot of times it was one female, sometimes it would be a couple and they wouldn’t dance together. There’s so much inside of us if we allow ourselves to stay in touch with who we are...and take the courage to share our experience. Somebody needs to hear what we’ve gone through and what our perception is.”
Growing up, Alton Fitzgerald White was teased for being different. For his artistic and creative impulses, but that didn’t stop him from engaging with his passion, by watching Ben Vereen and other performers on television.
With encouragement from his teachers, he pursed his love of arts and made his way to Cincinnati’s College-Conservatory of Music, where he majored in musical theatre. His professional career began in Chicago with The Wiz at Marriott Theatre in Lincolnshire, after he spent time dancing with companies and industrial shows.
From there, he made his Broadway debut in the original company of Miss Saigon. He went on to perform in numerous Broadway shows, including Smokey Joe’s Cafe, The Who’s Tommy, and The Color Purple. He also starred as Coalhouse Walker Jr. in Ragtime, during which he was the victim of a racial profiling incident. The parallels between the incident and Coalhouse’s storyline were clear, and White used his platform to shed light on wrongful bias happening in racial profiling incidents.
White is most well-known for his performance as Mufasa in Disney’s The Lion King. In fact, he holds the record for longest-running Mufasa at 4,308 performances. After his final bow, White went on to publish a book about the lessons and learnings from his life. Learn more about My Pride: Mastering Life’s Daily Performance here.
Listen to his episode here.
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Recommendation: Any black performer -- utilize YouTube and the internet to research to see performers from any time period
Shout outs: Brian Stokes Mitchell, Norm Lewis, Adrian Bailey, Joshua Henry, Brandon Victor Dixon
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Follow him on his website.
#podcast#blackness#black actor#black excellence#black boy joy#performing arts#actor#actor of color#musical#musical theatre#lion king#mufasa#broadway
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MARC J. FRANKLIN. Broadway photographer.
“Growing up...I didn’t see myself a lot both within my community and in the media. [Now] when I’m photographing a project I created, I want to see a diverse range of people, race, sexuality, gender expression, and socio-economic status. I don’t want people to feel excluded in the way I did. There’s a certainly level responsibility to show all colors of the rainbow.”
Marc J. Franklin used to sit and watch Michael Jackson’s “Thriller,” completely enthralled. Not dance along, but observe. Looking back, this could have been a clue that Franklin would later capture performances on camera himself.
As he grew up, he immersed himself into many aspects of performing arts: he acted, directed, stage managed, played instruments, and wrote. As a student at Boston College, he not only dove into the theatre department, he interned at professional companies in the city and began freelancing photography gigs.
After moving to the city, he added ‘playwright’ to his resume when he co-wrote a play for the Frigid Fringe Festival. However, he really hit his stride once he was hired as Playbill’s staff photographer. Now, his full-time gig is photographing Broadway stars and theatrical events. While most people think of diversity only onstage, Franklin makes sure he is bringing representation to the forefront through photos and media.
Listen to his episode here.
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Recommendation: Insecure
Shout out: Christian Dante White
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Follow him on Instagram.
#podcast#blackness#black art#black boy joy#black excellence#photographer#creative#black photography#black creative#actor#theatre#broadway
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JANELLE MCDERMOTH. Broadway performer.
“This idea that you must be a master of one thing and the best at one thing denies yourself. If you’ve been gifted in multiple ways, [you have to ask] ‘what does it look like to use my gifts and not shortchange myself by thinking I’m only allowed one?’”
Janelle McDermoth recently made her Broadway debut in A Bronx Tale, but she certainly isn’t new to performing--or the Bronx. A Bronx native, her roots are in a cappella, and while attending UPenn as an Africana Studies major she was a member of Off The Beat.
Her first professional gig was the international tour of Hair. Joining the company meant she had to take a break from UPenn, but McDermoth believes that the break actually enhanced her academic experience upon her return. “The coolest thing about taking a break from an intense academic institution like Penn, your education becomes yours.” McDermoth began to infuse her African Studies focus with the artistic sensibilities and interest she had developed on the road.
Once she came back to NYC after college, she performed in shows like Soul Doctor Off-Broadway, Acappella at NYMF, and joined RANGE A Capella.
She also participated in Cohort 2 of Daveed Diggs and Rafael Casal’s BARS Workshop at The Public Theater. The interdisciplinary workshop is a fusion of theatre, rap, and poetry.
Currently, you can catch her in A Bronx Tale on Broadway.
Listen to her episode here.
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Recommendation: Issa Rae’s Insecure. SZA’s CTRL.
Shout Out: A Bronx Tale’s Webster Avenue company. Kehinde Wiley. Jocelyn Bioh.
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Follow her on Instagram.
#podcast#black girl magic#blackness#black actor#black art#performing arts#musical#broadway#musical theatre#actor of color#singer#a cappella#bronx tale
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GABE STONE SHAYER. Corps de ballet member at American Ballet Theatre.
Gabe Stone Shayer began his ballet training in Philadelphia and began his full-time study at The Rock School for Dance Education. At 13, he was offered the lead in a world premiere of modern ballet “Darfur.”
In 2009, he made the top 12 at Youth America Grand Prix international finals with his pas de deux and in 2010 he won the grand prix award in the semi-finals.
He went on to study at the Bolshoi Academy, where he was the first black dancer in the world to have the honor of performing both a solo and a principal role on the Bolshoi stage and the first black American in history to graduate.
In September 2011, he joined the American Ballet Theatre's Studio Company, and in April 2012 he became an apprentice to the main ABT Company. He became a member of the corps de ballet in November 2012. He’s been seen in ABT ballets such as Romeo and Juliet, The Nutcracker, Whipped Cream, and more.
In 2016, Shayer received the Clive Barnes Award for Dance!
Listen to his episode here.
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Recommendation: Ghanaian tribal art
Shout Outs: Michaela DePrince, The Women of Hidden Figures: Taraji P. Henson, Octavia Spencer, Janelle Monae
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Follow him on Instagram.
#ballet#podcast#ballet dancer#dancer#black arts#black excellence#blackness#black dancer#black ballet dancer#abt#american ballet theatre
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KYLE SCATLIFFE. Broadway performer.
“I’m not an American black person per say...my parents aren’t from here...and you end up having a different upbringing. I grew up in the suburbs...it’s a different experience than say someone who grew up in Detroit or Oakland. I feel like I am a part of [the American experience] but also looking [from outside of it] at it at the same time. I’ll do something like Color Purple which is innately the southern black experience [which I didn’t experience]. I can tell this story but am I going to understand this story as much as they do?”
It’s true, one of the first things you notice about Olivier nominee Kyle Scatliffe is his height. That’s why he was encouraged to play basketball in high school. Instead, he found a love for theatre as a sophomore, and went on to American Musical and Dramatic Academy in New York City.
After regional gigs including Arts Center of Coastal Carolina’s Aida and Dreamgirls, 5th Avenue Theatre’s Oklahoma!, ZACH Theater’s Ragtime, he headed over to London to play Haywood Patterson in The Scottsboro Boys at the Old Vic, for which he earned an Olivier nomination.
It was through his performance in The Scottsboro Boys that got him noticed by Cameron Mackintosh. After an audition on the Queen’s Theatre’s stage (home to the currently running West End production of Les Misérables), he made his Broadway debut as Enjolras in the 2014 Broadway revival.
He returned to the Broadway stage in the 2015 revival of the The Color Purple as Harpo, opposite Danielle Brooks. In 2017, he starred as Jim in New York City Center Encores! production of Big River.
It was just announced last week that Scatliffe will head out on the second national tour of Hamilton as Marquis de Lafayette/Thomas Jefferson. Raise a glass!
Listen to his episode here.
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Recommendation: Dope, Dear White People, 12 Years a Slave
Shout Outs: Colman Domingo and Condola Rashad
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Follow him on Instagram.
#podcast#blackness#black excellence#black actor#black boy joy#actor#acting#performing arts#broadway#musical#les miserables#color purple#hamilton#lafayette#enjolras#musical theatre
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KIRSTEN CHILDS. Musical theatre composer-lyricist.
“[I thought], we can only do shows that are the all-black version of something, or we can do a show that is a musical revue that has no book, or you can be the one black person in an all-white show. Well, I can complain about it, or I can do my best try to do something about writing a show that has a book so some of these performers can do more than that.”
Kirsten Childs grew up loving movie musicals. She would go to the movie theatre every week to re-watch and study her role models, like Gwen Verdon, Fred Astaire, Gene Kelly, and Ginger Rogers.
Her love for the dancing in these movies led her to take ballet classes, but when she realized the colorism and racism inherently ingrained in ballet, she knew she would not be a prima ballerina.
She made her way to New York City from the West Coast as a modern dancer, and it was during a modern dance class in the city that she was encouraged to audition for the national tour of Chicago. With no expertise on the subject, she auditioned for Bob Fosse in “a baggy leotard, cut-off tights, and Hermes jazz shoes,” singing a song she was familiar with through her mom, “Goody Goody.”
She landed the job, and ended up performing opposite Chita Rivera. She also performed on Broadway in the revival Sweet Charity and Jerry’s Girls.
It was during a production of The Boys from Syracuse that she realized she wanted to create more narratives for actors of color -- so that’s exactly what she set out to do. As she worked her way through NYU Tisch School of Art’s Musical Theatre Writing Graduate program, she used her natural talents to write and compose music. Eventually, as she workshopped Bubbly Black Girl Sheds Her Chameleon Skin, she learned to notate music -- whereas before she was self-recording different lines of music on tape recorders.
Bubbly Black Girl Sheds Her Chameleon Skin debuted at Playwrights Horizon in 2000, with LaChanze starring as Bubbly/Viveca. The musical would eventually return to the stage in 2017 as a part of New York City Center’s Encores Off-Center series.
Earlier this year, Kirsten’s work was seen again at Playwright’s Horizon with Bella: An American Tall Tale. Inspired by a real-life experience, Kirsten wanted to explore the definition of beauty norms, and did so, with a musical set in the Wild West. The larger-than-life characters gave visibility to the people of color that actually existed during the Wild West, but were practically erased from history.
Now, as a teacher at NYU, Kirsten is cultivating the next generation of new musical theatre talent. As she noted during the podcast -- there are tons of young musical theatre writers of color, and it’s time we get to know them.
Listen to her episode here.
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Recommends: Black Boy by Richard Wright, anything by Ntozake Shange, Walter Mosley, Kara Walker, Jacob Lawerence
Shout out to: Robert O’Hara, Michael R. Jackson, Masi Asare, Deepali Gupta
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Follow her on Twitter.
#podcast#musical theater#musical theatre#broadway#performing arts#composer#lyricist#writing#black art#black excellence#woman composer#glass ceiling
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NIKKI RENÉE DANIELS. Broadway performer.
“A lot of times I feel like the creative team wants to say ‘Let it not be said that we didn’t see anyone of color, we just cast this white girl.’ ...I’ve gone in a lot of times...where I’m the only black girl on the list. They want to be able to say they saw ‘everyone’ for this.”
If you’ve ever listened to The Gershwin’s Porgy and Bess’ cast album, you’ve been greeted by the Nikki Renee Daniel’s soaring and graceful soprano voice.
Singing the iconic “Summertime” on Broadway was not Nikki’s first time, but was in fact 10 years after she sang it with the New York City Opera in 2002, right after she made her Broadway debut in Aida.
She went on to play iconic (and traditionally white) roles such as Fantine in the 2006 Broadway revival of Les Misérables, Belle in North Shore Musical Theatre’s Beauty and the Beast, and Hope Harcourt in Williamstown Theatre Festival’s Anything Goes. While it’s true Les Misérables has been one of the more notable musicals to cast people of color (Nikki played Fantine in between Lea Salonga and Daphne Rubin-Vega), the submission and audition process for these white roles hasn’t always been so easy for Nikki.
When she first considered the idea of playing Belle during an agent’s visit to her school, the agent replied with “There will never be a black Belle.” This was clearly before Toni Braxton took the stage in the musical on Broadway.
With her incredibly beautiful soprano voice, one would think she’d be at the top of the list for ingénue roles that we often see women like Kelli O’Hara or Laura Osnes in. While Nikki did in fact understudy Laura as Hope Harcourt during Roundabout’s production of Anything Goes, casting directors wouldn’t consider her for The Light in the Piazza‘s national tour Clara -- the role Kelli originated on Broadway. Which is ridiculous, because just listen to her sing the title song.
With all of the obstacles and challenges, Nikki still has had an impressive career. In 2014, she began as Nabulungi in The Book of Mormon, which she’ll be returning to this month!
Listen to her episode here.
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Recommends: Between the World and Me by Ta-Nehisi Coates, Beloved by Toni Morrison, and Stevie Wonder
Shout out to: Joshua Henry
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Follow her on Facebook, Twitter, and Instagram.
#podcast#black art#black excellence#black girl magic#soprano#music#musical theater#musical theatre#opera#singing#singer#beauty and the beast#porgy and bess#belle#light in the piazza#les miserables#broadway
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Self-Care Tips from 6 Black Broadway Performers
For this week’s episode, we asked six black Broadway performers how they practice self-care, especially in the wake of an event like the white supremacist rally in Charlottesville.
“I try to connect with audiences to show them I’m beautiful, worthy of life; I am complex, that i am interesting, that i am brilliant...that I am only interested in spreading love and care...and just remember to breathe, to breathe, and know that change will come.”
-Jelani Alladin, Frozen
“Simply by surrounding myself with love...looking in the mirror and reminding myself every day that my black is beautiful. It’s not a threat. It’s a power. And it’s something to be proud of.”
-Nick Rashad Burroughs, Kinky Boots
“Practicing self-care is four-fold: I’m a firm believer in heart, mind, soul, and strength.”
-Janelle McDermoth, A Bronx Tale
“Find my tribe of like-minded people and artistic souls where we can bounce ideas on how to make the world a better place...”
-John-Michael Lyles, Sweeney Todd
“I try to keep a very positive circle, because that what fuels me as performing artists, as an activist, as a black woman, as me being me. Positivity is what really helps me move through my day.”
-Chondra Profit, The Lion King
“Talking to friends and family, loved ones, having a good laugh [with them], [it] reminds me that I’m not alone in this world.”
-Clinton Roane, The Scottsboro Boys
Listen to the full episode here.
#performing arts#musical theater#musical theatre#actor#black actor#black excellence#black girl magic#broadway#charlottesville#self care#resistance#activism#monday motivation
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BRENDA BRAXTON. Broadway performer.
“I’ll never forget Miss Molinka; I was standing at the ballet barre and she told me, ‘You’ll never be a ballerina.’ She said, ‘You don’t have the body for it,’ and I was like ‘Wow!’...but I’m a great believer of everything has happens for a reason.”
Tony nominee Brenda Braxton has recently written a book entitled The Little Black Book of Backstage Etiquette, and there is no better author that comes to mind. After 30+ years of experience in the industry, there is no doubt Ms. Braxton is a Broadway pro.
She attended the Performing Arts High School in New York City (yes, that one—the Fame high-school) before booking her first gig, an all-black production of Guys and Dolls. In 1981, she began as dance captain of the ORIGINAL Dreamgirls (yes, that one—the one with the iconic Jennifer Holliday performance directed by Michael Bennett).
She continued on to CATS, and the not-as-popular Legs Diamond. What was it like going from two very successful to what most considered a flop? “As an African-American performer, as I look back now...I realize that for so many of us, it was about just trying to work, and you don’t realize everything that you’re going through when you’re going through it...I look back now and I can go ‘Wow, yeah, I did a lot!’ I was surviving in that sense. I don’t look at it going to flop to successful show. i went job to job to another job.”
And job to job did Ms. Braxton go! In 1992 she performed alongside Gregory Hines and Savion Glover in Jelly’s Last Jam. Though she insists she wasn’t a tap dancer, you can see her bring it during the Tony Awards performance.
Her turn in Smokey Joe’s Cafe, the longest-running musical revue in Broadway history, led to a Tony nomination. After, she was seen dancing Fosse and all that jazz as Velma Kelly in Chicago.
Now, she focuses her attention on the perception of women of a certain age in the industry. Through conversations with other experienced women in the industry, she answers the question, “Act 2, now what?”
Listen to her episode here.
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Recommends: No specific art, but working hard. Doing good work.
Shout out to: George C. Wolfe and Oprah
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Follow her on Instagram.
#podcast#musical theater#musical theatre#broadway#actor#performing arts#dreamgirls#black actor#black girl magic#black excellence#artists of color#tony awards#chicago
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MICHAEL R. JACKSON. Composer-lyricist.
“I think diversity in musical theatre means acknowledging there is an entire jewel with endless facets of points of views that need to be represented at any given time onstage and off the stage.”
Michael R. Jackson's love for musical theatre began in his hometown of Detroit as he listened to Raisin’s cast album on repeat. While he began as an actor, he really found his voice through his creative writing classes.
He headed off to NYU to be a screenwriter and walked away a playwright. It was during his grad program he discovered his musical theatre writing skills -- combining his previously developed musicianship and his way with words.
It was his experience of living in Jamaica, Queens that led to the first version of what would become A Strange Loop, Why Can’t I Get Work. What began as a solo show evolved through multiple workshops and readings, the most recent at Playwrights Horizon in November 2016.
The good news: the living Michael Jackson is just getting started. He is a 2016-2017 Dramatist Guild Fellow, a 2017 Jonathan Larson Grant Winner, a 2017 Lincoln Center Emerging Artist, and a recently named Lincoln Center Theater Writer in Residence!
Listen to his episode here.
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Recommends: Ain’t Supposed to Die a Natural Death
Shout out to: Sukari Jones
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#podcast#black excellence#blackness#black artist#composer#lyricist#musical theater#musical theatre#broadway#queerness#queer art#black art#queer artist#performing arts#writing
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BRADLEY GIBSON. Broadway performer.
“In the past I wasn’t always made aware of the weight I had on my shoulders as far as being a man of color in musical theatre. It wasn’t until I moved to New York where I really started to feel that, and the pride that comes along with that weight. Even more so in the past two years...I felt that so intensely.”
Bradley Gibson is currently starring as Tyrone in A Bronx Tale, but his theatre roots start back in North Carolina, where his Grandma made his costume for his first play in third grade.
After continuing to pursue theatre in North Carolina, he headed to Boston Conservatory (BoCo), during which he attended the 2009 revival of Ragtime with BoCo alum Stephanie Umoh as Sarah -- the experience he cites as knowing he wanted to be a performer.
He made his Broadway debut as a swing in Rocky in 2014, and can currently be seen as Tyrone in A Bronx Tale.
Listen to his episode here.
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Recommends: “Moonlight”
Shout out to: Cynthia Erivo (Bonus: Stephanie Umoh)
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#musical theater#musical theatre#theatre#theater#actor#broadway#bronx tale#blackness#black excellence#black actor#performing arts
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ADRIENNE WARREN. Broadway performer.
“Black people are really trendy right now. Black is trendy. In two days, it could not be.”
Even though Adrienne Warren spent her younger days as an athlete, she quickly became involved in performing arts and landed the title role in “Annie” at The Hurrah Players, making her the first black actress to do so.
No surprise, there were many white patrons who were unhappy with the casting decision, but the confident and talented 10-year-old kept going. She studied at Marymount Manhattan, and performed in iconic musicals like Dreamgirls, Ragtime, and The Wiz before making her Broadway debut in Bring It On in 2012.
Her performance as Gertrude Saunders and Florence Mills in the 2016 musical Shuffle Along, or the Making of the Musical Sensation of 1921 and All That Followed earner her a Tony nomination for Best Featured Actress in a Musical.
Her Broadway roles are just the beginning of her impressive resume. She’s also appeared on Orange is the New Black and Blue Bloods. She also works with Broadway Advocacy Coalition and is the voice of Maybelline New York.
Listen to her episode here.
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Recommends: Between The World and Me by Ta-Nehisi Coates
Shout out to: Donald Glover
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Follow her on Twitter and Instagram.
#musical theater#musical theatre#theatre#theater#acting#black excellence#blackness#performing arts#black girl magic#broadway#podcast
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