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More Than A Banana Dance, Deborah Cox Is Josephine Baker

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Photo by Paul Tate dePoo III 

When you hear the name Josephine Baker, a few things come to people’s mind, such as banana, dance or french ingenue. However, she was so much more than something pretty for people to gawk at. The actress, singer, dancer broke barriers and blurred color lines with her success overseas becoming one of the most decorated entertainers of her time. With a story like that, this show can’t just be done small scale. “You have to really visualize, you really have to see—you have to be in the room. It deserves a Broadway stage,” says Deborah Cox, the Grammy-nominated, platinum-selling recording singer/actress embodying Josephine Baker in Asolo Repertory Theatre’s world premiere of the new musical Josephine. “She is one of our icons and that deserves recognition.”

Deborah Cox in Asolo Rep's production of JOSEPHINE. Photo by Paul Tate dePoo III

Deborah Cox in Asolo Rep’s production of JOSEPHINE. Photo by Paul Tate dePoo III

The new musical revolves around Baker’s stint as the star of the Folies-Bergere in Paris from 1939-45, her scandalous affair with Swedish Crown Prince Gustav IV, and her service in the French Resistance during World War II. Featuring a book by Ellen Weston and Mark Hampton; music by Stephen Dorff; and lyrics by Emmy Award winner John Bettis, with direction and choreography by two-time Tony Award nominee Joey McKneely.

Broadway Black recently sat down with Ms. Cox to talk about Josephine’s legacy, what she hopes for Josephine’s future, and why she’s an “unsung hero.”

Broadway Black: Why did you choose to take on this project?

Deborah Cox: Well because I was going to be originating the role. I pick roles and I chose projects that I’m passionate about and this one has been near to my heart for a long time. And because I think that the story is one coming of age story that really changed the game of her time. A black woman, a woman who’s fearless, head on, and faced all types of adversity and became selfless, became this war hero. There’s just so many things we learn about her character and her vision for herself and of herself that I don’t think has ever been captured in a production.

BB: Josephine is really known for her dancing and I imagine the role is physically challenging, how did you prepare for that?

DC: I did a lot of pilates, a lot of ballet (laughs). Normally if I have a show I don’t have to warm up an hour before. I can do 20 minutes and be good. With this show, I have to warm-up and hour before because I’m a dancer now and I have to think like a dancer.

BB: So have you found anything that you found shocking, or something you and Josephine had in common?

DC: I feel like there was so much emphasis on banana dance and those sorts of things. We all know she used her sexuality but she did so, to get certain things done. She knew that it was going to distract people, but it was very clever because she got a lot of things accomplished and it was right under their noses. I think that is a testament to this woman’s fearlessness and ferociousness. To be able to go out and singlehandedly do so many things to get her point across, to access her vision. What she felt for humanity, human rights, and civil rights— knowing she came from such poverty here in the US. Even her rise to stardom in such a short time and the things she accomplished in that time. She was a pilot — I mean she was a pilot for God’s sake! Most people don’t know, she came back [from France] and spoke in Washington with Martin Luther King Jr. 

Cast of Asolo Rep's production of JOSEPHINE. Photo by Paul Tate dePoo II

Cast of Asolo Rep’s production of JOSEPHINE. Photo by Paul Tate dePoo II

BB: Right? And an international spy!

DC: Yeah! You know, I’m just in awe of her legacy and what she’s done and in that time.

BB: Baker had an amazing career and she reached international success and you’ve also done the same with your music career. You’ve also landed roles on Broadway in Aida and Jekyll and Hyde and you’re doing The Bodyguard musical this summer. What made you want to pursue musical theater?

DC: Well a lot of people don’t know that’s where I started. I went to a performing arts high school and I did tons of productions like Oliver and Mama I Wanna Sing, where I started in the chorus and this was all before I had my recording career. I’ve paid my dues. I always had an affinity for musicals. For all of it: singing, acting, and dancing. I fell in love with shows like “Fame” where they showed off these triple threats. So in the interim while doing regional productions, I was also working on my demo to get a recording deal and I got the opportunity to sing background and then it just snowballed from there.

I think it’s also tough to find projects that fit you, that you can really shine in and I think this story, in particular, has all the attributes of that just a compelling well written story. You know, it has all the makings of a compelling Broadway musical because the spectacle and it shows the essence of Josephine, she was larger than life. Her persona was just electrifying. Harry Belafonte came to our reading and said he’d known her and said we really captured the essence of the woman.

I was so nervous about creating this caricature, I didn’t want to do that. I really wanted to have the essence of her, so having someone who knew her say that made it that much of an honor.

Deborah Cox in Asolo Rep's production of JOSEPHINE. Photo by Gary W. Sweetman

Deborah Cox in Asolo Rep’s production of JOSEPHINE. Photo by Gary W. Sweetman

BB: Josephine had a hard time for her style of dance being too risqué and today there is a lot of respectability about what women can and can’t do with their body and expressing their sexuality but I feel like Josephine truly embraced her sexuality in a way that was transcending. What is it that you think makes her so confident and in turn where does your inner confidence come from?

DC: I just lose myself in the art. I find when I’m having the most fun, that’s when I’m my most uninhibited. And for her I think she just loved performing, she loved dancing. She saw herself as a work of art. Art is something that is not profound, you cant even put it into words what art means. In a way, she just created this idea that this black woman from way across the pond was creating art in her own unique way. That’s what drew people to her.

BB: What do you want audiences to take away from the show?

DC: Knowing whatever the dream is, no matter how big the dream is to be inspired and know you’re going to have to fight for the dream. That’swhat Josephine did. She fought to not go back to that poverty and to continue to live.

BB: Besides Josephine and The Bodyguard, is there a dream role you have that you haven’t done yet?

DC: Oh my gosh. I’m doing it now. I couldn’t think of anything else. Josephine is one of the unsung heroes. Someone who never got her just due here.

Josephine will run until May 29 at Asolo Rep Theatre’s Mertz Theatre (5555 N. Tamiami Tr.  Sarasota, FL  34243). Tickets are now available for purchase here.

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Events and Happenings

Top 5 Works To See at Under The Radar Festival!

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Over the last 15 years, The Public Theater’s UNDER THE RADAR FESTIVAL has presented over 229 companies from 42 countries. This festival is an outlet that allows new works the opportunity to catch their breath and breathe. The Public’s mission for providing a high-visibility platform to support artists from diverse backgrounds who are redefining the act of making theater is what this festival is all about.

There is a lot to see but listed here are the top 5 to get you started. Be sure to click on the dates and times above each trailer for all of the details including location, ticket prices, detailed show dates and starting times.

1. HYPERBOLIC!

The Illustrious Blacks have arrived to save the world one beat at a time! Once upon a time in a galaxy not far away, there lived two kings. Each was the ruler of his own deliciously glorious planet. The first king, Manchildblack, was well known throughout the cosmos for his ethereal vocals, celestial sonics, and earthy musical messages. The other king, Monstah Black, was a star in the solar system for his gravity-defying performances, gender-bending fashions, and spacey disposition. One magical night, an inexplicable ultra-magnetic pull forced the two planets to collide. A technicolored explosion occurred, turning night into day, with a feast of aural and visual delights. It was then that the universe was changed forever. Manchildblack and Monstah Black united and became The Illustrious Blacks!

Friday, January 4 – Sunday, January 13 Running Time: 60 Minutes 

2. HEAR WORD! NAIJA WOMAN TALK TRUE

Inspired by multi-generational stories of inequality and transformation. Staged by director and writer Ifeoma Fafunwa, the show grapples with the issues affecting the lives of women across Nigeria, and the factors that limit their potential for independence, leadership, and meaningful contribution in society. Combining song and dance with intimate portraits of resilience and resistance, the show celebrates women who have broken the culture of silence, challenged the status quo, and moved beyond barriers to achieving solutions.

Featuring a cast of leading Nigerian actresses (Taiwo Ajai-Lycett, Joke Silva, Elvina Ibru, Omonor, Ufuoma McDermott, Zara Udofia-Ejoh, Rita Edward,  Debbie Ohiri,  Odenike, and Oluchi Odii) as well as percussionists Emeka Anokwuru and Blessing Idireri.

Thursday, January 3 – Monday, January 7 Running Time: 1 hour and 30 minutes

3. INK: A Piece For Museums

INK is an art lecture, live personal essay, and electronic music concert all in one. With stunning visuals by media designer Shawn Duan, musician-storyteller duo James Harrison Monaco and Jerome Ellis perform a lush live score as they lovingly analyze works from around the world, exploring the traditional art lecture into a unique theatrical experience—one that’s at once playful, intellectual, and spiritual. Together, they guide us through a meditation on calligraphy and illuminated manuscripts, on music and silence, and on Jerome’s intimate relationship to the spoken and written word, in this first-ever collaboration between Under the Radar and the Metropolitan Museum of Art.

Saturday, January 5th-Sunday, January 6th Running Time: 75 Minutes

 

Now, the last two works are part of  INCOMING! A festival within a festival. Rapid Response. Controlled Chaos. New Work.

Incoming! features works-in-process from The Public Theater’s Devised Theater Working Group. The DTWG is an artist resource program, offering workshops in critical and professional skills-building, as well as opportunities for creative collaboration. Reciprocally, this Working Group also advises for the Devised Theater Initiative, helping to shape a more inclusive and equitable field.

4. MACBETH IN STRIDE

Whitney White‘s live concert and theatrical event excavate the underbelly of female ambition. With throbbing orchestrations of vintage rock, White traces the fatalistic arc of Shakespeare’s Lady Macbeth while exorcizing demons of her own. One in a five-part series on Shakespeare’s women, this concert play is a battle cry for black female power and desire.

Saturday, January 5 – Monday, January 7 Running Time: 75 minutes 

5. CABIN

Sean Dononvan‘s new work is the reconstruction of a memory—the story of a queer couple who move from Brooklyn to a cabin in upstate New York, and of the violence that befalls them. Through monologue, film, dance, and music by Heather Christian, CABIN surveys the lines between myth and memoir, the complexity of intimacy, and the magnitude of loss.

Sunday, January 6 – Saturday, January 12 Running Time: 40 Minutes 

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A Must See

We Were There: Experience Deja Vu With Groundhog Day

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groundhog day

What if you had to relive the same day over and over and over AND over again? Would you try something new every time to get a different outcome? Would you drive yourself crazy trying to figure out how to stop it? Now a two-time Olivier Award-winning new musical, Groundhog Day takes us on a whirlwind of adventure and misery through the eyes of a jaded weatherman forced to relive the same day, every day.

Funny enough, Groundhog Day is actually based on a film with the same title, starring Bill Murray and Andie MacDowell, and co-written by the show’s book writer Danny Rubin, about a weatherman caught in time and forced to relive the same day over and over and over again.

The concept seemingly feels like dangerous ground for a musical or a play, for that matter, as it forces the audience to watch the same moments over and over AND over again. Yet, somehow Groundhog Day manages to make what could be dangerous territory and turn it into a brilliant masterpiece of a musical. Largely in part to the catchy, fun music of the brilliant Tim Minchin, Groundhog Day makes deja vu seem kinda… cool.

Like the 1993 film, we meet our snarky protagonist Phil Connors (Andy Karl), a weatherman sent to Punxsutawney, Pennsylvania, to cover the annual prediction of spring, as predicted by “Phil the Groundhog.” Naturally, Phil feels nothing but disdain for the ritual, Punxsutawney, and everyone who celebrates it, including his producer Rita Hanson (Barrett Doss), who he tries to woo while acting like a complete prick to her.

As the Groundhog Day version of Ebenezer Scrooge, Connors needs to deal with the consequences of his terrible, often hilarious, actions. Cue the deja vu, where he must relive the same day over and over.

While he initially spends his days in self-loathing, also encountering a massive groundhog mascot that hilariously hits him on the head as he passes by every day (and he totally deserves it too), he eventually comes to his senses and looks to turning over a new leaf as he tries to win Rita over.

But not before indulging in his share of booze, women, and crime. Repeatedly, of course.

Image result for groundhog day musicalKarl’s charm really comes to play here, as we can easily grow to hate Phil Connors. After all, he’s literally the worst. Yet somehow, watching him suffer this forever purgatory, you can’t help but both root for his liberation and also hope he’s stuck there for all eternity. Karl’s performance in the West End run of the show earned him an Olivier for Best Actor in a Musical last week.

It helps that Broadway newcomer Barrett Doss is an excellent match for Karl, their chemistry undeniable, like her talent. The role (and some of the songs) hint that she’s more than the boring, hard-working producer that we’re led to believe (largely in part to her interactions with Connors), but, underneath the surface, a quirkier soul searching for love. Doss plays that side of Rita with enormous heart and playful charm and wit.

The show also offers a few solos of other Punxsutawney citizens, who express their own joys, worries, and troubles of life in the small town.

Minchin, director Matthew Warchus, Rob Howell (set design), Hugh Vanstone (light design), Paul Kieve (illusions), and Peter Darling (choreography) prove that when the creative team shares the same vision, magic can happen, as evident in the first act’s amazing car-chase number with Phil, two idiot bar patrons, and the Punxsutawney police — one of the most fun sequences I’ve seen on Broadway since … everything in Matilda, which featured the same creative team behind this musical.

All in all, I was pleasantly surprised with how much I enjoyed Groundhog Day, and, honestly, wouldn’t mind being stuck in a suburban purgatory with Phil and company again… and again.

Groundhog Day plays at the August Wilson Theatre.

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Twitter: @BroadwayBlack

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