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Exclusive: The Man Behind The Smokey Voice Of Motown, Charl Brown
It was a fairly brisk day in NYC when we met with the Smokey Robinson in the new Motown: The Musical. His name is Charl Brown and you won’t soon forgot it. He came wrapped in his favorite scarf accompanied with a smile and he should be smiling right? After all he’s creating a once in a lifetime moment in a new Broadway musical. We wanted to know, how did he get to this moment? What was the preparation? We wanted to know his journey. We had to know.
When you ask someone when they first fell in love with theatre and their face doesn’t light up, you know that they probably don’t really love it. However, when they do, you can feel the joy and the love engulf their being and spill over onto you. This was true for Brown. He smiled with excitement just thinking about his introduction to theatre. Being a natural athlete, coming from a family of athletes, he never really thought about theatre all that much. His Dad was a high school football coach, and his 2 other brothers followed as players. Being a baseball player himself, his life could have taken a different turn. Until that fateful day he broke his arm playing an All-Star game and later that year ended up auditioning and being cast in the musical Annie at his new school, San Diego School of Creative and Performing Arts. From that 8th grade moment Brown set his sights to the stage and began to pursue other opportunities. As a senior in high school he scored his first professional gig in a regional production of Little Shop of Horrors. Continuing to work at other theatres, including San Diego Jr. Theatre and Starlight Theatre in Balboa Park, Brown made it known that this was what he wanted to do and set his sights on college to study his craft.
University of Southern California in Los Angeles, California became the alma mater for Charl Brown. NYU was in his sights but it was too far from Mom and she just wasn’t having it.
“I chose that school because at the time it was in the top 5…and also because my parents would not let me go to NYU. I mean my whole life I wanted to move to New York…ever since I discovered theatre in 8th grade I was like “I want to live in NY. I want to go to NY”. My mom was like “no”. She was really strict. She was like “if you get a car for your 15th birthday or while you’re in high school, you can’t go to New York. Make a deal with me?” So quickly I got a car…right before I turned 17. So I had to stay. Because she was like “if I get you a car it’s because you have to drive to college. You can’t get a car and take it to NY.”…”
“If you can’t live in NY, why noy L.A.?” he says and we laughed because not only is it true but because only a mother’s love can bribe you to hold off on your big leap to the big city at that age. Mother knows best though because college is where Charl met most of his life long friends, a few who now live in NYC as well, and a couple who are Broadway actors as well.
After graduating from USC, Brown was cast in a European tour of HAIR as Hud, which played 8 different countries. The life changing experience showed him what life was really about. It opened his eyes to the real world and not just in the performing arts. So, he stayed for 2 and 1/2 years, coming into his own. He also became closer than close with one of his cast mates when his luggage was lost in the South of France and had to borrow clothes from the only person whose pants he could fit, Adam Lambert (American Idol, Wicked)
After he left the tour:
“So, I was like “okay, I think I’m gonna give New York a try now.” So instead of moving back to L.A. after the tour was over I moved to New York because half the cast was from New York, and so I had friends here and I was like I want my dream of living in New York. I saved up a little bit of money. I think I moved here with like seven hundred dollars or something like that, and I decided to go for it. And it’s worked out so far. So, I’m happy I did that. I’m really happy I did that.”
The first big show Brown booked was the phenomenal production of The Wiz at the La Jolla Playhouse. The show starred David Alan Grier (“In Living Color,” …Forum) as The Wiz, Nikki M. James (All Shook Up, Bernarda Alba) as Dorothy, Titus Burgess (Jersey Boys) as Lion, Rashad Naylor (Hairspray) as Scarecrow, Michael Benjamin Washington (Mamma Mia!, La Cage aux Follies) as Tinman, five-time Jefferson Award-winner E. Faye Butler (Dinah Was) as Evillene. This was a show that everyone just knew was going to Broadway. There were so many things that made it seem as though it was suppose to head in that direction. The show Jersey Boys played at the same theatre the exact time frame a year earlier before it headed to Broadway. The creative team for Jersey Boys, musical director Ron Melrose and the choreographer Sergio Trujillo was the same team for The Wiz, and so when Broadway was a no go, Brown was heartbroken. Then he got a call to be in the Vegas cast of Jersey Boys.
After doing Jersey Boys in Vegas, Charl moved back to New York and he was ready to get work. Shortly after that, he made his Broadway debut in the musical Sister Act. It’s funny how things work out because he didn’t originally get cast in the musical after 3 or 4 auditions. So, what does he do? What performers do. He put it in the past and kept moving forward but a month later he got that call and was cast as an understudy to several different characters.
On His Broadway Debut:
“…it was wonderful. You know, it was such a great marker in my life that I could achieve that original dream of being on Broadway. I now have more dreams which I hope to accomplish as well, but it’s one thing that no can ever take away from me that I will have always gone down on the record of being a Broadway performer.”
As performers, we all dream of being on Broadway and stomping the streets of NYC towards the stage door. Some never make it but those that have the determination, along with the discipline, and the skill, do. Charl Brown is one of those people. The care taken in portraying Smokey Robinson shows. His voice is pure silk and as you leave the theatre you will hear the people talk about its distinction and clarity. His ability to capture Smokey in all of his essence is uncanny. How is this even possible? We found ourselves saying.
“The difficult thing, I think, with playing someone who is living and is iconic and legendary is that there are certain expectations and there is somewhat of a “right” and a “wrong” way to approach it. Like, a certain person speaks a certain way or they look a certain way, or are perceived a certain way. So, I had to study those things. With our project, it runs a fine line of being between –we’re not mimicking them and it’s not impersonation, but we capture the essence and the soul of that person. It sounds like them, it looks like them as well – and be able to bring truth to the character. Like, I said its living, breathing people who are going to come see you for the most part. So, the way I prepared was I watched everything I could find on Smokey Robinson. prepared was I watched everything I could find on Smokey Robinson. I listened to a lot of his music and tried to get the essence of how he sounds and try to imitate the sound —because his vibrato is very distinct. He has a very distinct sound and people are gonna be wanting to hear that. You can’t just sing a Smokey Robinson song….
Charl Brown can SING a Smokey Robinson song and he does it 8 times a week on Broadway at the Lunt Fontanne Theatre next to some friends he’s known for a long time and many he’ll keep for a lifetime. Among those friends is Brandon Victor Dixon who plays Berry Gordy in the hit musical about the legendary record company Motown. It aids to both of their characters that they are and have been friends off the stage. It doesn’t stop there though. Valisia LaKae plays Diana Ross and Brown had nothing but great things to say about her and it was clear that their friendship was just as real on stage and off.
“… the camaraderie, the family that is very important and evident in our show, and I know that is something each of us is bringing. The idea of the family and making sure that the audience goes away understanding how much love there was there.Berry Gordy and Smokey Robinson are to this day best friends. So, I think that is actually aiding in our character study because we have a natural friendship already. And who is playing Diana Ross is Valisia LeKae, she’s just so wonderful. She is so talented and so gorgeous, but she’s also sweet and approachable”
It was such an amazing moment to share with Charl Brown his experiences, and listening to him tell his story. He smiled and laughed recounting the days and got in front of the camera for the photoshoot with us and nailed it frame by frame. He was more than pleasure to get to know and we are grateful that he chose to share his talents with the world and his time with us.
See more of Charl Brown —>>> HERE. Follow him on twitter and buy your tickets to see Motown: The Musical
• Location – “The Parlour – Chelsea, NYC”
• Photographer – “Ken Arcara”
• MUA – “Melissa Mhuan Lai”
• Stylist – “Brandon Bernard Jones”
Have you seen The Light by Loy A. Webb at MCC Theater? If you haven’t, then you need to and Broadway Black has got you. Join us on SUNDAY MARCH 3rd for the BWAYBLK Experience!
Use code BWAYBLACKMCC and pay $35 for any seat on Mar 3 at the 7:30 performance
Not every marriage proposal goes as planned. LOY A. WEBB’s THE LIGHT introduces us to RASHAD and GENESIS on what should be one of the happiest days of their lives, but their joy quickly unravels when ground-shifting accusations from the past resurface in this gripping two-character drama. Can their relationship survive the growing divide between them over who–and what–to believe?
Also, get into this amazing photo series of playwright Loy A. Webb & the cast of her play The Light. Photos by Curtis Brown were taken in the new elegantly designed and strategically welcoming Robert W. Wilson MCC theater space. Located in midtown New York on 52nd and 10th ave (511 W 52nd ST
New York, NY 10019)
On another tip, some really dope creatives will do a talkback after the Saturday matinee performance that you might be interested in attending. Make sure to RSVP.
Panelists include: Nissy Aya, Cristina Pitter, Alicia Rodis & Kavita Mehra
THIS WEEKEND SAT FEB 23rd
LOY A. WEBB’s THE LIGHT at MCC Theater delves deeply into one couples’ reckoning with an encounter with sexual violence that has left audiences asking: as a partner, a family member, a friend, how do we support sexual assault survivors? And what responsibility do artists have to create work that is trauma-informed? On SAT FEB 23 at 4:00 PM for an in-depth conversation about the power of allyship rooted in love and healing – in our lives and on our stages – in the face of trauma.
SAT FEB 23 at 4PM
THE ROBERT W. WILSON MCC THEATER SPACE
511 W52 ST
RSVP HERE.
Camille A. Brown Photo by Whitney Browne
Camille A. Brown‘s dance company, Camille A. Brown & Dancers, tours nationally and internationally and will be presenting six performances featuring the debut of ink at The Joyce Theater NYC Feb 5-10th 2019.
Propelled by the live rhythms and sounds of traditional African and handmade instruments, Camille A. Brown’s ink celebrates the rituals, gestures, and traditions of the African diaspora. Highlighting themes of brotherhood, community, and resilience, the work seeks to reclaim African American narratives and is the final installment of Brown’s dance theater trilogy about identity.
In addition to her company works, Ms. Brown brings her passion for storytelling to her award-winning choreography for Broadway, Television, and Off-Broadway. Productions include Tony Award Winning Once On This Island, (Drama Desk, Outer Critics and Chita Rivera award nominations), Emmy Award Winning Jesus Christ Superstar Live on NBC, A Streetcar Named Desire, Choir Boy, the upcoming Magic Mike The Musical, PAL JOEY.
We had the chance to probe a little bit into the world of Camille A. Brown, and we’re grateful for the insight and wisdom with which she was able to bless us. Check out the interview below along with an excerpt from ink.
Broadway Black (BB): After forming the idea, what was the process of building ink?
Camille A. Brown (CAB): After the creative process for BLACK GIRL: Linguistic Play, I held a desire to dig even deeper and tell more stories of ritual, gestural vocabulary, and traditions of the African Diaspora. I was immediately drawn to two albums that had a significant impact on me when I was growing up. The Miseducation of Lauryn Hill by Lauryn Hill, and Like Water for Chocolate by Common. I tasked myself with creating a movement language that embodied the same raw authenticity, and vulnerability that fuels those lyrics and music.
As I began to develop the concept for ink, I wanted the dancers to represent superheroes. I couldn’t figure out why I had the urge to play with this idea until I read Question Bridge: Black Males in America. One of the men interviewed said, “I see Black people as comic book heroes because they always keep rising.” That was it! It is about showing that in our basic survival, and natural attributes we have superhuman powers. Powers to shift, overcome, transform, and persevere even within an often hostile environment. The seven sections of ink represent super powers of spirituality, history and heritage, the celebration of the Black female body, Black love, brotherhood, exhaustion, and community.
The process involves a deep collaboration with the dancers and my direction is guided by their choice making.
The space is very organic and fueled by research. My dancers, musicians, dramaturgs, and I are in constant dialogue throughout the process about the work and how it’s progressing. We don’t move forward unless we’re all on the same page.
We are building the work together. As a disclaimer, I let everyone know the process will be exceptionally tedious. Like a fine comb, I go through each beat, gage the temperature of storylines, and make sure the movement and music are always in conversation (whether aligned or in contrast).
BB: What made you want to start your own dance company and how have you sustained?
CAB: I found my love of choreography in college because I struggled with body image, and found that creating my own voice was a safe and empowering space. After graduating, I danced with Ronald K. Brown/Evidence for 5 seasons and during my second year with The Company, a friend from college (Amy Page) sent me a flyer for the Hubbard Street 2 competition which picks 3 choreographers to create work on the Company. I was chosen! That gave me the encouragement to pursue choreography. My first idea was to take an alias like female writers used to do because even at 22, I knew the playing field was not leveled and women (particularly black women) did not get as much exposure as male choreographers. Dance is revealing and vulnerable so taking an alias wasn’t a realistic option. People would have to see me as I am, but I also needed the confidence to withstand the obstacles. Not only that, having a company seemed daunting.
Ron wore so many hats. He was the director, choreographer, teacher, and also took on administrative duties. He never got a break. I wasn’t confident I could handle all of the duties.
I set work on other companies, but soon realized it wasn’t for me. 1-4 weeks working with a Company wasn’t enough time for me to really hone my skills, find my voice, and discover my personal creative process. I desired a more intimate relationship and space with my dancers and collaborators. I had my first show at Joyce SoHo in 2006, and committed to having a company in 2010.
What sustains CABD is my team. I have a company agent (Pamela Green), Managing Director (Indira Goodwine), Company Manager (Michelle Fletcher), and a production team who holds things down.
In the beginning, I was doing ALL the jobs! As time went on, my team slowly formed. It’s really about patience and perseverance. Nothing happened over night and everything is a progression.
BB: How have you had to be a superhero in your own life personally and professionally?
CAB:
Personally
Last year, I had a life-threatening experience. My appendix ruptured on tour. Appendicitis is when they remove your appendix before it ruptures, but mine actually did and the fluid was in my system for at least a week. I survived the “fatal” stage- which the doctors told me isn’t common. This started a very long year and a half which included 4 hospital stints and two surgeries (my second one was in April). This all happened during Once on This Island (I was in the hospital the first week of rehearsal and had my first surgery during tech), Jesus Christ Superstar Live, and my Company touring. I had to access my “superpowers” and push through, but thankfully I had my team and community to help me.
I’m going to be writing about the entire ordeal because it was such an integral part of my life. People see the “success”, but if they only knew the hardships I had to overcome to get to the other side.
Professionally
Being a Black female Choreographer and Director is hard. People ask me to do I feel like I’ve arrived. Absolutely not. I’m still Black and a woman- two underrepresented groups- particularly in theater. The playing field is still not leveled and I’m clear I have to work twice as hard.
I’ve had to build up strength and confidence. It is an ongoing process of gathering those superpowers. In many spaces, I’m sometimes the only woman (I was the only woman on the creative team for Jesus Christ Superstar Live), and the only black person in some rooms.
Recently two black girls at different events asked me the same exact question: How do you navigate spaces where you’re the only one.
It’s quite easy to feel intimated and shrink yourself. I know I have done that in the past. Now, I’ve found if I think about the black women before me in similar spaces, black women who are currently in similar spaces, and the next generation of black women coming after me, it makes me more confident. When it’s not just about you, it becomes a responsibility.
And even when I don’t feel like I have any superpowers, this happens…
and it refuels and encourages me to keep going. Someone is always watching.
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