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HowlRound Hosts Panel on Diversity in Musical Theatre

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As part of #MusicalsWeek: Protecting, Developing & Celebrating Musical Theatre, HowlRound and Samuel French held four panels to explore “the promotion, development, diversity and future of musical theatre” from Monday, September 28 to Thursday, October 1. On Wednesday September 30, HowlRound held a discussion around Diversity and Equality in Musical Theatre.

It’s only fair that a panel coming together to tackle the topic of diversity, be diverse itself. The panel consisted of actors, playwrights, faculty, and casting directors.  The disccusion was moderated by Sarah Schlesinger (lyricist/librettist; Chair, Graduate Musical Theatre Writing Program & Associate Dean of the Institute of Performing Arts, New York University Tisch School of the Performing Arts). Panelists included: Justin Huff, CSA (Telsey + Co. Casting The Color Purple, On Your Feet, Kinky Boots), Robert Lee (lyricist, librettist; Graduate Musical Theatre Writing Program Faculty, New York University Tisch School of the Performing Arts), Ali Stoker (actress, Deaf West’s Spring Awakening), Michael R. Jackson (composer/lyricist).
Schlesinger, used the diversity of the panel and the audience to level the playing ground, assuring that we all agreed on one thing: a love for theatre– a theatre that’s in desperate need of further inclusivity. This alignment gave way to a fruitful discussion about the reality of the state of American musical theatre and how we got here? But more importantly: what’s next?
Stoker, who is currently making her Broadway debut in Deaf West’s production of Spring Awakening and setting history as the first performer to be onstage in a wheelchair, challenged us to remember that diversity isn’t just a matter of race. She shared a personal account that made her realize disability isn’t even on the spectrum of diversity for most.
Jackson and Lee connected on the idea of seeing actors who might look like them, but identified a problem in the fact that their point of view and their story is rarely shown on stage. Lee commented that in productions such as “Les Miserables” and “Phantom of the Opera” where there is diversity on the stage, we are able to “see the progress”, but because these stories are not exploring a diverse point of view, we do not “feel the progress”. Jackson spoke of seeing Robert O’Hara’s “BootyCandy” at Playwright’s Horizon and how there were “wall to wall black people, hanging from the chandeliers” in the audience. While it was a story he identified with on a specific level, the subject matter and themes were still relatable to many. Lee champions the idea that this art form must stop following a formula to produce works that are comfortable and appealing to traditional theatregoers. If we build works that deliberately share the voices of those who are not traditionally given a point of view on Broadway and invite those people out– they will come. Moderator Schlesinger, suggested that we have to build a new audience. With a new audience comes new expectations, which is an opportunity to introduce inclusive works which can now become the norm.

HowlRound is a website and forum dedicated to being the feedback needed to strengthen the theatre for artists and performers — both established and aspiring. In addition to this event, HowlRound’s contributors have been speaking to the topic of diversity on their website over the last couple of months. In his article “Unpacking Diversity In Musical Theatre,” panelist Michael R. Jackson, reminds us that theatre’s main goal is:

To hold the mirror up to humanity and reflect it back (or distort it) in order to share, person-to-person, what it means to exist in joy and suffering in the world. 

These articles and discussions left us ready to explore the ideas of the power of point of view, the cultivation of more writers, directors, and producers of color, and the future of our new audience and how we communicate our want and need for them to indulge in our world. 

What do you see in the future of musical theatre?

Check out the footage from the discussion here!

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Events and Happenings

Erika Dickerson-Despenza Addresses Flint Water Crisis with Cullud Wattah

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Playwright Erika Dickerson-Despenza

There is limited seating left for Erika Dickerson-Despenza’s new play CULLUD WATTAH at The Public Theater. Opening today, Thursday, March 7th and running until Sunday, March 10th in the Public Studio is about three generations of Black women living through the current water crisis in Flint, Michigan.

“It’s been 936 days since Marion’s family has had clean water. When local activists file a class action lawsuit against the city, Marion—a third-generation employee at General Motors—must decide how best to support her two daughters, sister, and mother while lead seeps into the community, their home, and their bodies. As corrosive memories and secrets rise among them, the family wonders if they’ll ever be able to filter out the truth.”

2018 Relentless Award Semifinalist and poet-playwright makes her Public Theater debut with CULLUD WATTAH directed by Lilly Award winner Candis C. Jones; the cast includes Deonna Bouye (Marion), Alana Raquel Bowers (Reesee), Caroline Stefanie Clay (Big Ma), Nikiya Mathis (Ainee), and Kara Young (Plum).

The creative team includes Production Stage Manager Gregory Fletcher, Stage Manager Priscilla Villanueva, and Movement Director Adesola Osakalumi. Along with scenic design by Arnulfo Maldonado, Costume Design by Ntokozo Fuzunina Kunene, lighting Design by Jeanette Oi-Suk Yew, and sound design by Megan Culley

We believe in this work so much we’re giving away 4 tickets to the performances on March 10th. 2 tickets to the matinee and two the evening performance thanks to our founder Drew Shade and actress/playwright Jocelyn Bioh. Go to our Instagram to find out how!

Also, find out more about how you can help the Flint Water Crisis and support this show HERE.

Listen to Erika talk about her work on an episode of Off Book Podcast below

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Surely Goodness and Mercy by Chisa Hutchinson Begins Off-Broadway

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Performances begin today, Tuesday February 26th, for the New York premiere of  Surely Goodness and Mercy, presented by Keen Company. A story about an exceptional boy living a troubled life in Newark, NJ who does a good deed for an often unnoticed person.   Sarita Covington, Jay Mazyck, Brenda Pressley, Courtney Thomas, and Cezar Williams star under Jessi D. Hill’s direction.

Set in an under-funded public school in Newark, Surely Goodness and Mercy by rising playwright Chisa Hutchinson, tells the story of a bible-toting boy with a photographic memory who befriends the cantankerous old lunch lady. Against all odds, Tino and Bernadette help each other through the mess of growing up and growing old.  

Surely Goodness and Mercy has spent the last year charming audiences across the country: “Notably absent from Hutchinson’s frank and sobering story: cynicism” – Chicago Reader; “(Surely Goodness and Mercy has) a soul-stirring quality, touching audiences with its sincerity” – Daily Utah Chronicle; “it’s impossible not to like it” – The Salt Lake Tribune. Now, Keen is honored to bring this big-hearted new play to New York for the first time.

Performances for this limited Off-Broadway engagement of Surely Goodness and Mercy will continue through Saturday, April 13th only, with opening night set for Wednesday, March 13th.

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