|
African-Americans on Broadway
Everyone knows that the pinnacle of achievement in American Theatre is
the Broadway stage in New York City. The cluster of prestigious theatres
in midtown Manhattan is nicknamed the Great White Way, apparently for
all of the bright lights that illuminate the area. However, one could
argue that it also seems to reflect a disproportionate number of shows
that lack African American presence or much cultural diversity whatsoever.
Recently two Broadway shows opened which challenged the cultural sensibilities
of typical Broadway offerings. One utilizes a classic piece of material
to tell a timeless story in a traditional way. The other takes an unprecedented
approach to presenting an age-old art form. As provocative as they are
diverse, Ma Rainey’s Black Bottom and Russell Simmons’ Def Poetry
Jam has taken two very unique approaches to broadening Broadway. Here
is a lil’sumpn’sumpn’ on how they did it.
Ma Rainey’s Black Bottom 
From the early Eighties through the mid Nineties, the
collaborative efforts of playwright August Wilson and director
Lloyd Richards have emerged as the definitive voice of the black
experience in the landscape of American theatre. Their productions
provided early opportunity for some of today’s biggest names in
African American acting talent. The inaugural production of the
dynamic duo was 1984s critically acclaimed Ma Rainey’s Black
Bottom. Set in 1927, the play tells the story of Ma Rainey, a
fictitious, successful yet cantankerous blues singer and her power
struggle with everyone in her midst, particularly her trumpet
player, Levee. For Richards, it was another jewel in the crown for
a man who, in 1959, directed Sidney Poitier in the original
production of Lorraine Hansberry’s A Raisin In the Sun on Broadway.
For Wilson it would be the launching pad for what would become
perhaps the most prolific playwriting careers of the 20th century,
African American or otherwise. Since that time August Wilson has
received wide spread accolades for his body of work which also
includes Joe Turner’s Come and Gone, Fences, Piano Lesson, and Two
Trains Running among others.
Recently, Broadway has enjoyed a revival of Ma Rainey’s Black
Bottom starring Whoopi Goldberg in the title role and Charles S.
Dutton reprising his role from the original production as Levee.
The production boasts a stellar supporting cast that includes Carl
Gordon as trombone player, Cutler, Stephen McKinley Henderson as
upright bassist, Slow Drag, and Thomas Jefferson Byrd as piano man,
Toledo. For her part as Ma Rainey, Whoopi Goldberg seems to
approach her interpretation of the text with a certain subtle
sophistication that rivals other more traditional choices that
others have made previously when inhabiting the role. Charles S.
Dutton seems to wear the character of Levee like a comfortable pair
of shoes resulting in a riveting combination of strength and
vulnerability. Among the supporting cast, Thomas Jefferson Byrd is
a standout as Toledo. As a veteran of stage and screen, Byrd is
able to establish an inherent connection to the material that
allows him to make every moment full and every line ring with truth
and conviction. For the 2003 production of Ma Rainey, acclaimed
director, Marion McClinton takes the baton from Lloyd Richards at
the helm of the show. This is not his first time directing one of
Wilson’s pieces. McClinton also directed 2000’s production of
Jitney Off-Broadway and 2001’s King Headley, the most recent Wilson
play on the great white way before Ma Rainey. The significance of
Ma Raineys Black Bottom on Broadway in 2003 is apparent. It not
only brought African American voices to a cultural landscape that
is decidedly lacking in such flavor, but it also tells a timeless
story that transcends all boundaries to provide all the elements we
go to the theater for.
Russell Simmons’ Def Poetry Jam
Hip-hop impresario, Russell Simmons has an uncanny ability
to recognize the most unlikely star quality. Between its recording label
and comedy shows, his Def Jam brand has discovered everyone from Run DMC
and LL Cool J to Bernie Mac and Chris Tucker, becoming synonymous with
whatever is next in popular culture. His Phat Farm clothing line now defines
urban fashion. Simmons latest endeavor, Def Poetry Jam may prove to be
his most profound offering yet. Spoken word has been a most enduring art
form for centuries. Ironically, it has laid the foundation for the music
that Simmons helped to pioneer three decades ago and in turn made him
a mogul. So leave it to a visionary such as Simmons to bring the most
potent voices Broadway has heard in years. Hugely successful on cable,
Def Comedy Jam seems to have provided the formula. Both starting as an
HBO half-hour program and later providing the live stage as an outlet
for the undiscovered yet polished talent.
Def Poetry Jam on Broadway tends to alter its format more
drastically than its TV predecessor. As opposed to rapper Mos Def
serving as host and presenting each individual talent, the stage
show serves as a showcase for more collaborative efforts. Nine
poets compose the cast of voices whose insights touch on everything
from domestic abuse, financial challenges, various perspectives on
the condition of today’s world, celebration of one’s self, and so
much more. One of the most striking elements is the diversity
among the talent. Steve Coleman has an All American, clean-cut
image yet a scathing wit that challenges all that is conventional.
Black Ice is the embodiment of the plight of young African American
men. Staceyann Chin is a blend of Asian and West Indian with a dash
of Lesbian thrown in for extra flava. Beau Sia is a young Asian
male whose “extreme” perspective (and sense of style) paints broad
strokes on any subject. Mayda Del Valle beautifully adds potent
Latin spice to the mix. Suheir Hammad brings the depth of third
world consciousness. Lemon contributes shades of brilliance from
the heart of Brooklyn and the soul of Puerto Rico. Poetri
illuminates the virtues of not taking ones self too seriously.
Rounding out the voices is Georgia Me, who powerfully represents
the resiliency that is black womanhood.
With perfect timing, DJ Tendaji Lathan provides an eclectic
blend of music that is the common thread that engages the audience
as well as tie the voices together. The journey begins with the
entire company hitting the audience with a prelude of what is to
come. The women stamp the show in the beginning of the second act
with a chorus of perspectives that extol the virtues of love poems,
followed by Lemon who humorously delivers an alternative yet
poignant take on the same subject. The audience is treated to a
verbal assault that is more tantamount to a carousel than a roller
coaster. The poems ride their subject matter like waves of
precision. Another stand out piece is Jammin the collaboration
between Black Ice and Staceyann Chin that praises musical legends
Bob Marley and Jam Master Jay. The show culminates with all nine
voices performing a piece entitled I Write America, which offers
shades of hope for our future. With such a diverse blend of talent,
Russell Simmons’ Def Poetry Jam is certain to have something for
everyone.
|
