The Spotlight on Plays series just announcedthe full company for Wendy Wassersteins The Sisters Rosensweig starring Jason Alexander, John Behlmann, Lisa Edelstein, Kathryn Hahn, Kathryn Newton, Tracee Chimo Pallero, Chris Perfetti and James Urbaniak.
Stars from three of Broadway’s hottest tickets united on Good Morning America May 11 to reveal that their shows—Hamilton, Wicked, and The Lion King—will welcome back audiences for the first time since the coronavirus shutdown September 14. But as these titles and more flood inboxes and social media feeds with reopening announcements, calls for a more equitable and safe theatrical landscape persist. Broadway will be back, but in addition to health measures in the wake of a pandemic, how will Broadway reckon with the spotlight shined on racist, abusive, and intimidating practices as theatres remained dark?
“We’ve taken a lot of steps not only to make sure the theatre is going to be safe for all audience members, but to make sure that our cast and crew have been trained in anti-racism training, also making sure that we as a brand are pushing forward social justice,” said Krystal Joy Brown, representing the company of Hamilton. (Brown joined the cast as Eliza three months before the shutdown). The Lion King‘s L. Steven Taylor (a longtime Mufasa) cited the work of such cohorts as Broadway Advocacy Coalition, Black Theatre United, and Black Theatre Coalition, which have mobilized in the wake of the Black Lives Mater movement to dismantle white supremacy, to ensure the industry is “not only returning, but returning stronger and better than we were before.” Alexandra Billings, the first openly trans performer to play Madame Morrible in Wicked, highlighted the significance of trans youth finding representation on stage in a time when state legislation across the country threatens their health and well-being.
But in a year of wakenings and reckonings, artists have made their voices heard even if in the absence of a stage.
Some performers have vowed to withhold their work and artistry until producers share more specifics. At the recent Broadway United for Racial Justice rally, Tony nominee Adrienne Warren, who up until the shutdown has been starring in the title role of Tina: The Tina Turner Musical, said she would not sign another contract until the lines of communication widen. “Every single person of color that comes in that room comes in with a weight you cannot begin to understand,” she said during the May 1 event. “What I am asking you, Broadway, is that you choose to help alleviate some of that weight. That you make the choice, because you can, and because right now this country is not doing it. Set an example, please.”
André Jordan, an ensemble member of the Princess Diana musical Diana (which played nine pre-pandemic previews and intends to resume in December), has taken to Twitter, imploring fellow actors to engage in conversations with producers and company managers about equity and safety moving forward. The musical is in a unique position in that the company has performed on their stage during the pandemic, for a filmed presentation to stream on Netflix later this year.
As the company prepared to reunite for the Netflix production, Jordan says, producers arranged, at the request of cast members, for unconscious bias training, a space for open dialogue about past micro and macro aggressions, and an anonymous hotline. With these implementations, Jordan saw tangible changes. Before cameras were rolling, staging that placed primarily Black performers in positions of servitude was adjusted. Through the hotline company members expressed concern about costume designer William Ivey Long’s involvement in the wake of sexual harassment and misconduct allegations; though Jordan says these concerns have not been publicly addressed by the production, he does note that Long was not present for filming.
Moving forward, Jordan hopes to see that the inclusion of an unconscious bias compliance officer becomes normalized for all productions. “Broadway—musical theatre and plays—we need therapy within ourselves, and we need that outside help to come into our business to be a part of our team and a part of our resurgence,” he says.
As of now, even as dates are announced and tickets go on sale, few productions have confirmed casting for their returns. Jordan says he has not yet entered new contract negotiations with Diana, but does anticipate, based on the production’s reception thus far, that steps like these will be among the stipulations discussed. “If you find yourself saying, ‘I don’t want to rattle, or I don’t know how they’ll react,’ know that this is the exact type of behavior we’re trying to eliminate,” Jordan says, addressing others in shows readying for their returns. “We will work together to give you all the resources and tools that will make the process of coming clean in your house as easy as possible.”
The promise of rising curtains and clean houses arrives on the heels of demands for accountability, which arose in the aftermath of a wave of allegations of abuse and intimidation perpetrated by producer Scott Rudin. An April 22 “March on Broadway” called for Rudin’s removal from the Broadway League (Rudin has since said he will step down) and transparency from Actors’ Equity, the union representing actors and stage managers. In the weeks following the march, organizers have held meetings with Equity leaders about steps being made to respond to these demands.
In the week leading up to the group’s next dialogue with the union (set for May 14), March on Broadway is hosting a three-day series of Instagram Live conversations. The first featured co-organizer Courtney Daniels, actor-activist Davon Williams (equipped with thorough visual aids), and Tony winner Laura Benanti. The three outlined the Black Theatre Matters Bill, a 12-article resolution organized by Williams and crafted with hundreds of others aimed at making the union and industry at large more equitable.
Additional Instagram conversations from March on Broadway throughout the week will touch on some of the movement’s additional demands, such as greater inclusion and visibility for trans, nonbinary, and gender-nonconforming artists (who will be centered in the May 12 stream) as well as those who are deaf or disabled (May 13). Members of those marginalized and underrepresented communities—including Shakina Nayfack and L Morgan Lee May 12 and Ryan J. Haddad and Joshua Castille May 13—will take part, as will Tony winner Stephanie J. Block and Broadway favorite Sierra Boggess on those respective dates.
The group’s inclusion of Benanti, Block, and Boggess—all white, cis female performers with sizable followings—is meant to showcase allies’ responsibility to amplify BIPOC and other marginalized voices without centering themselves or their own discomfort. “These are the conversations that I want people to tune into and truly tap into—especially our allies,” Daniels said in the May 11 stream. “These are the conversations we want to have and want you to start beginning within your circle.”
The sounds of Motown will return to Broadway beginning October 16 when the Tony-nominated musical Ain’t Too Proud—The Life and Times of the Temptations resumes at the Imperial Theatre. The first show will be a gala performance, one producers Ira Pittelman and Tom Hulce say “will be an epic performance full of love, laughter, and tears of joy, but we know the hard work still lies ahead and we embrace the task whole heartedly.”
Tickets are now on sale for the show’s return.
READ: What Broadway Shows You Can Buy Tickets For (and When)
Featuring a book by Dominique Morisseau, the musical uses the group’s hits to tell the story of their journey from the streets of Detroit to the Rock & Roll Hall of Fame. Songs include “My Girl,” “Just My Imagination,” “Get Ready,” and “Papa Was a Rolling Stone.”
The production made its world premiere at California’s Berkeley Repertory Theatre in 2017 before going on to play Washington, D.C., Los Angeles, and Toronto.
The musical, which opened on Broadway March 21, 2019, was nominated for 12 Tony Awards including Best Musical. Two-time Tony winner Des McAnuff directs, with Tony-winning choreography by Sergio Trujillo.
The most recent cast of the Broadway production, which played the Imperial up until the coronavirus-caused shutdown, included Nik Walker as Otis Williams, James Harkness as Paul Williams, Jawan M. Jackson as Melvin Franklin, Matt Manuel as David Ruffin, and Jelani Remy as Eddie Kendricks, with Saint Aubyn, Esther Antoine, Shawn Bowers, E. Clayton Cornelious, Tiffany Francès, Taylor Symone Jackson, Marcus Paul James, Jahi Kearse, Elijah Ahmad Lewis, Jarvis B. Manning, Jr., Morgan McGhee, Joshua Morgan, Christian Thompson, Correy West, Drew Wildman Foster, Curtis Wiley, Jamari Johnson Williams, and Candice Marie Woods.
Casting for the Broadway return will be announced at a later time.
Ain’t Too Proud also has sets by Robert Bill, costumes by Paul Tazewell, lighting by Howell Binkley, sound design by Steve Canyon, and projections by Peter Nigrini. Casting is by Tara Rubin Casting and Merri Sugarman.
The Tony and Olivier Award-winning musical COME FROM AWAY will return to Broadway’s Gerald Schoenfeld Theatre on Tuesday, September 21, 2021.
On this day in 1978, the musical revue Ain’t Misbehavin’ opened on Broadway
1860 Birthday of James M. Barrie, British author and playwright whose creations include What Every Woman Knows, The Little Minister, The Admirable Crichton, and the work that makes him immortal, Peter Pan.
1921 Robert Atkins directs William Shakespeare‘s Pericles for Lilian Baylis at London’s Old Vic Theatre. This continues the cycle that began in 1914 and ends in 1923, when all 37 of the Bard’s works have been performed.
1940 Laurence Olivier produces, designs, directs, and stars in Romeo and Juliet on Broadway at the 51st Street Theatre. Playing Juliet to Olivier’s Romeo is his fiancée, Vivien Leigh.
1956 In The House by the Lake lives a woman who was saved from suicide by her husband years before through hypnosis. Now he plans to bring her to commit the act, again through hypnosis. Hugh Mills‘ thriller draws audiences for 928 performances at the Duke of York’s Theatre in London.
1972 The children’s classic Tom Brown’s Schooldays is adapted by Joan and Jack Maitland with a score by Chris Andrews. Adam Walton and Roy Dotrice are in the cast at the Cambridge Theatre in London.
1978 Ain’t Misbehavin’, a revue based on the music of Fats Waller, opens at the Longacre Theatre on Broadway. Nell Carter, Ken Page, Charlaine Woodard, and André De Shields are in the cast. It wins the Tony Award for Best Musical and runs 1,604 performances.
1982 On the ninth day of May, Arthur Kopit and Maury Yeston open their musical Nine at Broadway’s 46th Street Theatre. Tommy Tune directs a cast that includes Raúl Juliá and a slew of women, including Karen Akers, Anita Morris, and Liliane Montevecchi. The musical was inspired by the film 8 1/2 by Federico Fellini. Less than a month later, it wins the Tony Award for Best Musical.
1994 Stephen Sondheim and James Lapine‘s musical about obsessive love, Passion, opens on Broadway at the Plymouth Theatre. Based on the 1981 film Passione D’Amore, it stars Marin Mazzie, Jere Shea, and Donna Murphy under Lapine’s direction. It runs 280 performances, and wins the Tony Award for Best Musical.
2005 The Broadway theatres long known as the Plymouth and the Royale are renamed by the Shubert Organization in honor of longtime leaders Gerald Schoenfeld and the late Bernard B. Jacobs.
2007 Audra McDonald and Steve Kazee star as spinster Lizzie Curry and con man Bill Starbuck in this first Broadway revival of 110 in the Shade since its 1963 main stem premiere. Based on the play The Rainmaker by N. Richard Nash, the musical features a book by Nash with lyrics and by Tom Jones and Harvey Schmidt.
2011 Lynn Nottage‘s By the Way, Meet Vera Stark, about an African-American maid and her white movie-star employer in the Golden Age of Hollywood, opens Off-Broadway at Second Stage Theater. The world premiere production stars Sanaa Lathan as the title character, with Stephanie J. Block as her boss.
2012 Top Hat, a stage version of the 1935 film of the same name with music and lyrics by Irving Berlin, opens at the West End’s Aldwych Theatre. The production, which stars Tom Chambers and Summer Strallen in the roles created in the film by Fred Astaire and Ginger Rogers, wins the 2013 Olivier Award for Best Musical.
2019 MCC Theater celebrates the opening of the Off-Broadway premiere of Aziza Barnes’ BLKS. Robert O’Hara directs the new comedy, which follows a trio of 20something women hunting for intimacy and purpose in New York City. Leading the cast are Paige Gilbert, Alfie Fuller, and Antoinette Crowe-Legacy.
More of Today’s Birthdays Leonard Sillman (1908-1982). Fay Kanin (1917-2013). Alan Bennett (b. 1934). Albert Finney (1936-2019). Glenda Jackson (b. 1936). Candice Bergen (b. 1946). Justin Vivian Bond (b. 1963). Christopher Shinn (b. 1975). Grace Gummer (b. 1986).
