Imhotep's Guide to Black Events
Ruben Santiago-Hudson’s career got off to as auspicious a start as one could hope for.
BroadwayCon at the Jacob K. Javits Convention Center this past weekend was the best it gets for theater lovers.
It has been too long in coming but, at last, August Wilson’s “Jitney” has made it to Broadway. And “Jitney” is the best play there!
The “Phantom of the Opera” on Broadway, at the Majestic Theatre, has boldly cast the first African-American as Raoul (Jordan Donica) and the first Asian-American as Christine (Ali Ewoldt).
Harlem School of the Arts is a one-of-a-kind institution in Harlem. HSA, which has been around since 1964, is a leading example of arts, community and collective creative forces joining together under one roof.
The year 2016 was full of brilliance for Blacks in theater. The year began with the phenomenal work of Lydia R. Diamond, “Smart People,” which was presented by Second Stage Theater and starred African-Americans Mahershala Ali and Tessa Thompson, along ...
I have never seen anything like it. A production that had people dressed as and acting like cats. A musical that has the audience come to an understanding of the things that these animals go through.
Blessed. That’s the first word that comes to mind during the Alvin Ailey American Dance Theater’s City Center season. It describes the AAADT dancers’ gift of technical versatility as they perform ballet, jazz, modern and African dance styles with steely ...
Les Ballets Trockadero de Monte Carlo, the all-male comic ballet company, takes the stage at the Joyce Theater (Dec. 13-28) with a program presenting parodies of traditional classical ballets that tickle, tantalize and make audiences laugh out loud while treating ...
When you were a child, did you look forward to the holiday season because you knew that Channel 2 was going to run “Rudolph the Red-Nosed Reindeer?” I know I did.
“Siete Mares,” a new work by Afro Cuban Orisha Dance Theater, is set to have its world premiere this weekend.
Poignant, riveting, captivating and disturbing are the words that come to mind as you watch the timeless production of Athol Fugard’s “‘Master Harold’ … and the Boys” playing at the Pershing Square Signature Center on West 42nd Street.
Last Monday night was the annual heartwarming Black Theater family reunion, acknowledgement of extraordinary talent and a love-fest.
It has been awhile since Ntozake Shange’s paradigm-shifting “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf” exploded onto the theatrical scene in 1973, introducing a provocative new voice and unique genre—the choreopoem.