It has been a magnificent year for Black Theater. (By the way, you can still experience theater at exceptional levels by getting tickets to “Ragtime” at Lincoln Center. That’s a Broadway musical at its best!) Looking back at 2025, there was so much to appreciate.
In January, the year started off with the musical comedy “Death Becomes Her” at the Lunt-Fontanne Theatre, starring Michelle Williams as the sexy, evil Viola Van Horn, who has the secret to eternal youth. Williams’s voice is on fire — she’s dynamite in the role. It also features Taureen Everett as Chagall, Viola’s sexy assistant. “The Prior 55” at Theater for the New City, written by Andrea J. Fulton and with poignant direction by Patricia R. Floyd, was a deep play that told the story of a psychiatric nurse named Mahala and her attempt to help a homeless man named Redman Blue living in a rural community in Louisiana. The production starred Martine Fleurisma as Mahala and veteran actor Michael Green as Redman Blue. They played their roles with humor, drama, concern, and empathy.
In February, the New Federal Theatre held its Ancestral Voices Solo Festival and presented “Shirley Chisholm: Unbossed and Unbowed,” written and performed by Ingrid Griffith, at its theater home at WP Theater. The New Federal Theatre always tells our stories brilliantly and gives us detailed information, championing our people and our accomplishments.
March showed that theater truly does have purpose: “Purpose,” Branden Jacobs-Jenkins’s drama premiering on Broadway at the Helen Hayes Theater, was theatrical perfection, going on to win the Tony for best play. It was a shining moment for Blacks on Broadway, because it was not only written by this Tony Award-winning Black playwright, it also featured a stellar cast of Black actors. The cast included Jon Michael Hill; Kara Young, who won the Tony for her performance; LaTanya Richardson Jackson, Glenn Davis, Harry Lennix, and Alana Arenas. The play contained complexity, humor, vulnerability, challenges, blind family loyalty, and the demons that we may carry in us. Add to all of this riveting direction by Phylicia Rashad and you had nothing less than a winner. The show was extended due to its stunning story and cast. “Wine in the Wilderness” was intoxicating theater for the soul, written by the late Alice Childress. The show, which played at the Classic Stage Company’s Lynn F. Angelson Theater, marked the directorial debut for Tony Award-winning actress LaChanze and was quite an impressive debut. The play depicted a Black male painter during the Harlem riots of 1964 who was creating paintings to illustrate his vision of Black womanhood from their innocence to an imagined perfect beauty, to showing the worst that Black womanhood has to offer. Bill finds out one shouldn’t judge a book by its cover when he meets Tomorrow “Tommy” Marie. The play starred Grantham Coleman as Bill and Olivia Washington as Tommy, and featured Milton Craig Nealy; Brooks Brantly, and Lakisha Michelle May. Every aspect of this production was done to perfection.
“Othello” on Broadway at the Ethel Barrymore Theatre (W. 44th Street) starred Denzel Washington, who proved why he is a legend. He delivered the Moor with passion, anger, empathy, and vulnerability. It also featured Kimber Elayne Sprawl as Emilia, Desdemona’s servant, whose performance was electric and brilliant. This production was like no other “Othello” you may have seen before on Broadway, because it was directed by legendary director Kenny Leon. Anytime you attend a Broadway production and hear that Leon is directing, you should expect to see something bold, different, funny, and brutally dramatic where it needs to be.
In April, “Macbeth in Stride,” which played at the Harvey Theater at BAM Strong, was the musical brainchild of Whitney White, who wrote it and starred in it as Lady Macbeth. Although most of us know her as a director, she also has quite an amazing singing voice and is a phenomenal actress. The musical featured exceptional actresses playing the three witches: Phoenix Best, Holli Conway, and Ciara Alyse Harris. “BOOP! The Musical” played at the Broadhurst Theatre (W. 44th Street) and was bountiful with cartoons and cuteness, creativity, and originality. This musical production — a glorious, blast of fresh air on Broadway — had a delightful, imaginative book by Bob Martin; engaging and entertaining music by David Foster; delightful lyrics by Susan Birkenhead; and absolutely scrumptious choreography and direction by Jerry Mitchell. It is based on the characters created by Max Fleischer. The character of Betty Boop was inspired by a Black jazz singer named Esther Jones, who was known as “Baby Esther,” so it was absolutely appropriate and fantastic that this character was portrayed by an amazing Black actress, Jasmine Amy Rogers, who not only made her Broadway debut, but left her mark on Broadway. The whimsical musical took you from the B&W cartoon existence of Betty Boop filming movie shorts to Betty deciding that she wants more out of her existence — she wants to go to the real world. When she gets there, she experiences colors and is amazed and delighted. She is like a kid in a candy store as she appears at the one place she would not only be accepted, but appreciated: the New York Comic Con. Rogers’s voice was absolutely stunning, as was her acting performance. She led a cast that included Stephen DeRosa, Faith Prince, Angelica Hale, Ainsley Melham, Anastacia McCleskey, Aubie Merrylees, Erich Bergen, and Phillip Huber.
Also marvelous was “Buena Vista Social Club” which opened. It tells the amazing story of the Buena Vista Social Club in Cuba — of its music and its artists. It is a story that begins with words and is taken over by the vibration, sounds, and rhythm of a people. It has a mesmerizing book by Marco Ramirez and a fantastic cast that stars Natalie Venetia Belcon (she won the Tony for her role as Omara) and features Ashley De La Rosa, Da’von T. Moody, Leonardo Reyna, Wesley Wray, Juilo Monge, Mel Seme, Jainardo Batista Sterling, and Isa Antonetti. The choreography by Patricia Delgado and Justin Peck will have you dancing in your seat. This musical has sensational direction by Saheem Ali (he’s been very busy). “Ceremonies In Dark Old Men” came back to the stage after 40 years to play at the Theatre at St. Clement’s (W. 46th Street) in a production presented by the Peccadillo Theater Company, Negro Ensemble Company Inc., and Eric Falkenstein. Written by Lonne Elder III, it told the story of the Parker family — the father, Russell, and his three adult children, Adele, Theopolis “Theo,” and Bobby. You saw the family struggling as Adele is the only person who feels she needs to work and ends up taking care of her father and adult brothers, until Theo comes up with a scheme to make money. It starred a tremendously talented cast led by Norm Lewis as Russell and featured wonderful performances by Morgan Siobhan Green as Adele, Bryce Michael Wood as Theo, and Jeremiah Packer as Bobby, along with James Foster Jr., Calvin M. Thompson, and Felicia Boswell. The production had stunning direction by Clinton Turner Davis.
“The Imaginary Invalid” played in Prospect Park’s LeFrak Center at Lakeside for free. The Moliére comedy combined a story, humor, and dance (original ballet and hip-hop), and was translated and directed by Lucie Tiberghien. Starring in the lead role of Argan was Sahr Ngaujah and he was hilarious. Also featured were Shayvaun Webster as Angelique, Argan’s daughter who was being forced to marry; Naomi Lorrain, versatile and marvelous as Thomas, a doctor hoping to wed Angelique, and Beralde, Argan’s sister; Doron JePaul as Cleante; Donte Bonner in four roles. Dancer/choreographer Cal Hunt, along with composer/cellist Johnathan Moore, rounded out the company.
“Goddess,” a new musical that played at the Public Theater was a celestial, theatrical soul-stirring gift. It had a superb book and direction by Saheem Ali, with additional material by James Ijames and splendid African-themed choreography by Darrell Grand Moultrie. The musical was set in Mombasa, Kenya, and told the mythological origin story of Marimba, the goddess of music. It starred the sublime Amber Iman and featured a fantastic cast that included Austin Scott, Arica Jackson, Nick Rashad Burroughs, Reggie D. White, J. Paul Nicholas, Ayana George Jackson, Destinee Rea, and Jason Bowen, along with Melessie Clark, Teshomech Olenia, and Awa Sal Secka. “The Black Wolfe Tone,” presented by the Irish Rep’s W. Scott McLucas Studio Theatre (W. 22nd Street) was a one-man show written by and starring Kwaku Fortune. He told a deeply personal and moving story of dealing with bipolar mental illness and growing up a Black man in Ireland.
In June, honors for Black theater folk were abundant. At the 79th Annual Theatre World Awards, held at the Hard Rock Café, the legendary Leslie Uggams received the John Willis Award for Lifetime Achievement. The Theatre World awards recognize outstanding stage debuts and were given to Ayana Arenas for “Purpose” and Jasmine Amy Rogers for “BOOP.” At the 78th Annual Tony Awards, “Purpose” made history: Kara Young became the first actress to win for performance by an actress in a featured role in a play for two consecutive years. She won the year before her role in “Purlie Victorious: A Non-confederate Romp Through the Cotton Patch.” Playwright Branden Jacobs-Jenkins made history as the second Black playwright to win a Tony Award for two consecutive years, having received one for “Appropriate” the prior year. Glenn Davis became the first Black producer to accept a Tony for best play, for “Purpose.” Paul Tazewell won the Tony Award for costume design for “Death Becomes Her.” This year, the winner of the Excellence in Theatre Education Award was bestowed on Gary Edwin Robinson, the theater teacher and chair of the theater arts program at Boys and Girls High School in Brooklyn. “Lights Out: Nat “King” Cole” presented at the New York Theatre Workshop (79 E. 4th Street), written by Colman Domingo and Patricia McGregor, was a dignified, loving tribute that gave the audience a behind-the-scenes view of the final night of Cole’s television show. It starred Dule Hill in the title role, who carried himself with a quiet dignity, and featured a delightful cast that included Daniel J. Watts, Krystal Joy Brown, Kenita Miller, Walter Russell III, Kathy Fitzgerald, Christopher Ryan Grant, Ruby Lewis, and Elliott Mattox. There was fantastic choreography by Edgar Godineaux and tap choreography by Jared Grimes, with direction by McGregor.
“The Wash,” presented by the New Federal Theatre at WP Theatre, was definitely a must-see. Written by Kelundra Smith, it told a phenomenal story of the pride, dignity, and determination of Black women in 1881 Atlanta during the historic Atlanta Washerwomen Strike. The cast was stunning to watch. They were determined, funny, and poignant and included Eunice Woods, Bianca Laverne Jones, Margaret Odette, Alicia Pilgrim, Kerry Warren, and Rebecca Haden. There was seamless direction by Awoye Timpo. At the 69th Annual Drama Desk Awards at NYU Skirball Center, George C. Wolfe won for Outstanding Revival of a Musical for “Gypsy,” which he directed. Audra McDonald tied for Outstanding Lead Performance in a musical for “Gypsy” in playing Rose. Jasmine Amy Rogers also won this honor for “BOOP!” “Purpose” by Branden Jacobs-Jenkins won Outstanding Play, Kara Young won for Featured Performance in a Play. Dede Ayite won for Outstanding Costume Design of a Play for “Our Town.” Brian Stokes Mitchell received the William Wolfe Award for his dedication to theater and service.
July began with great sadness as Michael Dinwiddie, playwright, NYU professor, and historian, passed away from cancer. It was an immense loss for the academic and theater community, and it is a loss that is still being felt. The month also included a free production of “Memnon” by the Classical Theatre of Harlem in Marcus Garvey Park in Harlem. Written by Will Power, it was co-conceived by Power and Carl Cofield, who also directed. Spirited choreography was provided by Tiffany Rea-Fisher. Eric Berryman gave a powerful, proud, and boldly honest performance as Memnon, an Ethiopian King who came from Troy; Andrea Patterson was brilliant as Helen of Troy.
“Twelfth Night” presented at The Public Theater’s renovated Delacorte Theater in Central Park was funny, fabulous, and free. The Shakespearean comedic classic about unrequited love, disguises, and getting your heart’s desire was given a different approach by Saheem Ali, who directed it. The production also boasted an all-star cast that included Khris Davis, Lupita Nyong’o, her brother Junior Nyong’o, Daphne Rubin-Vega, Moses Sumney, Jesse Tyler Ferguson, John Ellison Conlee, Sandra Oh, and Peter Dinklage.
The packages were flying in August as “Postal Madness” played at the American Theatre of Actors on W 54th St. Presented by Shades of Truth Theatre, New Heritage Theatre Group, and Michael Anthony Productions, Anthony wrote the play based on his 30 years of working at the post office and shared the zany happenings. The cast was entertaining to watch and included Andrew R. Cooksey Jr., Bill Vila, Patrice Battey, Sarah Tuchman, Jim Dadosky, Kevin Shivcharran, and the play was directed by Michael Green.
“Duke & Roya” played at the Lucille Lortel Theatre on Christopher St. Playwright Charles Randolph Wright rendered a powerful message about the war in Afghanistan, and how the people there are living, or just merely existing under the Taliban. You have a Black American rapper Duke, who comes to entertain troops in Afghanistan and meets an Afghan woman interpreter Roya, on the base. Duke learned the issues faced by the Afghan people. Wright’s story was eye-opening. The drama had a sublime cast that included Jay Ellis, Stephanie Nur, Dariusch Kashani, and Noma Dumezweni. There was incredible direction by Warren Adams. Lencia Kebede became the first full-time Black Elphaba in “Wicked” on Broadway.
September was somber with soul stirring works. “Holes in the Shape of my Father,” brought autobiographical trauma triumphantly to life as the one-man show, written and performed by Savon Bartley, was presented at The Tank on W 36th. In this very intimate theater, Bartley bared his life, insecurities, and trauma, along with his resilience regarding growing up as a young Black man without his father visibly in his life due to choices his father purposely made. His father came from a legacy of Black fathers who were not in their sons’ lives. The play was poignant to witness. “Relative Strangers” shared a young woman’s journey to find herself as comedian Chanel Ali told her autobiographical story of growing up with a very complicated and troubled family. Ending up in foster care, her story was one of trauma, frustration, wanting to feel loved and cared for, but not finding it in the way most people think of, that happens for a child. For one hour, the Soho Playhouse on Vandam St. was the place to hear her use humor to convey her sad tale.
“The Brothers Size,” which played at The Shed on W 30th St., was a deep, unique, powerful, and incredibly moving theater created by Tarell Alvin McCraney. Using two brothers, Ogun and Oshoosi Size, McCraney examined not only how complicated a relationship between brothers can be, but also looked at what happens to a Black man when he is incarcerated. Through the characters of Oshoosi and Elegba, an ex-con who was in jail with Oshoosi, we learned what terror Black men face in the prison system and what constant injustices they face in the outside world after they have served their time. McCraney made the characters their own narrators, which was revolutionary. McCraney managed to beautifully and powerfully intertwine Yoruba culture and stories of the gods with these human characters. The three-man cast was exquisitely played by André Holland, Alani iLongwe, and Malcolm Mays, and the actors were accompanied on stage by musician Munir Zakee. McCraney co-directed the piece with Bijan Sheibani.
“Lady Patriot” was funny, informative, and incredibly creative at Theatre Row. Written and directed by Ted Lange, it demonstrated the resilience of enslaved Black people in the South during the Civil War as we heard the story of a Union spy based on real historical figures. The spy, an enslaved woman named Mary Bowser, was able to get information on the Confederate army’s moves and gave that information to their opponents. The show was remarkable, and included Chrystee Pharris, theater legend Count Stovall, Jill Whelan, Gordon Goodman, Varina Davis, and Fred Grandy.
October saw great happenings that chronicled Black achievements in theater over the decades. “Syncopated Stages: Black Disruptions to the Great White Way” is an exhibition still going on at Lincoln Center Performing Arts Library on W 65th St. through Feb. 21, 2026. Curated by the late Michael D. Dinwiddie, playwright, and theater historian, and NYU Theater Professor at the Gallatin School of Individualized Study. The exhibit traces the roots of Black theater contributions from 1821 and The African Grove Theatre all the way to the present day, broken down by decades. There are photos, performance videos, movie scenes with the tap-dancing Nicholas Brothers, original costumes — including Andre DeShields’ Wizard costume from “The Wiz!” There are original playbills, posters, and interviews with legendary actors and theater makers. The exhibit should be seen more than once, as there is too much to digest in one visit.
“Mexodus,” a new musical that told a history of Black and Brown people that we didn’t learn in school, played at Audible’s Minetta Lane Theatre in lower Manhattan. Created and performed by Nygel D. Robinson and Brian Quijada, it was a tale of Black and Brown people coming together to help enslaved people escape through the Underground Railroad across the Rio Grande into Mexico. It focused on an escaped slave named Henry, who had to run away from his master and was helped by Carlos, a former Mexican soldier. The musical focused on the friendship built between these men, and on the white man’s desire to keep Black and Brown people from working together, to keep both weaker. The two actors played multiple instruments and raised their stupendous voices in songs that dramatically told an untold story about this country, which was mesmerizing. It had wonderful choreography by Tony Thomas and stunning direction by David Mendizabal.
On a personal note, on Monday, Oct. 27, I was honored for my theater criticism by Lincoln Center Performing Arts Library with a panel called “Linda Armstrong: Celebrating 40 Years of New York Theatre Criticism.” The panel consisted of theater makers, Tony Award-winning actors and playwright and New Federal Theatre founder Woodie King Jr.; actor, director and former Artistic Director of the Nuyorican Poets Cafe Rome Neal; theater producer and AUDELCO President, Jackie Jeffries; playwright Keenan Scott II (“Thoughts of a Colored Man”); Tony Award winners Brian Stokes Mitchell and Kara Young; and New York Times theater critic Brittani Samuel. The panelists talked about the impact of my work, including reviews and interviews, on Black theater, and individuals shared stories of how they were personally impacted in a positive, lasting way. The panel ended with Brian Stokes Mitchell singing a cappella, ‘The Impossible Dream’ from “Man of La Mancha,” but catering it to praise me. It was a moment I will never forget. This 90-minute panel was a lovely moment for me to hear what I mean to the community, which means the most to me. It was amazing to be appreciated! The panel was co-sponsored by Critical Minded, which recently published a report called “Topdog and Underdog: Critics of Color And The Theatrical Landscape.”
“Saturday Church,” which played at New York Theatre Workshop on E 4th St., was a breath of fresh air for the soul. It proclaimed unapologetically that gay and trans lives matter. The musical had a book and lyrics by Damon Cardasis and James Ijames, Fabulous music by Sia, additional lyrics by Honey Dijon, and stunning music supervision, arrangements, and orchestration by Jason Michael Webb and Luke Solomon. It was conceived for the stage and was based on a Spring Picture movie Cardasis wrote and directed. It had heart-pounding songs and choreography by Darrell Grand Moultrie. It told the story of a gay young man, Ulysses, who wanted to sing in the church choir, but his Aunt Rose, who runs the choir, worries that he’s too flamboyant. Ulysses desperately tries to find somewhere he fits in. Then he meets Raymond, a gay, homeless young man on the train, and Raymond introduces him to a Saturday Church community in which he is understood and embraced. This musical showcased a stellar cast that included J. Harrison Ghee, Bryson Battle, B. Noel Thomas, Anania, Caleb Quezon, Jackson Kanawha Perry, Kristolyn Lloyd, and Joaquina Kalukango. The ensemble cast members kept the energy flowing and included Primo Thee Ballerino, Veyonce Deleon, Michael Samarie George, J’Quay Gibbs, Fernell Hogan, Dava Huesca, Oyoyo Joi, Kareem Marsh, Damani Van Rensalier, and Wade Watson. There was phenomenal costume design by Qween Jean. This extraordinary, much-needed musical was directed by Whitney White.
“Ragtime” is spectacularly sublime and is playing at Lincoln Center’s Vivian Beaumont Theatre on W 65th St. The musical tells the story of three families striving for the American Dream — one Black, one immigrant, and one rich and white. This superb musical, packed with one showstopper number after another, features a book by Terrence McNally, and powerful music and lyrics by Stephen Flaherty and Lynn Ahren, based on the novel “Ragtime” by E.L. Doctorow. The cast will send you to the upper stratosphere. It includes Joshua Henry as Coalhouse Walker Jr., Nichelle Lewis as Sarah, his love interest, and John Clay III as Booker T. Washington. The large company also stars Caissie Levy, Brandon Uranowitz, Colin Donnell, Ben Levi Ross, Shaina Taub, and features Anna Grace Barlow, Rodd Cyrus, Nick Barrington, and Tabitha Lawing. Ensemble members include Nicholas Barrón, Lauren Blackman, Allison Blackwell, Briana Carlson-Goodman, Jordan Chin, Billy Cohen, Rheaume Crenshaw, Ellie Fishman, Jason Forbach, Ta’Nika Gibson, David Jennings, Marina Kondo, Morgan Marcell, Tom Nelis, Kent Overshown, Kayla Pecchioni, John Rapson, Deandre Sevon, Jacob Keith Watson, and Alan Wiggins. Kaleb Johnson and Kane Emmanuel alternate in the role of Coalhouse Walker III.
November was a month of powerful works about issues in the Black community. “Freedom Riders: A Journey with No End in Sight” shone at Harlem Stages. This poignant, disturbing, vivid work had an adaptation by Arthur Yorinks with Zenzele Daniels and Dr. Indira Etwaroo and was presented in partnership with The New Press. Dr. Etwaroo directed this stunning work that consisted of 12 stories of police profiling, abusing, and murdering Black people. These productions tried to sound an alarm that something has to be done. At Harlem Stage’s intimate theater at 135th St. and Convent Avenue, five superb actors played multiple roles, depicting harassment and brutality and worse against Blacks. It was jarring to watch Russell Hornsby, Billy Eugene Jones, Lisa Arrindell, Stephen Tyrone Williams, and Angelica Ross (and, at two performances, Harry Lennix) take on characters that mainly did not have names, just stories. Emotions ran high as they told the stories of Bryanna Taylor and so many others killed by police. The actors were accompanied by live music performed by pianist Arden Altino, guitarist/singer Divinity Roxx, and violinist Daniel Bernard Roumain, who also composed the musical score.
“Oh Happy Day” at The Public Theater was a powerful and poignant musical written by and starring Jordan E. Cooper. It looked at the struggles of members of the LGBTQIA community through the lead character Keyshawn, a gay sex worker who is disowned by his family. He is also a victim of a violent crime and is preparing to cross over, but he must finally get to tell his family his truth, make peace in his own heart with his family, and make sure that they know what he has endured. Cooper was joined on stage at the performance I attended by a remarkable cast that included Tamika Lawrence, Brian D. Coats (understudy for Charles Randolph Wright), Donovan Louis Bazemore, along with Tiffany Mann, Shelea Melody McDonald, and Lautrice Pace. This production featured gorgeous costume design by Qween Jean and choreography by Eboni Nichols.
Bringing humor and song were the trademarks of “44: The Musical,” a satirically fun production playing through Jan. 4, 2026, at the Daryl Roth Theatre at E 15th St. Former Obama campaign staffer Eli Bauman created the book, music, and lyrics and directed this hilarious production comedy about the troubles that faced the 44th President, Barack Obama. It has delightful, funny, sexy, and silly moments, combined with a marvelous mix of soul, R&B, and hip-hop numbers. The cast is having a good time and will make sure you do as well. It stars T.J. Wilkins (Barack Obama), Shanice (Michelle Obama), and Chad Doreck (Joe Biden), and features Summer Nicole Greer, Dino Shorté, Larry Cedar, Michael Uribes, Jeff Sumner, Chelsea Morgan Stock, Jenna Pastuszek, and Evan Tyrone Martin. On the creative side, there is music direction and music co-production by Anthony “Brew” Brewster, music supervision by Wilkie Ferguson III, choreography by Miss James Alsop, and associate choreography by Johnny Rice.
“Tartuffe” played at the House of the Redeemer on E 95th St. This Molière comedy about a rich man being taken advantage of by a dishonest minister was marvelously performed. The ensemble cast featured Andre DeShields in the title role, Amber Iman, Chris Hahn, Tyler Hardwick, Alexander Socha, Charlie Labeck, Todd Buonopane, Phoebe Dunn, and Hannah Beck.
The 53rd Annual AUDELCO Awards were held at the Alhambra Ballroom, hosted by Jerome Preston Bates and Toni Seawright. The Awards reward excellence in Black Theater and also present special honors. This year’s honorees were Andre Chez Lewis and Zora Howard — Special Achievement Award; Dr. Indira Etwaroo; Kenny Seymour, and Adrienne C. Moore — Outstanding Achievement Award; Kim Weston-Moran and Ajene D. Washington — Pioneer Award; Vy Higginsen, Ron Himes, and Marie Thomas-Foster — Lifetime Achievement Award; Debbie McIntyre, Laurie Cumbo and myself — Board of Directors Award; Dr. Audrey Baker, Dr. Geraldine Baker, Crystal Field, and Juanita Howard — Legacy Award, Brenda Prescott, and Evern Gillard Randolph — Humanitarian Award, Carl Clay and Black Spectrum Theater, a special award for its 55 years!
November into December had one show in common, “Gruesome Playground Injuries” playing at the Lucille Lortel Theatre through Dec. 28. Written by Rajiv Joseph, it stars Kara Young and Nicholas Braun, as two students in a Catholic High School that develop a very peculiar, dysfunctional relationship. It was interesting to watch. The production had an intriguing direction by Neil Pepe.
Coming up in 2026, “Dreamgirls” will return to Broadway and will be choreographed and directed by the phenomenal Camille A. Brown, and produced by LaChanze Productions, Sonya Friedman Productions, Sue Wagner, and John Johnson. As of press time, casting has not been announced.
In 2026, let’s plan on going to the theater to support our people — they truly appreciate it. See you there!