2023 was a year of Black greatness on and off Broadway. It was a year of Black acting veterans like Stephen McKinley Henderson starring in “Between Riverside and Crazy” at the Helen Hayes Theatre; a year of reviving Black classics like “Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch,” penned by the late Ossie Davis; a time when new Black voices were heard on off-Broadway with “Triple Threat” by James T. Lane.
It was a time of fantastic Broadway musicals that starred Black talent. like “Some Like It Hot” and “Spamalot.”
There was just so much to embrace when it came to Black folks in theater productions in 2023. Milestones included productions like “Mama, I Want to Sing” celebrating 40 years, and priceless theater companies like the Billie Holiday Theatre in Brooklyn commemorating 50 years of telling our stories in the special way that only that theater can do. Let’s take a look back at 2023 in theater.
In January, Broadway audiences got such a thrill when Stephen McKinley Henderson brought his role of Pops—Walter Washington—to Broadway at the Helen Hayes Theatre (W. 44th Street) as he starred in Stephen Adly Guirgis’s play “Between Riverside and Crazy,” a role that Guirgis created with Henderson specifically in mind. Watching this thespian perform the role was like witnessing a master class in acting. He moved across the stage with such grace, humanity, and power that you couldn’t help but be captivated and proud.
Henderson was joined on stage in this 2nd Stage production by a capable cast that included Victor Almanzar, Common, Rosal Colon, Elizabeth Canavan, Michael Rispoli, and Maria-Christina Oliver. The production had poignant direction by Austin Pendleton.
“Some Like It Hot” just completed a successful run at the Sam S. Shubert Theatre (W. 44th Street). This production took you back to the nostalgic days of the dance musicals, where the tappers went to town, there were hi-jinks, and you were floored and awed by the creativity, costumes, and dazzle of watching a full-out musical. The production truly put a spotlight on one of its stars, J. Harrison Ghee, who later in the year came away with a well-deserved Tony Award, becoming the first nonbinary actor to win a Tony for best actor in a musical.
The musical extravaganza also featured stunning performances by Adrianna Hicks and Natasha Yvette Williams.
February is when Classical Theatre of Harlem (CTH) took the stage at the NYU Skirball Theatre and delivered an amazing, hilarious, afrocentric version of Shakespeare’s “Twelfth Night.” Ty Jones always presents Shakespeare’s work with a fresh, modern, Black-focused flair.
The production was ingeniously directed by Carl Cofield and starred one of my favorite actresses, who is currently starring in “Purlie Victorious” on Broadway: the one and only Kara Young. She was joined onstage by a phenomenal company of actors, whose singing and comedic timing were outstanding to behold.
The company included William DeMerritt, Chivas Michael, Carson Elrod, Israel Erron Ford, Cassandra Lopez, and Allen Gilmore. Any time that you hear that CTH is presenting a Shakespeare classic in 2024, you must make plans to attend. This company never disappoints.
“The Harder They Come” musical featured a book by Suzan-Lori Parks, songs by Jimmy Cliff, and additional songs by Parks. It played at the Public Theatre (425 Lafayette Street) and was based on the film of the same name made 50 years ago. It told the story of Ivan, a young Jamaican man who had a dream of being a music star in Kingston, Jamaica. His mother tried to warn him that Kingston was a dangerous place. The audience saw how big the drug trade was and how the music industry could be controlled by one powerful person.
The cast was stellar and included Natey Jones, Jeannette Bayardelle, Meecah, Jacob Ming-Trent, along with Dominique Johnson, Andrew Clarke, and Ken Robinson. The musical had entertaining direction by Tony Taccone; co-direction by Sergio Trujillo; engaging choreography by Edgar Godineaux; and vibrant, pulsating music supervision, orchestration, and arrangements by Kenny Seymour.
March was a glorious month as the Billie Holiday Theatre in the Bedford Stuyvesant section of Brooklyn celebrated its 50th anniversary with an event called “Black Genius in the American Theatre: A Concert Reading.” And it was packed with just that—genius! There were readings from productions that got their start at the Billie Holiday Theatre, and a production was selected to represent each decade.
Productions included “Over Forty” by Celeste Walker; “Inacent Black and the Five Brothers” by A. Marcus Hemphill; “Tamborines to Glory” by the late, great Langston Hughes; “The Past Is the Past” by Richard Wesley; “Faith On Line” by Joyce Sylvester; “Brothers from the Bottom” by Jackie Alexander; and “The Old Settler” by John Henry Redwood.
There was also a stunning recital of Maya Angelou’s “Still I Rise” by Phyllis Yvonne Stickney, who co-hosted the event with Harry Lennox. The actors who took part were tremendous and included Pauletta Washington, Denise Burse, Peggy Alston, Shani Tabia, Donald Hinson, Terrence Riggins, Joyce Sylvester, Billy Eugene Jones, and Kim Sullivan.
Credit was also given to the people who have had a hand in the Billie Holiday Theatre over these many years, including Ossie Davis, Ruby Dee, Samm Art Williams, Count Stovall, Debbie Allen, Woodie King Jr., and Peter Jay Fernandez. Director Emeritus Marjorie Moon shared a message with grace, love, and humility, showing her appreciation for all those who helped to make the theater what it is: a gem in Brooklyn, where you can go and experience our stories.
“Mama, I Want to Sing” is a musical production that we’ve all grown up with, but 2023 made it 40 years old, and the show came back with gusto as it played at El Museo’s El Teatro (1230 Fifth Avenue at 104th Street). It is the musical that got us all to love the phrase “Mama, I Want to Sing.” This revival used participants from Vy Higginsen’s Mama Foundation for the Arts and its choir, and showcased the lovely talents of Asa Sulton, Elisa Silva, and Faith Cochrane, who all rotated in the lead role of Doris Troy.
It also featured Letrice Arlene Cherry-Sturdivaat, Dawn Joyner, Leah Stewart, Richard Hartley, Lamont O’Neal, and Carlton Ellen. It had impressive direction by Ahmaya Knoelle, Vy Higginsen’s daughter, and musical direction by Kevin McCoy.
The late, great playwright and poet, Micki Grant, was on everyone’s mind at the end of March as Woodie King Jr.’s New Federal Theatre presented a tribute to her at the Castillo Theatre (W. 42nd Street).
The event, “Micki Grant: Step Into My World,” featured unpublished works by Grant compiled by her long-time friend, actress Nora Coles, who performed along with Ebony Marshall Oliver and Debra Walton, and it was beautiful. You could feel Grant’s presence in the room through audio of her reciting her own poetry. There was such a warm vibe and feeling of honoring a great lady in that theater. It was amazing.
Theatre Row served up a theatrical feast as Lynn Nottage’s “Crumbs from the Table of Joy” played. This production told a story of a Black family that suffers the death of its mother; moves to Brooklyn from the South in 1950; and has to deal with racism, death, interracial relationships, and trying to build their lives again.
The cast was superb and included Shanel Bailey, Malika Samuel, Sharina Martin, and Natalia Payne. This Keen Company production was powerfully directed by Collette Robert.
“Black Odyssey,” presented by Classic Stage Company (E. 13th Street) was the creative work of Marcus Gardley. Inspired by Homer’s “The Odyssey,” he set it in Harlem during modern times. Gardley focused on a modern-day Black veteran—Ulysses Lincoln—trying to return to his family after the war in Afghanistan; a war he carried guilt for because of having to kill, and in which he is used as a chess piece as two gods, Deus and Paw Sidin (God of the Sea), battle.
Featuring an all-Black cast, Gardley’s play boldly and creatively spoke of the Scottsboro Nine; the four little girls who died in the church bombing; the assassinations of Dr. King, JFK, and Malcolm X; and so many other atrocities that have befallen the Black community. He delivered the point that Black people must know their history to know themselves.
The cast that delivered his message was extraordinary and included James T. Alfred, Jimonn Cole, Sean Boyce Johnson, Harriett D. Foy, Temidayo Amay, Adrienne C. Moore, Lance Coadie Williams, D. Woods, and Marcus Gladney Jr. Stevie Walker-Webb provided wonderful direction.
In April, originality and a Black urban tint on a classic story were alive, well, and funny as Hell, as “Fat Ham,” James Ijames’ 2022 Pulitzer Prize winner for Drama, played on Broadway at the American Airlines Theatre (42nd Street), after a successful run at the Public Theatre, where it was co-produced by National Black Theatre.
“Fat Ham” was a Black take-off of Shakespeare’s “Hamlet” that hit on all thrusters. It was a story of murder, betrayal, and revenge, but done with some amusing twists that you never saw coming. Taking place in a backyard during a wedding celebration, there was a lot more spice than the sauce on the barbecued ribs.
Ijames created a piece that focused on a gay college student named Juicy, his father’s death, and his mother’s quick marriage to his uncle. Then his father’s ghost commanded him to avenge his murder. This play had such humor, sexiness, and wit, you just had to love it—and the audiences did.
The production had fabulous direction by Saheem Ali and starred a phenomenal cast that included Marcel Spears, Nikki Crawford, Billy Eugene Jones, Chris Herbie Holland, Benja Kay Thomas, Adrianna Mitchell, and Calvin Leon Smith. “Fat Ham” was a filling theatrical feast that left the audience satisfied and bent over with laughter.
“Camelot” was presented at Lincoln Center’s Vivian Beaumont Theater and starred Jordan Donica as Lancelot. Donica was absolutely marvelous and proved there is life after “Phantom of the Opera,” in which he was the first Black Raoul.
A play touched my heart and soul in a way I never expected. It candidly looked at how COVID affected our lives, our world. It looked vividly at the emotional, fear, confusion, sadness, feelings of being out of control that we all faced, but it showed how creativity keeps us going and helps us reinvent ourselves.
That play was “Plays for the Plague Year,” written by and starred Suzan-Lori Parks, who also sings and plays guitar (something I didn’t previously know she did). Parks wrote a play in a day and captured what was going on in the world during COVID. She told stories of some of those who died—educators, doctors, and people in the Black community who were murdered; George Floyd, Breonna Taylor, Ahmaud Arbery. She addressed people’s frustrations over everything being shut down.
Parks and the cast who joined her on stage gave impeccable performances as they portrayed many different scenarios. Other cast members included Greg Keller, Leland Fowler, Danyel Fulton, Rona Figueroa, Orville Mendoza, Lauren Molina, and Martin Sola. Niegel Smith’s direction was absolutely glorious.
“Shucked,” playing at the Nederlander Theatre (W. 41st Street), tells the story of the people of Cobb County, who love corn and make all types of things with it. Suddenly they are devastated when the corn starts dying. They have to find a way to save the corn that is at the center of their lives.
This very funny musical is an absolute blast. It stars Alex Newell as Lulu, doing such a splendid job in the role that this non-binary actor earned a Tony Award for Best Featured Actor in a Musical. What a year!
Newell played Lulu with a charm, confidence, and sass that is glorious to behold. Rheaume Crenshaw played Storyteller 1 at the performance I attended and was off-the-chain hilarious. A featured actor in the show was Dwayne Clark in the role of Grandpa—his character was a smooth-talking, dancing, riot.
May was marvelous as “King James” was staged at New York City Center (W. 55th Street) as a Steppenwolf Theatre Company and Center Theatre Group Production. Written by Rajiv Joseph, it showed the relationship between two Cavalier basketball fans—one white, one Black—and how they were affected when LeBron James left the Cavaliers for Miami.
This play was brilliantly directed by Kenny Leon and showed how life and where we are in it can flip the script in a heartbeat. It was quite poignant and memorable to see the relationship between these men grow, get torn down, and then try to rebuild. Glenn Davis delivered a fascinating performance as Shawn and Chris Perfetti was perfect as Matt.
In June, I thoroughly enjoyed “This Land Was Made,” a powerful piece written by Tori Sampson, presented by the Vineyard Theatre (108 E. 15th Street). and directed by Taylor Reynolds, a Black female. This play featured a mainly Black cast and told the story of Huey P. Newton, leader of the Black Panther party in Oakland, California, in 1967, where an incident occurred with police.
There were too many poignant moments in this play to name. A narrator named Sassy took the audience on a journey they wouldn’t forget. Sampson delved into the racism that was happening via the police. She told the story of the positive things that the Black Panther Party stood for, and the principles they taught. You realized that Newton and the Black Panther Party were there for the betterment of Black people overall, although they often were victimized by the police because of it.
The ensemble cast was absolutely perfect and included Antoinette Crowe-Legacy, Libya V. Pugh, Yasha Jackson, Leland Fowler, Matthew Griffin, Ezra Knight Curtis Morlaye, and Julian Elijah Martinez.
A play that focused on how Hurricane Katrina devastated the people of New Orleans was “Shadow/land,” at the Public Theatre. This play was created by Ericka Dickerson-Despenza and featured direction by Candis C. Jones. It told the story of a family who owned a club called “Shadow/land” in New Orleans, a club that had been passed down from generation to generation in the family.
Daughter Ruth was trying to convince her mother Magalee to sell the club. On the eve of Katrina, they were arguing about selling, with Magalee trying to tell her daughter the history of the club and its significance in the family, while the ancestors were represented by the Grand Marshal.
The play also looks at the issue of complexion in the Black community and how a mother might favor one child over another due to her being light-skinned. This play was amazingly spiritual to experience. The production featured three Black actresses who were stunning: Lizan Mitchell, Joniece Abbott-Pratt, and Christine Shepard.