2024: The Year In Review in Black Theater

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Black theater in 2024 was absolutely breathtaking! This year marked the return of the classic musical “The Wiz” to Broadway with a different sort of look, but songs that everyone rushed to the theater to hear. This season we saw new productions like “Sally & Tom” from Suzan-Lori Parks, and revivals like “Fabulation or the Re-Education of Undine” from Lynn Nottage. We saw the Alicia Keys musical “Hell’s Kitchen” first occur at the Public Theater and quickly move to Broadway. We saw a revival of “Home” on Broadway. Audiences were stunned and thrilled to see “Sunset Baby” by Dominique Morisseau. The year was exciting throughout, with new works and new takes on classics, some that people can still go to see right now, like “A Wonderful World: The Louis Armstrong Musical,” “Romeo + Juliet,” and “Gypsy.”

We started off January with “Hell’s Kitchen,” the Alicia Keys musical, loosely based on her life growing up in Hell’s Kitchen with her mother and set to her music. The musical was so magnificent, in fact, that it now has a place on Broadway and is currently going strong at the Shubert Theatre on W 44th Street. “Hell’s Kitchen” stars an impressive cast that includes Maleah Joi Moon, Shoshana Bean, Brandon Victor Dixon, Kecia Lewis, Vanessa Ferguson, Jackie Leon, Chris Lee, Nyseli Vega, Chad Carstarphen, Lamont Walker II, and Jakeim Hart. The production also features amazing choreography by Camille A. Brown.

February came in with sadness as the theater community mourned the passing of three-time Tony Award winner Hinton Battle at age 67. Veterans in the industry shared their thoughts on this marvelous man, including George Faison, Adrian Bailey, Ken Hanson, and Jackie Jeffries. The public was introduced to theater documentary filmmaker Juney Smith who, through his partnership with Glynn Turman and Turman’s company Backyard Ventures Inc, produces documentary films on Black performing artists and Black arts institutions. He has created 22 narratives and 15 documentary films, including “King of Stage: The Story of Woodie King Jr.,”  “King Arthur & The Count,” “Women of Theatre, New York: A Supreme Love,” and “A Spectrum of Theatre: The Story of Carl Clay.”

New York City Center (NYCC) pulled out all the stops in presenting George C. Wolfe’s “Jelly’s Last Jam” with an all-star cast. The show was superbly executed and starred Billy Porter, Joaquina Kalukango, John Clay III, Nicholas Christopher, Leslie Uggams, Tiffany Mann, Okierete Onoadowen, the original Hunnies — Mamie Duncan-Gibbs, Stephanie Pope Lofgren, and Allison M. Williams — and was marvelously directed by Robert O’Hara.

March came in like a lion as audiences had the opportunity to watch the very powerful Dominique Morisseau play “Sunset Baby” at Signature Theatre. This play showed for audiences the strained relationship between a woman, Nina, and her father, Kenyatta, who had been in prison for years for standing up for Black rights. When reunited with her father, she has a lot of anger and mixed feelings. She has had to make it on her own; her boyfriend Damon knows how to hustle to survive even more than she does. This play truly made the audience question: When it comes to your dedication to a cause, how much is too much? This production was brilliantly and movingly acted by three very gifted thespians in Russell Hornsby, Moses Ingram, and Alphonse Nicholson. Add to that the riveting, mesmerizing direction of Steve H. Broadnax, and you had a play that would impact you in many stunning ways.

“The Notebook” came to Broadway at the Schoenfeld Theatre as a romantic musical, and was a total tearjerker, so moving and outstandingly executed. It told the story of a couple, Allie and Noah, and their decades-long love, which is jeopardized by her having Alzheimer’s. It was one of the most beautifully, non-traditionally cast musicals I have seen on Broadway in years. The couples were incredibly cast and were mainly people of color. The lead members of the cast were headed by Dorian Harewood who played Older Noah, Ryan Vasquez as Middle Noah, and John Cardoza as Young Noah. Older Allie was captivatingly portrayed by MaryAnn Plunkett; Middle Allie and Young Allie were performed by African Americans Joy Woods and Jordan Tyson, respectively.

The Gallery Players in Brooklyn presented a fantastic, powerful production of August Wilson’s “Fences,” which tells the story of Troy Maxson, a former baseball player, and his relationship with his wife Rose, his son Cory, his brother Gabriel, and his friends Bono and Lyons. The all-Black cast was absolutely phenomenal and showcased the talents of Reggie Wilson as Troy, Gina-Simone Pemberton as Rose, Jamar Arthur as Cory, Adrian Phillips as Gabriel, Brandon Agnew as Bono, Isaiah Joseph as Lyons, and Anaia Barton as Raynell. 

In April we were all easin’ on down the road as “The Wiz” played on Broadway at the Marquis Theater. The musical had such a talented cast. Nichelle Lewis made a lovely Broadway debut as Dorothy, Avery Wilson was amazing as Scarecrow, Phillip Johnson Richardson was remarkable as Tinman, and Kyle Ramar Freeman was splendid as Lion. They were joined on stage by Deborah Cox as Glinda and Wayne Brady as The Wiz. Allyson Kaye Daniel did a remarkable job playing the dual roles of Aunt Em and Evillene.

In May, the Public Theater presented a unique telling of the story of Thomas Jefferson and Sally Hemmings with Suzan-Lori Parks’ drama, “Sally & Tom.” Presenting a play within a play, Parks showed very clearly that although Sally Hemmings had six children for Thomas Jefferson, it was by no means a love affair. She was enslaved, and she had no choice. The production featured a mainly Black cast and was quite memorable. You never heard the story of Sally and Tom like this rendition. The remarkable cast included Sheria Irving, Alano Miller, Leland Fowler, Kristolyn Lloyd, Gabriel Ebert, and Daniel Petzold. Parks created a work that needed to happen to tell the story of this relationship from a very different point of view. The story was delivered with tremendous power through the brilliant direction of Steve H. Broadnax III.

Lynn Nottage’s “Fabulation or the Re-Education of Undine” played at the Billie Holiday Theatre in Brooklyn. Lynn Nottage always creates work that teaches us, as Black people, lessons that hit hard but have to be learned. With her production of “Fabulation or the Re-Education of Undine,” she taught that we should never forget where we came from when we are successful: Don’t be that Black person who has financial success, treats people like garbage, and gloats in your own sense of importance, because it can all be taken away at any moment. The cast was splendid and showcased the talents of Felicia Curry, Mariyea, Kimberlee Walker, Tito Livas, Evander Duck Jr., Sharon Hope, Roland Lane, and Alex Gibson. The production was poignantly directed by Martavius Parrish.

For too brief a shining moment, “Syncing Ink” played in Harlem at the Apollo Stages Victoria Theater. This play, the creation of Nsangou Njikam, told the story of the West African Yoruba culture and hip-hop, and how spoken word has always been a way for our people to have a voice. Njikam starred in the production with a very capable cast that included Kara Young, Elisha Lawson, Nuri Hazzard, McKenzie Frye, and Adesola Osakalumi. The production was engagingly directed by Awoye Timpo. 

In June, a masterpiece of the late Samm-Art Williams was back on Broadway after 40 years. “Home” by Williams played at the Todd Haimes Theatre on West 42nd Street. In this heartfelt drama, Williams told the story of Cephus Miles, a Black farmer in North Carolina, who was taught by his family “thou shalt not kill,” and he believed in that. He refused to fight in the Vietnam War and was placed in prison because of that decision. He ended up losing everything that was dear to him, even his family’s farm. Through all the loss and trauma he faced, he was still able to find peace when he returned to his roots. This play was incredibly moving and made one experience so many emotions. Three actors on stage embodied more than 40 characters; those thespians, making their Roundabout Theatre Company debuts, included Tory Kittles, Brittany Inge, and Stori Ayers.

At the Tony Awards, Black performers and creatives were richly acknowledged. Maleah Joi Moon received the Tony for best performance by an actress in a leading role, a Drama Desk Award for lead performance in a musical, and a Theatre World Award for her stage debut as Ali in “Hell’s Kitchen.” Kecia Lewis won the Tony for best performance by an actress in a featured role as Miss Liza Jane. Kara Young won best performance by an actress in a featured role in a play for “Purlie Victorious: A Non-Confederate Romp Through The Cotton Patch,” playing Lutiebelle GussieMae Jenkins. Dede Ayita received the Tony for best costume design of a play for “Appropriate” and “Jaja’s African Hair Braiding.” Branden Jacobs-Jenkins won best revival of a play for “Appropriate.” This year the Tony’s gave special honors to some outstanding people: George C. Wolfe received the Lifetime Achievement Award in theater, Nikiya Mathis won a Special Tony for Wig and Hair for “Jaja’s African Hair Braiding,” and Billy Porter received the Isabelle Stevenson Award. Yes, African Americans were marvelously acknowledged for their phenomenal talent and the gifts they bring to theater and people’s lives.
An extraordinary production graced the stage presented by New Federal Theatre, titled “The World According to Micki Grant.” The production concept, adaptation, and direction were the genius of Nora Cole. The production gave a vivid history of Grant from childhood to adulthood and all of her accomplishments in the theater. Presented by New Federal Theatre, the production showcased the talents of this actress, book writer, music, and lyrics creator. Four actors played multiple roles and told Grant’s story with love and respect. The ensemble included Matelyn Alicia, April Armstrong, Patrice Bell, and Brian Davis.

The Drama Desk Awards had accolades for African American performers. While Maleah Joi Moon won for lead performance in a musical for her role as Ali in “Hell’s Kitchen,” as mentioned earlier, Kecia Lewis also won for outstanding featured performance in a musical for “Hell’s Kitchen.” Again, Branden Jacobs-Jenkins won for best revival of a play for
“Appropriate.” Kara Young won the Drama Desk for outstanding featured actress in a play for “Purlie Victorious: A Non-Confederate Romp Through The Cotton Patch.” Paul Tazewell won for costume design of a musical for “SUFFS.” Nikiya Mathis won outstanding wig and hair for “Jaja’s African Hair Braiding.” For her decades of dedication to theater as a press agent, Broadway producer, and entrepreneur, Lady Irene Gandy received a special award from Drama Desk.

In July “CATS: The Jellicle Ball” had audiences purring for more! The musical, presented at the Perelman Performing Arts Center on Fulton Street in Manhattan, was an exciting evening in the theater. Its cast was mainly people of color, and they all did their thing. It starred Andre De Shields and had a host of featured performers including Antwayn Hopper, Dudney Joseph Jr., “Tempress” Chastity Moore, Sydney James Harcourt, and Robert “Silk” Mason. The ensemble members were amazing and included Xavier Reyes, Baby, Primo, Emma Sofia, Teddy Wilson Jr., Nora Schell, Jonathan Burke, Dava Huesca, Garnet Williams, Junior LaBeija, Shereen Pimentel, Emma Sofia, Kendall Grayson Stroud, Tara Lashan Clinkscales, Phumzile Sojola, Shelby Griswold, and the DJ Capital Kaos.

An absolutely magnificent production of William Shakespeare’s “A Midsummer Night’s Dream,” presented by the Classical Theatre of Harlem (CTH), played at the Richard Rodgers Amphitheatre in Marcus Garvey Park in Harlem. As always, CTH approached Shakespeare’s work with their own unique, amazing, jazz-filled, funny flair. This production had stupendous direction by Carl Cofield, and this cast was amazing. The story of “A Midsummer Night’s Dream” contained a play within a play, with fairies, potions, magic, and romance. The cast delivered captivating, entertaining, and joyous performances that included jazz, singing, dance, and frolicking. The cast, which performed as a phenomenal ensemble, included Ra’Mya Aikens, Hiram Delgado, Noah Michal, Brandon Carter, Victor Williams, Jesmille Darbouze, Allen Gilmore, Mykal Kilgore, León Tak, Carson Elrod, Olivia London, and Deidre Staples. The production also featured a stunning dance ensemble, whose members included Taylor Collier, LaTrea Rembert, Tracy Dunbar; Taylor Daniels, Stemarciae Bain, Taylor Mackenzie Smith, Victor Lewis Jr., and Nisani Lopez.

In August, “Six Characters” by African American playwright Phillip Howze played at Lincoln Center’s Claire Tow Theatre on West 65th Street. What started off with a lot of humor and some very oddball characters, would reveal, as it went on, a very deep message. The audience was introduced to a company of actors who play the roles of Character 1, Character 2, Character 3, Character 4, Character 5, and Character 6. Through intense conversations, the playwright let the audience witness how Black people have been mistreated and devalued by society for so long that they are not only used to it, but sadly accept it and in some cases feel that there is no way out. Even amongst each other, we find that we are victims of belittling. The playwright dramatically showed that we fear the racism that comes at us from so many different angles. Howze cleverly delivers this story with a great deal of heart and complexity, while also making it a lesson on how things have not really changed. The cast was absolutely stunning and included Julian Robertson, Claudia Logan, Seret Scott, Will Cobbs, CG, and Seven F. B. Duncombe. Director Dustin Wills truly did a fine job of crafting these actors, words, and exchanges to engage and entertain the audience, but also walk away with a great deal to ponder.

In September we lost the great James Earl Jones, who passed away on Sept. 9 at the age of 93. It was a month that also saw the world premiere of “Table 17”, a comedy by African American writer Douglas Lyons, which played at MCC Theater on West 52nd Street in Manhattan. The play gave the audience a look into the relationship of Jada and her ex-boyfriend Dallas. They met at a restaurant for dinner and took the audience on a romantic, funny trip down memory lane. The restaurant scenes were off-the-chain funny due to the restaurant host, River, and the character of Eric, Jada’s co-worker. I hope at some point this production is brought back, and with the same cast. These three actors are top of the line, and include Kara Young as Jada, Biko Eisen-Martin as Dallas, and Michael Rishawn as River and Eric. There was also marvelous direction by Zhailon Levingston.

For a brief time, the one-and-only Stephanie Mills was back on Broadway as Hermes in “Hadestown,” and she was fantastic! “The Bleeding Class” by Chisa Hutchinson also played at 59E59 Theaters. Chisa Hutchinson is a poignant playwright who took a serious issue and delivered it through a powerful script that looked at how minorities are simply used to make money for corporations in any way that serves society. In her play “The Bleeding Class,” which was part of the AMPLIFY Festival (in which three of Hutchinson’s works were featured), an escort who hailed from the Dominican Republic named Adina “Sugar” Moreno was the world’s answer to a mystery plague that was killing hundreds of millions of people around the world. Her blood was able to not only resist the virus, but destroy it. All the pharmaceutical company cared about was the money it would make by developing a cure based on Sugar’s blood. Sugar had a very unusual relationship with Dr. Pennington, the Black doctor who observed her and talked with her about all types of subjects. The racism and greed depicted in this play were blatant and overwhelming; the message in this play left the audience speechless. Hutchinson had a bold voice that needed to be heard, and the cast gave captivating performances and included Reginald L. Barnes, Tamar Lopez, Vincent Szutenbach, and Jackson Hayes. The production had stunning direction by Cezar Williams.

October gave audiences the chance to experience a classic in a reimagined way: “Medea: Re-Versed,” which played at the Frank Shiner Theatre at the Sheen Center on Bleecker Street. You’ve never seen Medea like this. The production was the creative, brilliant work of Luis Quintero, who actually wore three hats as the playwright, chorus leader, and emcee in his rap-filled version of the Greek tragedy adapted from Euripides. This play was presented by Red Bull Theater and Bedlam in co-production with Hudson Valley Shakespeare Festival. There was rap, singing, and rhymes everywhere, along with a tremendous amount of passion, revenge, and fun. The raps that Quintero put together allowed the characters involved to speak their truth in ways that made the audience swoon with admiration and delight. Whether or not you know the story of Medea and the route she took to get revenge on King Creon and Jason, you would have seen it with new eyes from the depth and clarity of the meticulous script. The superb cast included Sarin Monae West; Jacob Ming-Trent; and Stephen Michael Spencer. The production was vividly co-conceived and directed by Nathan Winkelstein. 

The Thornton Wilder classic play “Our Town,” currently playing at the Ethel Barrymore Theatre on West 47th Street, is a production that truly demonstrates that the play is “the thing” under the precise direction of Kenny Leon. There are no props used throughout the production. You find yourself truly focusing on the importance and value of the words that Wilder wrote. You find yourself listening to the story’s details with gripping attention. Wilder wrote about the lives of the people in a small town, their relationships, the makeup of the town over the years, the deaths and struggles that the townspeople experienced. He showed the commonality that all of us share as human beings. The cast that Leon has assembled is absolutely marvelous and features Jim
Parsons, Billy Eugene Jones, Michelle Wilson, Ephraim Sykes, Richard Thomas, Katie Holmes, Zoey Deutch, Safiya Kaijya Harris, Donald Webber Jr., Simon Stimson, and Julie Halston. The stage is generously occupied by an amazing ensemble of thespians in this 28-member cast that include Ephie Aardema Sarnak, Heather Ayers, Willa Bost, Bobby Daye, Doron JéPaul, Shyla Lefner, Anthony Michael Lopez, John McGinty, Bryonha Marie, Kevyn Morrow, Hagan Oliveras, Noah Pyzik, Sky Smith, Bill Timoney, Ricardo Vázquez, Matthew Elijah Webb, Greg Wood, and Nimene Sierra Wureh. For tickets to “Our Town” visit www.ourtownbroadway.com.

“Good Bones” by James Ijames played at the Public Theater and looked at gentrification and the relationships between the Black people who live in the community and don’t want change, and others who live in the community and encourage gentrification — a move which will result in neighborhood people being displaced. This play also looked at the idea of a successful Black woman, Aisha, being haunted in her newly renovated home and not knowing what the ghost wanted to convey to her. Every part of the storyline that captured attention was developed — but only to a point. The cast delivered engrossing performances and included Susan Kelechi Watson, Mamoudou Athie, Khris Davis, and Tea Guarino. The play featured direction by Saheem Ali. 

New Heritage Theater celebrated 60 years and Daniel Koa Beaty performed his one-man show “Love Warrior” to commemorate the event! Dominique Morisseau’s new work “Bad Kreyòl,” co-produced by Signature Theatre and Manhattan Theatre Club was presented at the Pershing Square Signature Center. It was a story that was very personal to the playwright because it told the story of the lives of people from Haiti from their perspective. Morisseau’s father was from Haiti and she had the opportunity to go with him to visit after the earthquake. This play gave details about the terrible things Haitian people had suffered in their country, during the crippling dictatorship and rebuilding the country after the earthquake. The playwright gives us two cousins: Simone, who is Haitian American and visiting her cousin Gigi, her last family member born and raised in Haiti. They’re coming together was the dying wish of their grandmother, the family matriarch. We meet Pita, who was like family to Simone, and whom she protected. Pita was flamboyant in his dress and manner — something very dangerous in Haiti. This was a country where members of the LGBTQIA+ community were targeted by gangs who would attack and kill them just for their sexual preferences. The play also addressed how NGOs (nongovernmental organizations) took advantage of native Haitians. The cast gave powerful performances and included Pascale Armand, Jude Tibeau, Fedna Jacquet, and Andy Lucien. Tiffany Nichole Greene’s direction was absolutely charming to witness.

In November, New York City Center celebrated 80 glorious years of providing amazing performances for audiences. We got to experience a beautiful revival of “Ragtime” at NYCC. The production was marvelous and very timely as it tells a story of racism, injustice, and the indignities that Black and immigrant people have experienced in this country and still do today. The book by Terrence McNally, adapted from the E.L. Doctorow’s novel, was important, and the music by Stephen Flaherty, with lyrics by Lynn Ahrens, touched your heart and soul. The songs showed the societal issues that are in this country’s past and present, and the story of Coalhouse Walker Jr. and Sarah made one take pause. The production showcased a huge ensemble cast and featured some of the most incredible talent in theater today which included Joshua Henry, Nichelle Lewis, Caissie Levy, Brandon Uranowitz, Matthew Lamb, John Clay III, Ben Levi Ross, Rodd Cyrus, Stephanie Styles, Shaina Taub, Colin Donnell, and Tabitha Lawing.   

The 52nd Annual AUDELCO Awards, which honor excellence in Black Theater, were phenomenal this year as they took place at the Alhambra Ballroom in Harlem. The hosts of the annual celebration were Jerome Preston Bates and Toni Seawright. This year the honorees were extraordinary individuals. June Terry received the Legacy Award, and Outstanding Achievement Awards went to Daniel Koa Beaty, Layon Gray, and Alyson Williams. Lifetime Achievement Awards went to Trezana Beverly, A. Dean Irby, George Faison, and Lizan Mitchell. Pioneer Awards were bestowed upon Obediah Wright, Ralph Carter, and Michael Dinwiddie. Board of Directors Awards were given to Voza Rivers, Stephanie Berry, and John-Martin Green. The Rising Star award was given to Christopher Woodley. A detailed story of all the productions and the winners for the evening can be found on the AmNews website.

“A Wonderful World: The Louis Armstrong Musical” is delivering a quite candid and revealing look into the life of this gifted performer. Playing at Studio 54 on West 54th Street, the musical depicts the trumpet player extraordinaire, singer, and actor, a talented man who faced many obstacles and found himself face-to-face with racism in this country. Through the book by Aurin Squire, the audience gets to meet a man who grew up poor and struggled with his mother; a man who found his gift and love in being a musician and singer; a man who had looked at love in a cavalier way and paid the price for it. The cast is one you will not forget, and they bring the energy as you also get to experience some of Armstrong’s best known and loved songs. The musical features the enormous talents of James Monroe Iglehart, who not only stars in it, but is a co-director. The cast also includes Dionne Figgins, Jennie Harney-Fleming, Kim Exum, and Darlesia Cearcy. Gavin Gregory and an enormous ensemble. As I mentioned earlier, Iglehart is a co-director, an honor he shares with Christina Sajous. Christopher Renshaw, who is listed as director, co-conceived this musical with Andrew Delapaine. For ticket information, go to www.louisarmstrongmusical.com.

“Romeo + Juliet” is currently playing at Circle In The Square Theatre on West 50th Street, and it is a must see! It features a mainly minority cast and it tells the story with singing, humor, and playfulness. It is definitely a modern, refreshing spin on the Bard’s work. The cast is quite superb and will give you chills! It includes Kit Connor, Rachel Zegler, Gabby Beans, Tommy Dorfman, Sola Fadiran, Taheen Modak, Gian Perez, Daniel Bravo Hernandez, Jasai Chase-Owens, and Nihar Duvvuri. Make plans to get to Circle In The Square to see the tragic star-crossed lovers. For tickets visit www.romeoandjulietnyc.com.

One of the most anticipated musicals that is back on Broadway is “Gypsy,” currently playing at the Majestic Theatre on West 44th Street. The musical stars record-holding six-time Tony Award winner Audra McDonald in the title role as Gypsy Rose Lee. The cast on stage with McDonald features Danny Burstein, Joy Woods, Jordan Tyson, and includes Kevin Csolak, Lesli Margherita, Lili Thomas, Mylinda Hull, Jacob Ming-Trent, Kyleigh Denae Vickers, Marley Lianne Gomes, Jade Smith, Natalie Wachen, Tryphena Wade, Shanel Bailey, Jace Bently, Brandon Burks, Hunter Capellán, Tony d’Alelio, Summer Rae Daney, Kellie Jean Hoagland, Sasha Hutchings, Aliah James, Brittney Johnson, Zachary Daniel Jones, Ethan Joseph, Andrew Kober, Krystal Mackie, James McMenamin, Cole Newburg, Joe Osheroff, Majo Rivero, Ken Robinson, Sally Shaw, Thomas Silcott, Brendan Sheehan, Jayden Theophile, Jordan Wynn, and Iain Young. “Gypsy” has a great creative team that includes a book by Arthur Laurents, music by Jule Styne, and lyrics by Stephen Sondheim, choreography by Camille A. Brown, music direction and supervision by Andy Einhorn, and additional orchestrations and arrangements by winner Daryl Waters. For tickets, visit www.gypsybway.com.