April 2003
African-Americans on Broadway

African-Americans on Broadway

Everyone knows that the pinnacle of achievement in American Theatre is the Broadway stage in New York City. The cluster of prestigious theatres in midtown Manhattan is nicknamed the Great White Way, apparently for all of the bright lights that illuminate the area. However, one could argue that it also seems to reflect a disproportionate number of shows that lack African American presence or much cultural diversity whatsoever. Recently two Broadway shows opened which challenged the cultural sensibilities of typical Broadway offerings. One utilizes a classic piece of material to tell a timeless story in a traditional way. The other takes an unprecedented approach to presenting an age-old art form. As provocative as they are diverse, Ma Rainey’s Black Bottom and Russell Simmons’ Def Poetry Jam has taken two very unique approaches to broadening Broadway. Here is a lil’sumpn’sumpn’ on how they did it.


Ma Rainey’s Black Bottom

From the early Eighties through the mid Nineties, the collaborative efforts of playwright August Wilson and director Lloyd Richards have emerged as the definitive voice of the black experience in the landscape of American theatre. Their productions provided early opportunity for some of today’s biggest names in African American acting talent. The inaugural production of the dynamic duo was 1984s critically acclaimed Ma Rainey’s Black Bottom. Set in 1927, the play tells the story of Ma Rainey, a fictitious, successful yet cantankerous blues singer and her power struggle with everyone in her midst, particularly her trumpet player, Levee. For Richards, it was another jewel in the crown for a man who, in 1959, directed Sidney Poitier in the original production of Lorraine Hansberry’s A Raisin In the Sun on Broadway. For Wilson it would be the launching pad for what would become perhaps the most prolific playwriting careers of the 20th century, African American or otherwise. Since that time August Wilson has received wide spread accolades for his body of work which also includes Joe Turner’s Come and Gone, Fences, Piano Lesson, and Two Trains Running among others.

Recently, Broadway has enjoyed a revival of Ma Rainey’s Black Bottom starring Whoopi Goldberg in the title role and Charles S. Dutton reprising his role from the original production as Levee. The production boasts a stellar supporting cast that includes Carl Gordon as trombone player, Cutler, Stephen McKinley Henderson as upright bassist, Slow Drag, and Thomas Jefferson Byrd as piano man, Toledo. For her part as Ma Rainey, Whoopi Goldberg seems to approach her interpretation of the text with a certain subtle sophistication that rivals other more traditional choices that others have made previously when inhabiting the role. Charles S. Dutton seems to wear the character of Levee like a comfortable pair of shoes resulting in a riveting combination of strength and vulnerability. Among the supporting cast, Thomas Jefferson Byrd is a standout as Toledo. As a veteran of stage and screen, Byrd is able to establish an inherent connection to the material that allows him to make every moment full and every line ring with truth and conviction. For the 2003 production of Ma Rainey, acclaimed director, Marion McClinton takes the baton from Lloyd Richards at the helm of the show. This is not his first time directing one of Wilson’s pieces. McClinton also directed 2000’s production of Jitney Off-Broadway and 2001’s King Headley, the most recent Wilson play on the great white way before Ma Rainey. The significance of Ma Raineys Black Bottom on Broadway in 2003 is apparent. It not only brought African American voices to a cultural landscape that is decidedly lacking in such flavor, but it also tells a timeless story that transcends all boundaries to provide all the elements we go to the theater for.


Russell Simmons’ Def Poetry Jam

Hip-hop impresario, Russell Simmons has an uncanny ability to recognize the most unlikely star quality. Between its recording label and comedy shows, his Def Jam brand has discovered everyone from Run DMC and LL Cool J to Bernie Mac and Chris Tucker, becoming synonymous with whatever is next in popular culture. His Phat Farm clothing line now defines urban fashion. Simmons latest endeavor, Def Poetry Jam may prove to be his most profound offering yet. Spoken word has been a most enduring art form for centuries. Ironically, it has laid the foundation for the music that Simmons helped to pioneer three decades ago and in turn made him a mogul. So leave it to a visionary such as Simmons to bring the most potent voices Broadway has heard in years. Hugely successful on cable, Def Comedy Jam seems to have provided the formula. Both starting as an HBO half-hour program and later providing the live stage as an outlet for the undiscovered yet polished talent.

Def Poetry Jam on Broadway tends to alter its format more drastically than its TV predecessor. As opposed to rapper Mos Def serving as host and presenting each individual talent, the stage show serves as a showcase for more collaborative efforts. Nine poets compose the cast of voices whose insights touch on everything from domestic abuse, financial challenges, various perspectives on the condition of today’s world, celebration of one’s self, and so much more. One of the most striking elements is the diversity among the talent. Steve Coleman has an All American, clean-cut image yet a scathing wit that challenges all that is conventional. Black Ice is the embodiment of the plight of young African American men. Staceyann Chin is a blend of Asian and West Indian with a dash of Lesbian thrown in for extra flava. Beau Sia is a young Asian male whose “extreme” perspective (and sense of style) paints broad strokes on any subject. Mayda Del Valle beautifully adds potent Latin spice to the mix. Suheir Hammad brings the depth of third world consciousness. Lemon contributes shades of brilliance from the heart of Brooklyn and the soul of Puerto Rico. Poetri illuminates the virtues of not taking ones self too seriously. Rounding out the voices is Georgia Me, who powerfully represents the resiliency that is black womanhood.

With perfect timing, DJ Tendaji Lathan provides an eclectic blend of music that is the common thread that engages the audience as well as tie the voices together. The journey begins with the entire company hitting the audience with a prelude of what is to come. The women stamp the show in the beginning of the second act with a chorus of perspectives that extol the virtues of love poems, followed by Lemon who humorously delivers an alternative yet poignant take on the same subject. The audience is treated to a verbal assault that is more tantamount to a carousel than a roller coaster. The poems ride their subject matter like waves of precision. Another stand out piece is Jammin the collaboration between Black Ice and Staceyann Chin that praises musical legends Bob Marley and Jam Master Jay. The show culminates with all nine voices performing a piece entitled I Write America, which offers shades of hope for our future. With such a diverse blend of talent, Russell Simmons’ Def Poetry Jam is certain to have something for everyone.