The Fairy Princess heard about two upcoming concerts that she is unable to attend and she wants you all to know about them and attend FOR her – tweet back at me and tell me how much it added to your life – because IT WILL!
These are dynamic, charismatic Broadway performers who bring their own brand of sass and swagger to the stage.
First up – TONIGHT – MS CARMEN RUBY FLYOD! In Well, Hello Carmen.
She is going to take you from the beginning of her career to the current, with all the changes life has thrown at her. From Lion King, to Avenue Q OBC, Chicago, After Midnight, Porgy and Bess, and finally, Hello, Dolly – where she understudied DOLLY!
That is tonight at Birdland – 315 W. 44th Street at 9:30 PM.
She deserves a sellout, let’s make sure she has one.
The second concert, ALSO at Birdland, that she wishes she could attend is on November 19th, at 7pm, and that is TELLY LEUNG!!!!!
Currently starring in ALADDIN on Broadway! Telly has also been all over the country with his solo show in addition to appearing on Broadway in FLOWER DRUM SONG revival, GODSPELL, RENT, In TRANSIT, ALLEGIANCE – you get the idea.
So do yourself and your ears and heart a favor and go and take in these shows and when you are done with that….on Dec 2, at The Cutting Room in NYC, comes SPARKLE NY a benefit for THE ACTORS FUND.
Yes, once again, Scott Nevins is getting the gang back together to raise money for a really great cause, The Actor’s Fund.
Join us on Dec 2nd at 7:30, you will have an amazing night.
The Fairy Princess notices that unlike other times when she has written a blog, this time the Broadway League has not made efforts to change their policy to include Dimming the Lights for TONY Nominated Playwright, Ntozake Shange. Nor, have they announced dimming the lights for 9 time OBIE Winner, playwrightMaría Irene Fornés– whose work was at the core of the Latinx theater movement and whose work helped shape American theatrical representation.
Yes, Off Broadway is not Broadway.
True.
Most times, it is better.
Bolder. Blunter. Less caring of breaking the rules.
Still, when we #DimTheLights for theatrical greats, we do not dim for minor reasons – these two have contributed to the Pantheon of American Theater. They staked a claim not only for themselves, but for those who came after. They taught, mentored, directed, wrote, spoke at length at the importance of being seen and heard. They fought harder than white males whose work was lauded at the time, who would have been seen as their contemporaries.
Who SHOULD have been seen as their colleagues and contemporaries. By NOT honoring them The Broadway League tells us, the People of Color of Broadway, that OUR foremothers do not matter. It tells us that equality is very far off, and possibly unattainable in our lifetimes, as it was in theirs.
TFP will not believe that, and neither will you if you reach the end of this blog.
Ntozake Shange and María Irene Fornès.
Remember them, Honor them.
Even if The Broadway League does not.
In the spirit of celebrating female Playwrights…TFP was quite honored to see WILD GOOSE DREAMS by Hansol Jung at The Public Theater this past week.
The themes of modern life and disconnection, the ability to ‘like’ something and feel connected when you know almost nothing of the life being actually lived is something that succeeds remarkably well, and you should try and grab a seat if you can.
There are many reasons to see this show – on the tippy top of The Public Theater – don’t stop at Glenn Close on the second, keep climbing to the third! The acting is strong – and while TFP does not want to ‘review’ this work, she was very pleased to see people she knows, at the top of their profession, doing a remarkable job and making it seem effortless. The play is acted out by one of the strongest ensembles TFP has seen in a while. In that, they seem to be mainly pulled from the Broadway musical theater, and combine movement and sprechstimme in a rare and fluid way.
Bravo to Director Leigh Silverman, Hansol Jung, their Producers, and the Cast of this show: Michelle Krusiec (NYC Debut), Peter Kim, Francis Jue, Jaygee Mcapuguay, Lulu Fall, Joèl Perez, Dan Domingues, Kendyl Ito, Katrina Yaukey, Jamar Williams.
The Forgotten, a new play being done RIGHT NOW, over in London, written by Daniel York Loh, has been getting fantastic reviews, and why should it not? Daniel is a talented Actor himself, as well as being a writer, director, and activist – and TFP sees no reason that some theater in the States – The Public, Second Stage, Ars Nova, Playwrights Horizons, BAM Harvey Center, Barrow Street Theater, Cherry Lane Theater, Daryl Roth Theater, HERE Arts Center, The Lucielle Lortel Theater, New Victory Theater, New World Stages, St. Luke’s, The Delacorte – or some such venue, could not mount a US Production!
Check out the interview with Daniel, explaining the origins of the piece, which combines aspects of Chinese Theater and Artistry, and the work that did behind the lines for the British during WW1.
TFP thinks this play, with it’s roots in Chinese history, and the Chinese Labor Corp being so integral to the success of the Western war – will be of interest to American audiences. The acceptance of the issue of structural racism that led to the ‘erasure’ of Chinese faces and contributions are real and in effect today.
Why not let American audiences share in this knowledge? Come on Off Broadway – this show has had great reviews, and we have stellar East Asian heritaged Actors in the United States – so why not?
Here are the names of the British East Asian Cast getting prime reviews, so ‘we’ all get to know one another – Rebecca Boey, Jon Zhang, Zachary Hing, Camille Malet du Chauny, Michael Phong Le, Leo Wan.
PAN ASIAN REPERTORY THEATER right here in Manhattan is mounting a Holiday show for…well, the HOLIDAYS, and you can take your CHILDREN (no this is not The Mikado) to have them see and feel what AAPI Faces on the stage means to them.
THE EMPEROR’S NIGHTINGALE is playing on Theater Row at The Beckett Theater, 410 West 42nd Street and you may purchase tickets here.
It is an adaptation of the Hans Christian Anderson tale, set in 18th Century China, written by Damon Chua. Starring: Leanne Cabrera, Ya Han Chang, Dinh James Doan, Jonathan Frye, Brian Kim, Roger Yeh
Also here in NYC you can check out Playwright Lloyd Suh‘s newest work, THE CHINESE LADY, on Theater Row in NYC. Also at 410 West 42nd Street!
This play is being performed in Rep withSESAR by Playwright Orlando Pabotoy. THE CHINESE LADY is a co-production of the Barrington Stage and Ma-Yi Theater Company.
Directed by Ralph B. Peña and starring Daniel K. Issac and Shannon Tyo, this tells the story of the first female immigrant from China, Afong Moy, who was put on display to satisfy the appetites of an America hungry for culture from China.
Just in case you are wondering, aspiring Producers, where you find new works to produce, check out the listfrom STEPPENWOLF Theater called THE MIX.
TFP is so chuffed to see Writers of Color, and Gender Variety, interesting subjects and, well, this list feels like a giant relief that voices are being heard, and needs are closer to being met. If Artists of Color want to see their stories – and obviously there are those willing to tell them – then they should consider seeking out these plays and mounting them.
Here are but a few examples – and really, TFP would see every single one of these because they sound incredible, but she will only post a few because…there are emails on them, some of them – and while you can visit the link and do your own internet stalking – she’s not going to make it easy for you.
However, ASIAN AMERICAN PACIFIC ISLANDERS if you do NOT look at some of these plays for production – you are a FOOL. Because THIS IS WHERE YOU ARE GOING TO FIND YOUR STORIES….some of them.
(Also, so much love and congratulations to TFP’s friend, KEVIN R. FREE for being on the Mix List! YAAAAAY)
So again, for the AAPI’s – the definition including ALL peoples of Asia – Central, Eastern and Southern, here are some options:
Again, these are but a few – this list represents ALL People of Color, as POC are considered POC in this Country. They represent Queer and Gender Fluid voices, as well as Cis voices – in short, TFP believes this is a really, really great list.
Your mission, should you choose to accept it – is to grab one of these plays, and produce it.
The Fairy Princess gets tired, her wings beat slower. Why does everything take a hashtag and a blog to get folks to do the right thing? A great playwright passed last weekand thus far, nothing has been announced to honor her, the way we of The Broadway, typically note the individual contributions, ie: Dimming the Marquee Lights.
TFP gets why the fact that when playwright, Ntozake Shange passed, people would be confused that no plans have been announced to dim the Broadway marquees in her honor. She was the second woman of color, after Lorraine Hansberry’s “A Raisin In the Sun”, to have a play on Broadway.
Her play, “For Colored Girls Who have Considered Suicide/When the Rainbow is Enuf’ premiered Off Broadway, then went to The Public, won an OBIE, and then transferred to Broadway in 1976.
Ms. Shange was 27 years old. Read that again, she was twenty seven years old.
It was a hit, and it was nominated for a TONY Award.
TONY Award Nominations do not just go to everyone – they go to outstanding examples in the category – performance, writing, lighting, costume design – the best.
Year after year, we see lauded names compete with neophytes, and every year, the prestige and unquantifiable cachè of being a Nominee elevates the individual – but in terms of playwrighting, it elevates the message.
Her message was ‘listen to Black Women’.
Ms. Shange elevated the voices of those who had never been put forth in such a way – and the fact that she played one of the characters in her own TONY Nominated piece?
That she WAS the “Lady in Orange” – took her success to a whole other level.
She was the holder of a Masters Degree in American Studies from USC, also a graduate of Barnard College, who had become deeply moved by the Civil Rights movement and changed her name from Paulette Williams to the Zulu, Ntozake as a young woman.
She not only wrote the story of Black women who had suffered abuse and trauma, but she performed it, night after night. Her play later became a film by Tyler Perry, so that it was more accessible to a wider audience, although it remains a staple in the regional theater.
That was not all she did. She was PROLIFIC on a Hamilton-esque scale.
The world of the playwright has always been systemically tilted towards writers of other, paler melanin. Towards men. Should someone choose to produce one of her other works on Broadway, that play might also be nominated or win a TONY Award. We do not know why there was only one that made it to Broadway – although systemic bias towards both People of Color and Women may have played a part – but the one that DID make it – was glorious.
Dim the lights for Ntozake Shange because she held up a glorious rainbow bridge for Black Women in this country to be heard and seen in a art form that did not resemble her.
That largely, still, does not resemble many of us.
Dim the Lights because a Great Artist has passed, and because in honoring her, we acknowledge that there has and will continue to be more to her legacy than a TONY Nominated Play that she wrote and performed in. She led a life doused in art and activism, and isn’t that what the best of theater is?
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