Is the APOLLO finally going to be # 42? — Page 2

Oh no. Someone started a change.org petition.

SouthernCakes said: "What’s racist about my post?"

I mean some of the most successful shows aren’t exactly about “white people” - Wicked, Phantom, Cats. Not saying Broadway isn’t racist but I’d say, if anything, they’re more “bodyist.” They have a certain look and keep to it.



It's less racist, and more ignorant, I would say.

The fact that you can name a few successful shows in which the characters' race isn't specified doesn't change the following: (1) that the casts of these shows are often cast with mostly white people anyway - not to say that they have all-white casts, but they generally favor white people disproportionately, especially in the leading roles, (2) that a big part of representation comes from writing roles specifically for black people, not just roles that they CAN play. Not to mention that all of those successful shows you listed were written, directed, and produced by white men.

You're totally right that the theatre community is incredibly fat-phobic. But that's not really the issue at hand here. This thread, and this current movement, are targeted at racism, particularly anti-black racism. So to insert comments like "if anything, it's body-ist" only serves to distract from the current conversation. And putting one form of oppression in competition with another form of oppression doesn't really help anything.

Kad said: "This isn’t about “allowing” the Apollo to become a Broadway house, since there’s no indication there is interest on the part of the Apollo to become one.

The Apollo is an important and iconic African-American institution and platform. It doesn’t need to be volunteered to fix Broadway’s race issues."

Thank you Kad.

And it seems there is now a petition to turn it into a Broadway venue. I suspect those that want this don't know the history of the theater or have ever been there. Making it a Broadway theater will take away programming that people (Black, white and otherwise) will likely not be able to see elsewhere. They have an upstairs cabaret where artists known within the black community, that are not mainstream, perform. (Great shows up there!) And as Kad said, it is an important platform for the community. Leave it alone OR, here's an idea, Don't take that history away and start a petition to raise money to make sure it stays that way. That would be doing more for the theater than making it a Broadway venue. And Black artists will still be represented. Try that.

Smaxie said: "I think I would be more excited for a Black non-profit to be established to run the Liberty Theatre on 42nd Street, which has been vacant for years. And just let the Apollo continue to be the Apollo."

I think a Black-run non-profit Broadway theatre would be a good thing (although it would require a large amount of philanthropy to establish) and I think "letting" the Apollo be itself (as rehearsed, not that anyone's permission plays a role in this), but the Liberty is not "vacant" (the stage and auditorium is an event space that has been modified in ways that would make it difficult to re-re-purpose as a theatre) and there may well be other options that would be better/easier to accomplish.

Long post in two parts.



THE APOLLO PROBLEM

Even if the Apollo wanted to overhaul its programming model, it would be an absolute fool's errand to get the Apollo designated as a permanent Broadway house:

– There would be cries of gentrification. That area is already getting whiter, but this could take it to the extreme.

– 1500 seats = impractically large. Musicals require tourist audiences. Harlem would kill any tourist traffic and casual theatergoers who don't live on the UWS or above. Harlem is still (wrongly) viewed as a dangerous place to most tourists, especially at night...and a "clean up Harlem" PR campaign would again be viewed as gentrification.

– There's a huge difference (60 blocks) between the Apollo at 125th vs LCT at 65th (which is away from the theatre district but still walkable from Times Square). It would entirely re-define the meaning of "Broadway"...and within months, the Public would announce plans to add 201 seats to The Newman so it can also be designated "Broadway." (A slightly wider landscape isn't a bad thing, especially considering what Times Square has become, but there are limits.) Imagine getting the out-of-town Tony voters up to 125th?! It's hard enough getting them to attend plays at the non-profits!

– Few people have cracked how to convert new $75+ ticketbuyers in a sustainable way without a major star. Broadway house = Broadway costs.



BROADWAY'S WHITENESS PROBLEM

What's the solution to Broadway's whiteness problem? I would love to see commitment from wealthy people of color with platforms and ties to Broadway. Two possibilities:

– Broadway commitment: Oprah, Lin-Manuel Miranda, Denzel, John Legend, Kerry Washington, and other MAJOR artists say "I understand Broadway has a race problem. I'm committing to starring in [or producing, commissioning, investing $1million in] a new work by an artist of color every 4 years." It wouldn't change everything, and the theater owners are still a roadblock, but it's a start. The involvement of a major celebrity can help reach new audiences (which is the big complaint about "black shows" on Broadway: majority POC audiences cannot sustain a Broadway show to recoupment with the current economic model).

– Non-profit commitment: Perhaps it's several prominent people of color –– Lin, Kenny Leon, George Wolfe, etc –– joining forces to create a new off-Broadway non-profit that can commission and produce works by artists of color. Prices are kept reasonable, and they do outreach to new POC audiences. And if shows are well-received, then commercial producing partners and theater owners can discuss a move to Broadway. But even if only a small umber of shows move to Broadway, it's an opportunity for underrepresented artists to be produced (and reviewed, and seen, and picked up by agents), which can create a pipeline for Broadway.

Troynow, I think, at least for me, it depends on if the Apollo even WANTS to become a Broadway house. If they came out with a statement, etc, sure I'm all for it. I'm not going to foist something on them with petitions and stuff if it's not what they wanted.

Kamilah Forbes, the Apollo's executive director, recently talked on a podcast called CI to Eye (link to her episide, skip to 13:24 for this particular discussion...) about the Apollo's programming and the pressure they've gotten to join the other 41. She talks a bit about the natural "comparative" that exists between Broadway and the Apollo in light of the recent change.org petition and especially considering the frequency at which they host commercial productions ala Blue, their role in NYC theatre in-terms of working with commercial producers. It's pretty clear it's absolutely not within the interest of their organization but still really interesting hearing about her perspective of it all. Also, definitely a great podcast anyways if you're at all into arts marketing.

Updated On: 8/7/20 at 07:42 PM