New Original Musicals By Black Playwrights In The Last 10 Years On Broadway

All I could think of was 'The Color Purple'...

And that sorta doesn't count cause it was a revival. The original was first produced in 2005.

I wanna count 'Shuffle Along', but I think the music was written decades ago and the book by George C. Wolfe was the only new addition.

Can y'all list any original musicals by Black playwrights/songwriters that have been produced on Broadway in the last 10 years? What am I missing...?

How could I have forgotten about Passing Strange!!!!
ALSO, let’s re-read the thread title together folks, ON Broadway! P.s. I wouldn’t count Juke Box Musicals, but that’s just me....

Updated On: 8/12/19 at 09:46 AM

YoungSally said: "Look no further than Stew!!

Passing Strange
Total Bent
Family Album (not in NYC)"

Are we talking about shows only written by black playwrights or composers? Because while Stew is black, Heidi Rodewald, who co-wrote Passing Strange with him, is not. So not sure if that one even technically counts in regards to the original poster's question (although Passing Strange was an amazing, forgotten way too soon show, so I'm glad it's being remembered here regardless).

darquegk said: "Do people of color WANT to write musicals? I’ve talked to at least two who feel uncomfortable with the historical baggage and commercialism of the genre; this may be why the fields of spoken word poetry and solo shows are often dominated by performers of color speaking truth."

Gorl... What kind of question is this...? Of course they do. Ch...

Like I said above, plenty of musicals by people of color are being produced off-off and off Broadway, and even more hold readings all the time.

You really tried it with this question. LOL You theater gorls are something else. whew!

Money talks. Like anything that sets a trend in this industry, the shows must be profitable.

If a show comes to Broadway and bombs, that contributes to the lack of confidence. Plenty of producers and theatre owners have turned down shows on the basis of "Passing Strange, Fela, Once On This Island, Caroline Or Change, Holler If Ya Hear Me, Chinglish, Sweat, Eclipsed, Stick Fly, Porgy and Bess, and After Midnight all tanked at the box office, why should [X SHOW] succeed?" I'm in NO way saying that's the right way to look at things, but it's an undeniable factor in decision-making. The recent success of Hamilton is viewed as an anomaly in industry circles.

It's great that Slave Play is coming to Broadway and that A Strange Loop is considering a move. Both are brilliant and unlike anything else on Broadway. Will either return a dollar to the investors? Too early to tell, but they're incredibly risky financial moves. I hope the non-profits continue supporting, hiring, and commissioning artists of color, because everything starts in non-profit theatres nowadays; the largely older-white-male-run commercial theatre world must catch up and adapt.

ErmengardeStopSniveling said: "Money talks.Like anything that sets a trend in this industry,the shows must be profitable.

If a show comes to Broadway and bombs, that contributesto the lack of confidence. Plenty of producers and theatre owners have turned down shows on the basis of "Passing Strange,Fela, Once On This Island,Caroline Or Change, Holler If Ya Hear Me, Chinglish, Sweat,Eclipsed, Stick Fly, Porgy and Bess, andAfter Midnightall tanked at the box office, why should [X SHOW] succeed?" I'm in NO way saying that's the right way to look at things, but it's an undeniable factor in decision-making. The recent success ofHamiltonis viewed as an anomaly in industry circles.

It's great thatSlave Playis coming to Broadway and thatA Strange Loopis considering a move. Both are brilliant and unlike anything else on Broadway. Will either return a dollar to the investors? Too early to tell, but they're incredibly risky financial moves. I hope the non-profits continue supporting, hiring, and commissioning artists of color, because everything starts in non-profit theatres nowadays; the largely older-white-male-run commercial theatre world must catch up and adapt."

I recognize that, but it also isn't an excuse.

I can obviously name way more musicals created by white people that have flopped. Plus, theater is, and will always be, a risky game. I mean, 'Six' is transferring and we all know that's a risky move. Also, after everything 'A Bat Out Of Hell' went through, it still got the opportunity to play the huge City Center. And even if the show did well off Broadway but didn't really scream "Broadway Transfer," they moved it anyway, and sales are proving they could've left it. (Looking at you, 'Sea Wall / A Life'.)

So while I understand what you're saying, the notion doesn't sit well with me. Basically you're saying Black musicals don't sale. But if no one is putting them up regularly, how how can we really know that to be true?

Back to the original question: How many musicals by a Black playwright who wrote the book, music and/or lyrics has been produced on Broadway in the last 10 years?

We are now including jukebox musicals, but let's separate them on the list.

So far we have:

The Color Purple

Passing Strange

And for jukebox musicals:

Summer

Ain't Too Proud

Tina

Shuffle Along

Sure –– it's a vicious cycle, especially when you have largely white wealthy people over 40 as the core audience (75% white, 65% female), the Lead Producers, the theatre owners, and the Tony voters, which all dictate the type of work that gets produced on Broadway. More diverse Lead Producers (positions that require access to money and industry connections) presenting acclaimed work by artists of color could bring higher attendance rates from nonwhite audiences...but again, it's a vicious cycle.

Star casting is a whole other thing. It would be nice if Denzel or Oprah or Viola Davis said "I want to come to Broadway in a NEW play by a writer and director of color" and did a play by Suzan-Lori Parks or Branden Jacobs Jenkins or Lynn Nottage or (shocker) a playwright in their Bway debut, instead of another oft-produced revival. But it's hard enough to get any star to commit to any play.

(Also not to split hairs, but Sea Wall/A Life has averaged 95% for its first 2 frames on Broadway, it's cheap to produce, and Gyllenhaal is the lead producer alongside the theatre owner; they could make it work financially for an 9-wk run while he and the Hudson were available. Gyllenhaal is also one of the producers of Slave Play.)

I don't say all this to make excuses, just to present harsh realities of the industry right now. There has been some promising growth in producing work written and/or directed by women and artists of color, but those numbers need to grow.

Updated On: 8/12/19 at 12:17 PM

ErmengardeStopSniveling said: "Sure –– it's a vicious cycle, especiallywhen you have largely white wealthy people over 40 as the core audience (75% white, 65% female), the Lead Producers, the theatre owners, and the Tony voters, which all dictate the type of work that gets produced on Broadway. More diverse Lead Producers(positions that require access to money and industry connections) presenting acclaimed work by artists of color couldbring higher attendance rates from nonwhite audiences...but again, it's a vicious cycle.

Star casting is a whole other thing. It would be nice if Denzel or Oprah or Viola Davis said "I want to come to Broadway in a NEW play by a writer and director of color" and did a play by Suzan-Lori Parks orBranden JacobsJenkins or Lynn Nottage or (shocker) a playwright in their Bway debut,instead of another oft-produced revival. But it's hard enough to getanystar to commit to anyplay.

(Also not to split hairs, butSea Wall/A Lifehas averaged 95% for its first 2 frames on Broadway,it's cheap to produce, andGyllenhaalis the lead producer alongside the theatre owner;they could make it work financially for an 9-wk run while he and the Hudson were available. Gyllenhaal is also one of the producers ofSlave Play.)

I don't say all this to make excuses,just to present harsh realitiesof the industry right now. There has been some promising growth in producing work written and/or directed by women and artists of color, but those numbers need to grow."

Thanks for those Sea Wall and Slave Play facts. Didn't know that!

Yeah, I have a lot of respect for Gyllenhaal. He seems like a guy who really cares about supporting interesting theatre/film projects

I'm not saying that "star producers" should be the driving force of our industry, because they're not common, but... imagine if high-powered people like Lin-Manuel Miranda, Oprah, Denzel Washington, Gyllenhaal, Spike Lee, Whoopi, and John Legend each said "I realize Broadway has a diversity problem and the system is broken. I'm committing to investing/raising $500k-$1m for a new play or musical by an artist of color every 2-3 years on Broadway." It wouldn't solve all the problems, but it jumpstarts fundraising, offers a "named" producer as a stamp of approval to ticket buyers and theatre owners, and could attract new money to Broadway. (And who knows, maybe they recoup their investment and win a Tony.)

Updated On: 8/12/19 at 01:48 PM