Theater
Black History Month Legend – Lloyd Richards – Black Theater Matters
Born in Toronto, Canada – but raised in Detroit, Michigan – by Jamaican parents, Lloyd Richards was some of the vital figures in American theater within the second half of the twentieth century. He was the primary African American to direct a play on Broadway, a champion of greater than three generations of young actors, directors and playwrights, including the discovering playwright August Wilson. Richards helped develop the Pulitzer Prize winner’s voice by collaborating on Wilson’s significant early stage works and directed their acclaimed Broadway performances. Wilson’s stories chronicling the struggle of African Americans for dignity and respect, giving a voice to the boys and girls Richards and Wilson knew all too well from their humble pasts.
When he was 4 years old, Richards moved his family across the Canadian border to Detroit. There, his carpenter father found a job in one in every of the automotive factories. Richards was only nine years old when his father died, leaving his mother to boost five children alone within the depths of the Great Depression. The remainder of his youth was marked by poverty and hardship: his mother worked as a domestic employee to support her five children. Life became even harder for the Richards family when, two years later, Mrs. Richards became blind as a consequence of her doctor’s negligence. Lloyd, at just 13 years old, went to work shining shoes and sweeping floors at a barbershop to assist put food on the table. Later, as a student at Wayne State University in Detroit, Richards earned money as an elevator operator, taking his classmates to classes on the 4 floors of the Old Main Building.
The Richards family believed within the importance of education, and despite their difficult circumstances, he and his siblings were encouraged to check hard and go to varsity. He became involved in theater as a youngster and majored in it at Wayne State University. His studies were interrupted by World War II. He volunteered for a segregated division of U.S. Army fighter pilots often called the Tuskegee Airmen. After the tip of the war in 1945, he was in training.
After returning to Detroit, he sought out stage roles, working as a disc jockey, and helped start a theater company. With limited options for motion, Richards moved to New York in 1947. It was difficult to search out roles for African-American actors, but Richards found several roles on Broadway. In particular, he found employment within the dramas “Freight” and “The Egghead”. In the Nineteen Fifties, he found a job in radio, nevertheless it was more “secret”. Although Richards had a well-trained voice that conformed to the common Midwestern speech standard, radio productions took a risk in hiring him. If it were discovered that his radio work was handled by a black actor, programs throughout the South could be faraway from the air. The
In between off-Broadway roles, Richards waited tables and located a gentle job as an acting teacher at Paul Mann Studios. It was at this class that he met one other struggling actor, Sidney Poitier. Sharing their Jamaican heritage, Richards and Poitier formed a lifelong friendship. Poitier eventually introduced him to playwright Lorraine Hansberry, which led to Richards’ first exposure to directing. The play was titled “A Raisin in the Sun” and was a groundbreaking, original production that premiered on March 11, 1959 on the Ethel Barrymore Theater on Broadway. The show was nominated for several Tony Awards, including Best Director, and Richards received the excellence of being the primary African American to ever direct a play on Broadway.
Despite the success of “A Raisin in the Sun”, Richards found it difficult to provide one other hit. He directed the stage adaptation of Richard Wright’s novels “The Long Sleep” and “The Moon under Siege.” Both shows closed of their first week of performances. He then ventured into works that didn’t focus exclusively on African-American themes, equivalent to the 1965 musical adaptation of “The Yearling,” only to shut it the evening after opening. He was hired to direct a staged adaptation of James Baldwin’s The Amen Corner, but bumped into problems with the producers and was fired from the series.
Once again, Lloyd Richards has leaned on his past as a couch potato actor. In 1966, he became director of the actor training program on the School of the Arts at New York University. In 1968, he became director of the National Playwrights Conference on the O’Neill Theater Center in Waterford, Connecticut. The conference, held annually as a part of summer workshops, brings together a bunch of playwrights – some well-known, others emerging – to bring their latest work to its final version with the assistance of residents, a director and a playwright. Under his direction, O’Neill developed latest works by John Guare, Arthur Kopit, Wendy Wasserstein, Christopher Durang, and David Henry Hwang. African or African-American playwrights who created plays include Derek Wolcott, Wole Soyinka, Charles OyamO Gordon, Richard Wesley, Philip Hayes Dean, and most famously August Wilson.
He was a professor of theater and cinema at Hunter College in New York before becoming dean of the distinguished Yale University School of Drama in 1979. At the identical time, he became artistic director of the hugely influential Yale Repertory Theater.
Throughout his profession, Lloyd Richards sought to find and develop latest plays and playwrights, as a member of the Rockefeller Foundation’s Playwrights selection committee and the Ford Foundation’s New American Plays program, and as artistic director of the National Conference of Playwrights on the Eugene O’Neill Memorial Theater Center since 1968 until 1999. Richards’ long seek for a brand new, vital American playwright resulted within the 1984 production of August Wilson’s “Ma Rainey’s Black Bottom.” In the Eighties and Nineteen Nineties, Richards directed productions of August Wilson’s multi-part chronicle of African American life at Yale Rep and New York. Shows on this series include “Fences,” Joe Turner’s “Come and Gone,” “The Piano Lesson,” “Two Trains Going” and “Seven Guitars.” They ended their skilled relationship in 1996 after the production of “Seven Guitars” on Broadway.
Richards’ television credits included segments on “Roots: The Next Generation,” “Bill Moyers’ Journal” and “Robeson,” a take a look at the lifetime of African-American actor and activist Paul Robeson, who was an early inspiration for the young Lloyd Richards. Richards also tackled Robeson’s life and legacy within the 1977 stage play “Paul Robeson.” Richards was the recipient of the Pioneer Award of AUDELCO, the Frederick Douglass Award, and in 1993 received the National Medal of Arts. He also served as president of the Association of Directors and Choreographers.
Richards retired from Yale in 1991 and from the O’Neill Center in 1999. He suffered from heart problems in his later years and died of heart failure on June 29, 2006, at Mount Sinai Hospital in New York. It was his 87th birthday. Survivors include his wife, Barbara Davenport Richards, a former Broadway dancer whom he married in 1957, and their sons, Scott and Thomas.
Theater
Tyler Perry honored with the Impact Award at the Apollo Spring Benefit 2022 festival, Gifts Theater PLN 500,000. dollars
NEW YORK, NEW YORK – JUNE 13: Whoopi Goldberg presents Tyler Perry with the Apollo Impact Award during the Apollo Theater Spring Benefit 2022 performance at the Apollo Theater on June 13, 2022 in New York City. (Photo: Arturo Holmes/Getty Images)
Writer, producer, director and studio owner Tyler Perry has received the Apollo Theater’s highest honor and in return he has given the historic institution an enormous gift.
On July 13, the annual spring profit concert and awards gala at the world-famous Apollo Theater made its grand return to lift funds for the Harlem landmark. The theater was completely closed for much of the pandemic and only recently began opening its doors for a couple of select performances and events.
Hosted by Kenan Thompson, the event featured performances by The Roots, Kamasi Washington, Stephanie Mills and Anthony Hamilton, and Perry received the Impact Award in recognition of the impact he has had on the Hollywood industry, particularly for Black creators and performers.
Whoopi Goldberg presented Perry with the honor, calling it “everything I hoped to see when I looked at ‘the best’.”
“I love him because he’s funny and he does things that people sometimes don’t understand,” Goldberg continued. “Because we’re very tough people. Black people… we are going to speak about you.
Goldberg gave examples of certain members of society who consider that Perry’s material will not be good for our people, or that it’s the most accurate and favorable depiction of black life.
“But there are also people who say, ‘I love what he does because I can see.’ This is an extraordinary thing. It’s hard to find something universal.”
“He represents the best of us. We don’t always like everything we all do, each other. But we get the idea. I love this man because he understands what we are about – not just as a race, but as a human race. I’m proud to know him.”
“I’m truly moved and inspired by this,” Perry said as he accepted his honorary trophy. “I hope most of us will understand how necessary it’s to support most of these facilities. There is a lot happening in the world that individuals try to erase our history. They don’t need it taught in schools. That is why it’s so necessary that we ourselves ensure that that our kids and other people remember this history. And there have been some legends circulating on this stage and on this constructing. Never take this place without any consideration.
“With that in mind, I would really like to donate half 1,000,000 dollars to assist keep this place open. I need my son to see this. I need your kids to see this.”
Perry’s gift helped propel the event to record-breaking status. During Apollo’s 2022 spring campaign, the Apollo team raised $3.7 million – greater than the theater raised the yr before. Additionally, roughly 400 commemorative NFTs were created ahead of the event and distributed to donors who helped raise the record amount.
Before thanking Apollo for the honor and the opportunity to seem on stage and rub the famous “tree of hope,” Perry had some inspiration to share with the audience.
“Last year, I wrote checks for $154 million on my payroll – not bills, but my payroll. And 98% of it was about Black people,” Perry continued. “This is our strength. This is the power of understanding our stories, our messages, [regardless of] who gets it and who doesn’t. As long as you follow your path, you understand who you might be talking to, you realize your audience. If you’ve a dream on this room, please hear me after I say: don’t quit in your dreams. If I gave up, I do not know who would get that payroll or in the event that they would work in Hollywood and other people would not allow them to in the door.
Below are more photos from the star-studded honorary night:
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Samuel L. Jackson and LaTanya Richardson Jackson
05
Malik Yoba, Sage Nicole and Phylicia Rashad
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Whoopi Goldberg and Tyler Perry
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Anthony Hamilton and Kenan Thompson
Theater
Tina Knowles Lawson and Richard Lawson WACO Theater Center to host star-studded COVID-19 relief event
WACO (Where Art Can Occur) Theater Center is working with among the biggest names within the entertainment industry to help them support families affected by Covid-19.
The organization is hosting a virtual celebration to have fun and recognize diverse artistic mediums, encourage entrepreneurship and reinvest in local programs. It will likely be broadcast continue to exist WACO’s Facebook AND Youtube pages on Saturday, September 19 at 5:00 p.m. (PDT).
It will feature exclusive footage from the famous Wearable Art Galas, spoken word, stage readings, in addition to a virtual art gallery and a special celebrity edition of Knowles Lawson’s signature “corny joke time.”
Samuel L. Jackson, Octavia Spencer, Tiffany Haddish, Angela Bassett, Lynn Whitfield, Issa Rae, Yara Shahidi, Megan Thee Stallion, Vanessa Bell Calloway, Lena Waithe, Cynthia Erivo and Lil Rel Howery are confirmed to attend the event.
It will even be a real family affair, with Beyoncé Knowles-Carter, Jay-Z, Solange Knowles, Bianca Lawson, Kelly Rowland and Michelle Williams volunteering their time to show their support.
The event is hosted by business leaders and entertainment industry veterans Kawanna Brown, Vanessa Bell Calloway, Cheryl Creuzot, Babe Evans, Melba Farquhar, Lela Rochon Fuqua, Mai Lassiter, Holly Robinson-Peete, Robi Reed, Eula Smith and Jo-An Turman committee.
Works by Kehinde Wiley, Lauren Halsey, Barnette, Bethany Collins, Genevieve Gagnaird, Eduardo Sarbia and Radcliffe Bailey will likely be featured.
The silent auction will allow participants to bid on prices from famous artists and jewelers including Robert Pruitt, “The Pretty Artist” Tiffanie Anderson, Chaz Guest, Ron Bass, Samuel Levi Jones, Harry Adams, Tyler Clark, Quiana Parks, Toni Scott, Gherdai Hassell, Charis Kelley, A. Nichel, Erica Puckett and designer Lorraine Schwartz.
DJ Millie will host the event, providing music between segments.
Founded by Tina Knowles Lawson and Richard Lawson, the Los Angeles-based WACO Theater Center and Performance Complex offers unique cultural programming, mentorship, arts education and performance opportunities to Los Angeles’ diverse communities.
“WACO was created to stand at the intersection of black culture and art. For the past three years, we have worked to create a safe space for students to nourish, grow and learn,” said Tina Knowles Lawson.
Thanks to Sheamoisture’s support, the event will likely be free to the general public.
Since 2016, the private care brand has frequently helped WACO serve the community through community arts and education initiative programs.
“This year our gathering will have a different feel and look, but the mission will unequivocally remain the same,” said co-artistic director Richard Lawson. “We look forward to continuing the tradition of celebrating art and black culture to create meaningful change for our children.”
Get access to preview and register for the auction by texting WACO2020 to 243-725 and visit the virtual art gallery through Sunday, September 27.
Nestled between the boulevards of Adam Clayton Jr. and the boulevards of Frederick Douglass, the Apollo Theater in Harlem, New York, took its throne as the guardian of Black history for 85 years. Since reopening in 1934 to satisfy the growing talent of African Americans in Harlem, the Apollo Theater has cultivated, protected and elevated the standard of black art. Whether it’s music, writing, dance and even the art of speaking, no place in the world will be called home, sanctuary and origin like the Apollo Theater. Before it was the home of Duke Ellington, Billie Holiday or Bruno Mars, the Apollo was a burlesque theater. Opening in 1914, Benjamin Hurting and Harry Seamon obtained a lease on the newly built theater, which was owned by Sidney Cohen and, like much of America at the time, prohibited African Americans from entering and entertaining themselves. However, in 1933, the mayor began banning Burlesque performances and the theater closed. A 12 months later, Cohen recognized the growing population and evolution of African-American entertainment in Harlem and started to satisfy the growing demand, and from there the rest was history. One can only imagine what it could be like to steer a being like Apollo; the responsibility of not only keeping history alive but in addition fostering growth will be intimidating, but fortunately, under CEO/President Jonelle Procope, Apollo is flourishing and preparing for the next 85 years. A lawyer by education. Procope was initially a company lawyer, then moved into entertainment law, mainly music law. She knew at this point that this was the catalyst for joining Apollo’s board in 1999. She served on the board for about three years, during which she began to grasp Apollo’s vision. “The fact that it was a turning point and we were basically starting from scratch, we needed infrastructure and people, we had to provide the organization with a solid financial foundation; once we take care of that, we can really focus on the more interesting things that are happening within these four walls,” Procope tells ESSENCE. Even though Apollo was a cultural icon, he fell on hard times. When she joined, she knew that participating on this rescue mission was to save lots of her. After three years, she was asked to take over the management of the theater, and in 2003 she began a new profession as president of the Apollo Theater. “At first, the reality of being asked to run was daunting because I had never run for anything! I was just a practicing lawyer. I really had to think about it with the help and advice of my husband and girlfriends because you know women are risk averse, especially my generation. Fortunately, everyone agreed it was the perfect job for me because everything I had done led to this decision.” “I had to learn on the job. It was important for me to be a manager who understood that I couldn’t know all the details of running a theater and I couldn’t do it alone.” During her tenure as president/CEO, Procope was dedicated to making sure that the Apollo was greater than only a theater. “We are celebrating the 85th anniversary ofvol anniversary, and while we have a truly amazing legacy, we are a place of opportunity and one of the first theaters to be desegregated. He launched almost everyone’s career in music, dance and comedy. It was one of the few places where you could hone your skills and perform; Today, all these people are legendary. We celebrate this legacy. Reason 85vol is so special because our future is truly amazing.” But that is not the only thing extraordinary about the Apollo Theater’s legacy. The theater shall be the operational manager of the new cultural space, which can come online in 2020 and can include two new theaters and office space. But what it really means is that the Apollo will develop into a middle for the performing arts, which is a very vital milestone in the evolution of theater. It allows the theater to expand its programming and proceed to offer opportunities for African Americans and cultural expansion. “We truly want to lead the most inspiring, long-term and exciting effort in America to advance a diverse 21st centurystreet century American canon of performing arts. The canon will focus on African American stories; stories based on the experiences of African Americans and the African diaspora,” says Procope. Hopefully, the next time you visit the Apollo Theater, you will see greater than only a structure – it’s your own home. The house that has housed our culture for 85 years. The definition and embodiment of Black History.
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