Chita Rivera, Broadway’s ‘First Great Triple Threat,’ Dies at 91
Nichelle Lewis’ Incredible Journey From TikTok to Starring in ‘The Wiz’
Tony Awards 2023: Here's the List of Major Winners With Photos
Pamela Anderson Captivatingly Tells Her Own Story in New Netflix Documentary
'Ma Rainey's Black Bottom' Shines a Light on August Wilson's Vision
Actress, Dancer, Choreographer Ann Reinking Dies at 71
David Byrne and Spike Lee Conjure Up a Joyous Vision of 'American Utopia'
Hal Prince, Transformational Broadway Producer And Director, Has Died
In 2019, Beloved 'Rent' Characters Read More Like Gentrifiers
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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg 2046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1637x2048.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1920x2402.jpg 1920w\" sizes=\"(max-width: 2046px) 100vw, 2046px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera in May 1977. \u003ccite>(Evening Standard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chita Rivera, who appeared in more than 20 Broadway musicals over six decades has died, according to her daughter, Lisa Mordente. The three-time Tony Award-winning Broadway legend created indelible roles — Anita in \u003cem>West Side Story\u003c/em>, Rose in \u003cem>Bye Bye Birdie\u003c/em>, Velma Kelly in \u003cem>Chicago\u003c/em>, and Aurora in \u003cem>Kiss of the Spiderwoman\u003c/em>. She was 91.\u003c/p>\n\u003cp>Rivera “was everything Broadway was meant to be,” says Laurence Maslon, co-producer of the 2004 PBS series, \u003cem>Broadway: The American Musical\u003c/em>. “She was spontaneous and compelling and talented as hell for decades and decades on Broadway. Once you saw her, you never forgot her.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g9_fi5ZmqyU\u003c/p>\n\u003cp>You might think Chita Rivera was a Broadway baby from childhood — but she wasn’t. Born Dolores Conchita Figueroa del Rivero in Washington, D.C., she \u003ca href=\"https://youtu.be/IPZBX8SiySA?si=ELIWcuAvLBe7puIV&t=448\">told an audience\u003c/a> at a Screen Actors Guild Foundation interview that she was a tomboy and drove her mother crazy: “She said, ‘I’m putting you in ballet class so that we can rein in some of that energy.’ So I am very grateful.”\u003c/p>\n\u003cp>Rivera took to ballet so completely that she got a full scholarship to the School of American Ballet in New York. But when she went with a friend to an audition for the tour of the Broadway show \u003cem>Call Me Madam\u003c/em>, Rivera got the job. Goodbye ballet, hello Broadway. In 1957, she landed her breakout role, Anita in \u003cem>West Side Story, \u003c/em>with a score by Leonard Bernstein and Stephen Sondheim.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hearing ‘America’ was just mind-boggling, with that rhythm,” Rivera \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=14744266\">told NPR \u003c/a>in 2007 for the musical’s 50th anniversary. “I just couldn’t wait to do it. It was such a challenge. And, being Latin, you know, it was a welcoming sound.”\u003c/p>\n\u003cfigure id=\"attachment_13951270\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png\" alt=\"\" width=\"1294\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-800x780.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-1020x995.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-160x156.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-768x749.png 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, center, works with choreographer Jerome Robbins, second from left, and her fellow ‘West Side Story’ cast members in a rehearsal on July 22, 1957. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>West Side Story\u003c/em> allowed Rivera to reveal not only her athletic dancing chops, but her acting and singing chops. She recalls Leonard Bernstein teaching her the score himself: “I remember sitting next to Lenny and his starting with ‘A Boy Like That,’ teaching it to me and me saying, ‘I’ll never do this, I can’t hit those notes, I don’t know how to hit those notes.’ ”\u003c/p>\n\u003cp>But she did hit them, and being able to sing, act and dance made her a valuable Broadway commodity, said Maslon. “She was the first great triple threat. Broadway directors like Jerome Robbins and Bob Fosse saw the need to have performers who could do all three things and do them really well.”\u003c/p>\n\u003cp>And, from 1960 to 2013, she headlined some big hits — as well as some major flops. In 1986, Rivera was in a serious taxi accident. Her left leg was shattered, and the doctors said she’d never dance again, but she did — just differently.\u003c/p>\n\u003cfigure id=\"attachment_13951271\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png\" alt=\"A young woman and an older woman stand on stage, arms outstretched towards one another.\" width=\"1298\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-768x509.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, right, and Michelle Veintimilla perform at the Tony Awards at Radio City Music Hall on June 7, 2015 in New York City. \u003ccite>(Theo Wargo/ Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all have to be realistic,” she \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5048067\">told NPR\u003c/a> in 2005. “I don’t do flying splits anymore. I don’t do back flips and all the stuff that I used to do. You want to know something? I don’t want to.”\u003c/p>\n\u003cp>But her stardom never diminished. And the accolades flowed: she won several Tony Awards, including one for lifetime achievement, a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=871162\">Kennedy Center honor\u003c/a>, and a Presidential Medal of Freedom. Rivera didn’t do much television or film — she was completely devoted to the stage, says Maslon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s why they’re called Broadway legends,” he says. “Hopefully you get to see them live because you’ll never get to see them in another form in quite the same way.”\u003c/p>\n\u003cfigure id=\"attachment_13951272\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png\" alt=\"\" width=\"1290\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-768x507.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera receives the Presidential Medal of Freedom from former president Barack Obama during a ceremony at the White House on Aug. 12, 2009. \u003ccite>(Chip Somodevilla/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Chita+Rivera%2C+Broadway%27s+%27First+Great+Triple+Threat%2C%27+dies+at+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The Tony Award-winning Broadway legend created indelible roles, including Anita in ‘West Side Story’ and Velma Kelly in Chicago.","status":"publish","parent":0,"modified":1706653939,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":737},"headData":{"title":"Chita Rivera, Broadway’s ‘First Great Triple Threat,’ Dies at 91 | KQED","description":"The Tony Award-winning Broadway legend created indelible roles, including Anita in ‘West Side Story’ and Velma Kelly in Chicago.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Chita Rivera, Broadway’s ‘First Great Triple Threat,’ Dies at 91","datePublished":"2024-01-30T22:32:19.000Z","dateModified":"2024-01-30T22:32:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Evening Standard","nprByline":"Jeff Lunden","nprImageAgency":"Getty Images","nprStoryId":"975467882","nprApiLink":"http://api.npr.org/query?id=975467882&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/01/30/975467882/chita-rivera-dead?ft=nprml&f=975467882","nprRetrievedStory":"1","nprPubDate":"Tue, 30 Jan 2024 17:09:00 -0500","nprStoryDate":"Tue, 30 Jan 2024 15:04:36 -0500","nprLastModifiedDate":"Tue, 30 Jan 2024 15:22:55 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13951264/chita-rivera-broadways-first-great-triple-threat-dies-at-91","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951265\" class=\"wp-caption aligncenter\" style=\"max-width: 2046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg\" alt=\"A smiling woman sits for a photographic portrait.\" width=\"2046\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg 2046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1637x2048.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1920x2402.jpg 1920w\" sizes=\"(max-width: 2046px) 100vw, 2046px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera in May 1977. \u003ccite>(Evening Standard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chita Rivera, who appeared in more than 20 Broadway musicals over six decades has died, according to her daughter, Lisa Mordente. The three-time Tony Award-winning Broadway legend created indelible roles — Anita in \u003cem>West Side Story\u003c/em>, Rose in \u003cem>Bye Bye Birdie\u003c/em>, Velma Kelly in \u003cem>Chicago\u003c/em>, and Aurora in \u003cem>Kiss of the Spiderwoman\u003c/em>. She was 91.\u003c/p>\n\u003cp>Rivera “was everything Broadway was meant to be,” says Laurence Maslon, co-producer of the 2004 PBS series, \u003cem>Broadway: The American Musical\u003c/em>. “She was spontaneous and compelling and talented as hell for decades and decades on Broadway. Once you saw her, you never forgot her.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g9_fi5ZmqyU'\n title='//www.youtube.com/embed/g9_fi5ZmqyU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might think Chita Rivera was a Broadway baby from childhood — but she wasn’t. Born Dolores Conchita Figueroa del Rivero in Washington, D.C., she \u003ca href=\"https://youtu.be/IPZBX8SiySA?si=ELIWcuAvLBe7puIV&t=448\">told an audience\u003c/a> at a Screen Actors Guild Foundation interview that she was a tomboy and drove her mother crazy: “She said, ‘I’m putting you in ballet class so that we can rein in some of that energy.’ So I am very grateful.”\u003c/p>\n\u003cp>Rivera took to ballet so completely that she got a full scholarship to the School of American Ballet in New York. But when she went with a friend to an audition for the tour of the Broadway show \u003cem>Call Me Madam\u003c/em>, Rivera got the job. Goodbye ballet, hello Broadway. In 1957, she landed her breakout role, Anita in \u003cem>West Side Story, \u003c/em>with a score by Leonard Bernstein and Stephen Sondheim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hearing ‘America’ was just mind-boggling, with that rhythm,” Rivera \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=14744266\">told NPR \u003c/a>in 2007 for the musical’s 50th anniversary. “I just couldn’t wait to do it. It was such a challenge. And, being Latin, you know, it was a welcoming sound.”\u003c/p>\n\u003cfigure id=\"attachment_13951270\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png\" alt=\"\" width=\"1294\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-800x780.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-1020x995.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-160x156.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-768x749.png 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, center, works with choreographer Jerome Robbins, second from left, and her fellow ‘West Side Story’ cast members in a rehearsal on July 22, 1957. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>West Side Story\u003c/em> allowed Rivera to reveal not only her athletic dancing chops, but her acting and singing chops. She recalls Leonard Bernstein teaching her the score himself: “I remember sitting next to Lenny and his starting with ‘A Boy Like That,’ teaching it to me and me saying, ‘I’ll never do this, I can’t hit those notes, I don’t know how to hit those notes.’ ”\u003c/p>\n\u003cp>But she did hit them, and being able to sing, act and dance made her a valuable Broadway commodity, said Maslon. “She was the first great triple threat. Broadway directors like Jerome Robbins and Bob Fosse saw the need to have performers who could do all three things and do them really well.”\u003c/p>\n\u003cp>And, from 1960 to 2013, she headlined some big hits — as well as some major flops. In 1986, Rivera was in a serious taxi accident. Her left leg was shattered, and the doctors said she’d never dance again, but she did — just differently.\u003c/p>\n\u003cfigure id=\"attachment_13951271\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png\" alt=\"A young woman and an older woman stand on stage, arms outstretched towards one another.\" width=\"1298\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-768x509.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, right, and Michelle Veintimilla perform at the Tony Awards at Radio City Music Hall on June 7, 2015 in New York City. \u003ccite>(Theo Wargo/ Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all have to be realistic,” she \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5048067\">told NPR\u003c/a> in 2005. “I don’t do flying splits anymore. I don’t do back flips and all the stuff that I used to do. You want to know something? I don’t want to.”\u003c/p>\n\u003cp>But her stardom never diminished. And the accolades flowed: she won several Tony Awards, including one for lifetime achievement, a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=871162\">Kennedy Center honor\u003c/a>, and a Presidential Medal of Freedom. Rivera didn’t do much television or film — she was completely devoted to the stage, says Maslon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s why they’re called Broadway legends,” he says. “Hopefully you get to see them live because you’ll never get to see them in another form in quite the same way.”\u003c/p>\n\u003cfigure id=\"attachment_13951272\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png\" alt=\"\" width=\"1290\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-768x507.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera receives the Presidential Medal of Freedom from former president Barack Obama during a ceremony at the White House on Aug. 12, 2009. \u003ccite>(Chip Somodevilla/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Chita+Rivera%2C+Broadway%27s+%27First+Great+Triple+Threat%2C%27+dies+at+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951264/chita-rivera-broadways-first-great-triple-threat-dies-at-91","authors":["byline_arts_13951264"],"categories":["arts_1","arts_69","arts_1564","arts_967"],"tags":["arts_2347","arts_13825"],"featImg":"arts_13951273","label":"arts"},"arts_13951149":{"type":"posts","id":"arts_13951149","meta":{"index":"posts_1591205157","site":"arts","id":"13951149","score":null,"sort":[1706567361000]},"guestAuthors":[],"slug":"the-wiz-star-nichelle-lewis-broadway-sf","title":"Nichelle Lewis’ Incredible Journey From TikTok to Starring in ‘The Wiz’","publishDate":1706567361,"format":"audio","headTitle":"Nichelle Lewis’ Incredible Journey From TikTok to Starring in ‘The Wiz’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Half a century after its debut, \u003ca href=\"https://www.broadwaysf.com/events/the-wiz/?gad_source=1&gclid=CjwKCAiAtt2tBhBDEiwALZuhAGP_ikCOgYxwZIALx-MzPudCFUBvI7FvZoCkrjsGAiV1YYgpFctHexoCmCwQAvD_BwE&gclsrc=aw.ds\">\u003cem>The Wiz\u003c/em>\u003c/a> is \u003ca href=\"https://youtu.be/uNKmKOjGUbw?si=WB_S6tdig98GnFPp\">easing on down the road\u003c/a> again. The touring Broadway musical is currently in San Francisco, its second-to-last stop before parking in New York.\u003c/p>\n\u003cp>When it opened in 1975, \u003cem>The Wiz\u003c/em> shook up musical theater \u003cspan style=\"font-weight: 400\">—\u003c/span> to the tune of seven Tony Award nominations \u003cspan style=\"font-weight: 400\">—\u003c/span> with its uniquely Afro-diasporic approach to L. Frank Baum’s 1900 children’s book \u003cem>The Wonderful Wizard of Oz\u003c/em>. Under Geoffrey Holder’s direction and costume design, the original\u003cem> Wiz\u003c/em>’s blend of homegrown American fantasy, Caribbean-inspired costumes and ’70s soul music revolutionized Broadway. It boasted an all-Black cast, with R&B legend Stephanie Mills in the role of Dorothy.\u003c/p>\n\u003cfigure id=\"attachment_13951157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975.jpg\" alt=\"Hinton Battle in costume as the scarecrow, Stephanie Mills as Dorothy, Ted Ross as the lion and Tiger Haynes as the tin man in the original Broadway show of The Wiz in 1975.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hinton Battle, Stephanie Mills, Ted Ross and Tiger Haynes in ‘The Wiz’ in 1975. \u003ccite>(Martha Swope/ New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The latest staging of \u003cem>The\u003c/em> \u003cem>Wiz\u003c/em>, directed by Schele Williams, continues at Golden Gate Theatre through Feb. 11, and features Deborah Cox as Glinda and Wayne Brady in its titular role. And among these veteran performers, newcomer Nichelle Lewis shines as Dorothy.\u003c/p>\n\u003cp>The 24-year-old Virginia native began singing at the age of 10, and was invited to audition for the starring role after producers saw a \u003ca href=\"https://www.tiktok.com/@iamnichellelewis/video/7198700056214506795\">TikTok of her performing the show’s 11 o’clock number\u003c/a>, with a caption that detailed some of the loss she’s endured in her life. In mere months, Lewis went from making ends meet at Crate & Barrel to \u003ca href=\"https://www.youtube.com/watch?v=5uR2XRVFoP8\">appearing on television\u003c/a> and earning a Helen Hayes Award nomination.\u003c/p>\n\u003cp>Lewis spoke to KQED about her roots in the church, the pressure of stepping into the silver slippers and turning rejection into opportunity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Corey Antonio Rose: I hear that you grew up in the church. What did you love to listen to as a child? And when did you realize that singing was going to be a part of your life in a major way?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nichelle Lewis:\u003c/strong> When I was a kid, I really loved listening to soul music, those things that really pull at your heartstrings. And I think probably it did come from growing up in the church. A lot of the gospel music was music where you heard these amazing, huge voices telling a story. But it always started off soft and beautiful, and then it would get big and you could feel all their emotions. It really made me feel like I really want to be able to do something like that.\u003c/p>\n\u003cp>I started to do it when I was asked to sing for my father. I remember afterwards people were crying, and I was like, “Oh, I can do this. I can make people feel the way I felt listening to so many other amazing singers.” So I decided at that moment, maybe this could be something I will do for the rest of my life.\u003c/p>\n\u003cfigure id=\"attachment_13951159\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1.jpg\" alt=\"A scene from 'The Wiz' where Glinda sings to Dorothy.\" width=\"1024\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-768x1152.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Nichelle Lewis as Dorothy and Deborah Cox as Glinda in ‘The Wiz.’ \u003ccite>(Jeremy Daniel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In 2022, \u003cem>American Idol\u003c/em> producers invited you to audition for the show, and you received a golden ticket after impressing the judges with Aretha Franklin’s “Respect.” Unfortunately, your \u003cem>Idol\u003c/em> journey ended at the Hollywood stage. How did you make sense of or cope with that experience?\u003c/strong>\u003c/p>\n\u003cp>I felt really defeated in that moment when they told me no, especially because I have to try and keep it together because I don’t want to be sobbing through my montage. I remember going home and trying to cope with it all. It really did take me a good minute to realize that was a wonderful experience, but right now what we’re going to focus on is just putting yourself out there because you know that this dream is meant for you. And that’s what I did for a good year.\u003c/p>\n\u003cp>\u003cstrong>In February of last year, you posted a \u003ca href=\"https://www.tiktok.com/@iamnichellelewis/video/7198700056214506795\">TikTok of yourself singing “Home.”\u003c/a> You’re singing that song over a testimony — [in the caption,] you detailed losing seven different loved ones in your life, including your father, your aunt and your grandmother. And you said that singing kept you alive and keeps you alive. What was going on that made you want to share that message and pick that song?\u003c/strong>\u003c/p>\n\u003cp>I know that there’s so many pages on Instagram and TikTok that only show the surface. They make you feel like people don’t really go through things. I hear a lot of people say stuff like that in the comments like, “Oh, she probably has such a perfect life.” [aside postid='arts_13951141']\u003c/p>\n\u003cp>I don’t want people to think that my life is happy-go-lucky all the time. I always said that I wanted to be as honest and raw as I could be. So for me, sharing “Home” and sharing my story was me trying to be honest with the small audience that I had, and show them that I am growing, I’m learning.\u003c/p>\n\u003cp>\u003cstrong>You’ve been touring the country as Dorothy. What are you learning about the people of this country as you are going from stop to stop?\u003c/strong>\u003c/p>\n\u003cp>People just want to relate to someone. They want to connect, and they want to have someone that’s going to fight for them and show that honesty. I talk to these amazing people that I get to meet all over the country, [and I’m] always met with people saying, “Wow, I needed that and … I’m so glad I got to see that.”\u003c/p>\n\u003cp>It just makes me realize how much people want to connect with people who are in a position to advocate and inspire others. Especially in this time.\u003c/p>\n\u003cfigure id=\"attachment_13951160\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1.jpg\" alt=\"A scene from 'The Wiz' where Dorothy and her aunt sit on the porch and her aunt looks at her with a reassuring gaze.\" width=\"1536\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-768x513.jpg 768w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Dorothy (Nichelle Lewis) and Aunt Em (Melody Betts) perform ‘The Feeling We Once Had’ in ‘The Wiz.’ \u003ccite>(Jeremy Daniel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How are Bay Area audiences reacting to \u003cem>The Wiz\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I think that they’re taking it really well. They’re laughing at a lot of the things that we talk about, especially the housing crisis that we’re experiencing all over the country. And I think that they have been happy to see a show that they can connect with and a show that is current.\u003c/p>\n\u003cp>They laugh really hard at that joke — mostly because most people are having such a struggle just getting a cheap or decent-priced place to live. Everything is so expensive, and it almost feels like your country is trying to push you out. So having someone talk about it, especially in a show, makes you feel like [you’re] not alone in that, you know? [aside postid='arts_13951091']\u003c/p>\n\u003cp>\u003cstrong>How has doing this role on this tour at this time, knowing that you’re headed for Broadway, changed your own definition of home?\u003c/strong>\u003c/p>\n\u003cp>It has made me realize that I’ve kind of been going on the same journey as Dorothy, trying to understand that even though my world has changed, it is still just as beautiful and just as meaningful as it was before. I think for a long time I couldn’t really grasp that my world was different. Thinking about all those people who have passed. I do pay tribute to them a lot at the end of the show, but I also think about my mom and how amazing she is. I talk to her every day. To know that I get to bring her with me on this journey, and I get to bring her with me to Broadway? That, for me, is home. It feels like where I’m supposed to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Wiz’ continues at Golden Gate Theatre in San Francisco through Feb. 11. \u003ca href=\"https://www.broadwaysf.com/events/the-wiz/?gad_source=1&gclid=CjwKCAiAtt2tBhBDEiwALZuhAGP_ikCOgYxwZIALx-MzPudCFUBvI7FvZoCkrjsGAiV1YYgpFctHexoCmCwQAvD_BwE&gclsrc=aw.ds\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The touring musical continues at San Francisco's Golden Gate Theatre through Feb. 11. ","status":"publish","parent":0,"modified":1706899678,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1339},"headData":{"title":"Nichelle Lewis’ Incredible Journey From TikTok to Starring in ‘The Wiz’ | KQED","description":"The touring musical continues at San Francisco's Golden Gate Theatre through Feb. 11. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Nichelle Lewis’ Incredible Journey From TikTok to Starring in ‘The Wiz’","datePublished":"2024-01-29T22:29:21.000Z","dateModified":"2024-02-02T18:47:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/22b13444-b912-4b31-a245-b10a0119701b/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951149/the-wiz-star-nichelle-lewis-broadway-sf","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Half a century after its debut, \u003ca href=\"https://www.broadwaysf.com/events/the-wiz/?gad_source=1&gclid=CjwKCAiAtt2tBhBDEiwALZuhAGP_ikCOgYxwZIALx-MzPudCFUBvI7FvZoCkrjsGAiV1YYgpFctHexoCmCwQAvD_BwE&gclsrc=aw.ds\">\u003cem>The Wiz\u003c/em>\u003c/a> is \u003ca href=\"https://youtu.be/uNKmKOjGUbw?si=WB_S6tdig98GnFPp\">easing on down the road\u003c/a> again. The touring Broadway musical is currently in San Francisco, its second-to-last stop before parking in New York.\u003c/p>\n\u003cp>When it opened in 1975, \u003cem>The Wiz\u003c/em> shook up musical theater \u003cspan style=\"font-weight: 400\">—\u003c/span> to the tune of seven Tony Award nominations \u003cspan style=\"font-weight: 400\">—\u003c/span> with its uniquely Afro-diasporic approach to L. Frank Baum’s 1900 children’s book \u003cem>The Wonderful Wizard of Oz\u003c/em>. Under Geoffrey Holder’s direction and costume design, the original\u003cem> Wiz\u003c/em>’s blend of homegrown American fantasy, Caribbean-inspired costumes and ’70s soul music revolutionized Broadway. It boasted an all-Black cast, with R&B legend Stephanie Mills in the role of Dorothy.\u003c/p>\n\u003cfigure id=\"attachment_13951157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975.jpg\" alt=\"Hinton Battle in costume as the scarecrow, Stephanie Mills as Dorothy, Ted Ross as the lion and Tiger Haynes as the tin man in the original Broadway show of The Wiz in 1975.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/the-wiz-1975-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hinton Battle, Stephanie Mills, Ted Ross and Tiger Haynes in ‘The Wiz’ in 1975. \u003ccite>(Martha Swope/ New York Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The latest staging of \u003cem>The\u003c/em> \u003cem>Wiz\u003c/em>, directed by Schele Williams, continues at Golden Gate Theatre through Feb. 11, and features Deborah Cox as Glinda and Wayne Brady in its titular role. And among these veteran performers, newcomer Nichelle Lewis shines as Dorothy.\u003c/p>\n\u003cp>The 24-year-old Virginia native began singing at the age of 10, and was invited to audition for the starring role after producers saw a \u003ca href=\"https://www.tiktok.com/@iamnichellelewis/video/7198700056214506795\">TikTok of her performing the show’s 11 o’clock number\u003c/a>, with a caption that detailed some of the loss she’s endured in her life. In mere months, Lewis went from making ends meet at Crate & Barrel to \u003ca href=\"https://www.youtube.com/watch?v=5uR2XRVFoP8\">appearing on television\u003c/a> and earning a Helen Hayes Award nomination.\u003c/p>\n\u003cp>Lewis spoke to KQED about her roots in the church, the pressure of stepping into the silver slippers and turning rejection into opportunity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Corey Antonio Rose: I hear that you grew up in the church. What did you love to listen to as a child? And when did you realize that singing was going to be a part of your life in a major way?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nichelle Lewis:\u003c/strong> When I was a kid, I really loved listening to soul music, those things that really pull at your heartstrings. And I think probably it did come from growing up in the church. A lot of the gospel music was music where you heard these amazing, huge voices telling a story. But it always started off soft and beautiful, and then it would get big and you could feel all their emotions. It really made me feel like I really want to be able to do something like that.\u003c/p>\n\u003cp>I started to do it when I was asked to sing for my father. I remember afterwards people were crying, and I was like, “Oh, I can do this. I can make people feel the way I felt listening to so many other amazing singers.” So I decided at that moment, maybe this could be something I will do for the rest of my life.\u003c/p>\n\u003cfigure id=\"attachment_13951159\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1.jpg\" alt=\"A scene from 'The Wiz' where Glinda sings to Dorothy.\" width=\"1024\" height=\"1536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/8.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Deborah-Cox-as-Glinda-in-Believe-in-Yourself.-Photo-by-Jeremy-Daniel-c-2023-1024x1536-1-768x1152.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Nichelle Lewis as Dorothy and Deborah Cox as Glinda in ‘The Wiz.’ \u003ccite>(Jeremy Daniel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In 2022, \u003cem>American Idol\u003c/em> producers invited you to audition for the show, and you received a golden ticket after impressing the judges with Aretha Franklin’s “Respect.” Unfortunately, your \u003cem>Idol\u003c/em> journey ended at the Hollywood stage. How did you make sense of or cope with that experience?\u003c/strong>\u003c/p>\n\u003cp>I felt really defeated in that moment when they told me no, especially because I have to try and keep it together because I don’t want to be sobbing through my montage. I remember going home and trying to cope with it all. It really did take me a good minute to realize that was a wonderful experience, but right now what we’re going to focus on is just putting yourself out there because you know that this dream is meant for you. And that’s what I did for a good year.\u003c/p>\n\u003cp>\u003cstrong>In February of last year, you posted a \u003ca href=\"https://www.tiktok.com/@iamnichellelewis/video/7198700056214506795\">TikTok of yourself singing “Home.”\u003c/a> You’re singing that song over a testimony — [in the caption,] you detailed losing seven different loved ones in your life, including your father, your aunt and your grandmother. And you said that singing kept you alive and keeps you alive. What was going on that made you want to share that message and pick that song?\u003c/strong>\u003c/p>\n\u003cp>I know that there’s so many pages on Instagram and TikTok that only show the surface. They make you feel like people don’t really go through things. I hear a lot of people say stuff like that in the comments like, “Oh, she probably has such a perfect life.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951141","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t want people to think that my life is happy-go-lucky all the time. I always said that I wanted to be as honest and raw as I could be. So for me, sharing “Home” and sharing my story was me trying to be honest with the small audience that I had, and show them that I am growing, I’m learning.\u003c/p>\n\u003cp>\u003cstrong>You’ve been touring the country as Dorothy. What are you learning about the people of this country as you are going from stop to stop?\u003c/strong>\u003c/p>\n\u003cp>People just want to relate to someone. They want to connect, and they want to have someone that’s going to fight for them and show that honesty. I talk to these amazing people that I get to meet all over the country, [and I’m] always met with people saying, “Wow, I needed that and … I’m so glad I got to see that.”\u003c/p>\n\u003cp>It just makes me realize how much people want to connect with people who are in a position to advocate and inspire others. Especially in this time.\u003c/p>\n\u003cfigure id=\"attachment_13951160\" class=\"wp-caption aligncenter\" style=\"max-width: 1536px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1.jpg\" alt=\"A scene from 'The Wiz' where Dorothy and her aunt sit on the porch and her aunt looks at her with a reassuring gaze.\" width=\"1536\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2.-THE-WIZ.-Nichelle-Lewis-as-Dorothy-Melody-Betts-as-Aunt-Em-in-The-Feeling-We-Once-Had.-Photo-by-Jeremy-Daniel-c-2023-1536x1025-1-768x513.jpg 768w\" sizes=\"(max-width: 1536px) 100vw, 1536px\">\u003cfigcaption class=\"wp-caption-text\">Dorothy (Nichelle Lewis) and Aunt Em (Melody Betts) perform ‘The Feeling We Once Had’ in ‘The Wiz.’ \u003ccite>(Jeremy Daniel )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How are Bay Area audiences reacting to \u003cem>The Wiz\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I think that they’re taking it really well. They’re laughing at a lot of the things that we talk about, especially the housing crisis that we’re experiencing all over the country. And I think that they have been happy to see a show that they can connect with and a show that is current.\u003c/p>\n\u003cp>They laugh really hard at that joke — mostly because most people are having such a struggle just getting a cheap or decent-priced place to live. Everything is so expensive, and it almost feels like your country is trying to push you out. So having someone talk about it, especially in a show, makes you feel like [you’re] not alone in that, you know? \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951091","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How has doing this role on this tour at this time, knowing that you’re headed for Broadway, changed your own definition of home?\u003c/strong>\u003c/p>\n\u003cp>It has made me realize that I’ve kind of been going on the same journey as Dorothy, trying to understand that even though my world has changed, it is still just as beautiful and just as meaningful as it was before. I think for a long time I couldn’t really grasp that my world was different. Thinking about all those people who have passed. I do pay tribute to them a lot at the end of the show, but I also think about my mom and how amazing she is. I talk to her every day. To know that I get to bring her with me on this journey, and I get to bring her with me to Broadway? That, for me, is home. It feels like where I’m supposed to be.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Wiz’ continues at Golden Gate Theatre in San Francisco through Feb. 11. \u003ca href=\"https://www.broadwaysf.com/events/the-wiz/?gad_source=1&gclid=CjwKCAiAtt2tBhBDEiwALZuhAGP_ikCOgYxwZIALx-MzPudCFUBvI7FvZoCkrjsGAiV1YYgpFctHexoCmCwQAvD_BwE&gclsrc=aw.ds\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951149/the-wiz-star-nichelle-lewis-broadway-sf","authors":["11808"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_967"],"tags":["arts_2347","arts_10278","arts_7032","arts_585"],"featImg":"arts_13951158","label":"arts_140"},"arts_13930391":{"type":"posts","id":"arts_13930391","meta":{"index":"posts_1591205157","site":"arts","id":"13930391","score":null,"sort":[1686547830000]},"guestAuthors":[],"slug":"tony-awards-2023-list-of-winners-photos","title":"Tony Awards 2023: Here's the List of Major Winners With Photos","publishDate":1686547830,"format":"standard","headTitle":"Tony Awards 2023: Here’s the List of Major Winners With Photos | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>The 76th Tony Awards wrapped up at the United Palace Sunday night. Below is the list of major 2023 Tony Award nominees with winners marked in bold. The complete list of winners is \u003ca href=\"https://www.tonyawards.com/winners/\">here\u003c/a>.\u003c/p>\n\u003ch3>Best Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>& Juliet\u003cbr>\nNew York, New York\u003cbr>\nShucked\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/06/09/1181406854/some-like-it-hot-on-broadway-remixes-the-original-1959-charm-for-a-modern-audien\">\u003cem>Some Like It Hot\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Ain’t No Mo’\u003cbr>\nBetween Riverside and Crazy\u003cbr>\nCost of Living\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003ch3>Best Revival of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Camelot\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Revival of a Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Topdog/Underdog\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg\" alt=\"A Black woman in a pink dress gasps with joy while accepting a trophy at a podium. Behind her stand three Black men in suits and a woman wearing a gold gown.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzan-Lori Parks accepts the award for Best Revival of a Play for ‘Topdog/Underdog’ onstage during The 76th Annual Tony Awards at United Palace Theater on June 11, 2023 in New York City. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Doll’s House\u003cbr>\nThe Piano Lesson\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actress of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Victoria Clark, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Annaleigh Ashford, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Sara Bareilles, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Lorna Courtney, \u003cem>& Juliet\u003cbr>\n\u003c/em>Micaela Diamond, \u003cem>Parade\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actress of a Play\u003c/h3>\n\u003cp>Winner: \u003cstrong>Jodie Comer, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/04/11/1169318356/prima-facie\">\u003cstrong>\u003cem>Prima Facie\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Jessica Chastain, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Jessica Hecht, \u003cem>Summer, 1976\u003cbr>\n\u003c/em>Audra McDonald, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/20/audra-mcdonald-ohio-state-murders\">\u003cem>Ohio State Murders\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actor of a Musical\u003c/h3>\n\u003cp>Winner: \u003cstrong>J. Harrison Ghee, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930397\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930397\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg\" alt=\"A nonbinary Black person in a powder blue gown and long gloves holds a trophy and leans forward towards a microphone.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Harrison Ghee accepts the award for Best Leading Actor in a Musical for ‘Some Like It Hot.’ They are the second nonbinary actor to win. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian Borle, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Josh Groban, \u003ca href=\"https://www.npr.org/2023/04/10/1168970326/josh-groban-never-gave-up-his-dream-of-playing-sweeney-todd\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Brian D’Arcy James, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ben Platt, \u003cem>Parade\u003cbr>\n\u003c/em>Colton Ryan, \u003cem>New York, New York\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actor of a Play\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Sean Hayes, \u003c/strong>\u003cstrong>\u003cem>Good Night, Oscar\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yahya Abdul-Mateen II, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Corey Hawkins, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Stephen McKinley Henderson, \u003cem>Between Riverside and Crazy\u003cbr>\n\u003c/em>Wendell Pierce, \u003ca href=\"https://www.npr.org/2022/10/11/1128092585/too-young-too-old-or-just-a-woman-wendell-pierce-stars-in-death-of-a-salesman\">\u003cem>Death of a Salesman\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Bonnie Milligan, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg\" alt=\"A curvy white blonde woman wearing a purple strapless gown stands in front of a wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Milligan wins the Tony Award for best featured actress in a musical. \u003ccite>(Dimitrios Kambouris/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julia Lester, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ruthie Ann Miles, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>NaTasha Yvette Williams, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Betsy Wolfe, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Play\u003c/strong>\u003c/h3>\n\u003cp>Winner: \u003cstrong>Miriam Silverman, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cstrong>\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Nikki Crawford, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Crystal Lucas-Perry, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Katy Sullivan, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Kara Young, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Alex Newell, \u003c/strong>\u003cstrong>\u003cem>Shucked\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg\" alt=\"A curvy Black woman in a gold gown smiles and strikes a pose in front of a green wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Newell wins Best Featured Actor in a musical at The 76th Annual Tony Awards. \u003ccite>(Dominik Bindl/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kevin Cahoon, \u003cem>Shucked\u003c/em>\u003c/p>\n\u003cp>Justin Cooley, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Kevin Del Aguila, \u003cem>Some Like It Hot\u003c/em>\u003c/p>\n\u003cp>Jordan Donica, \u003cem>Camelot\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Brandon Uranowitz, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg\" alt=\"A man with dark curly hair and beard stands on stage holding a trophy and a sheet of paper. He is smiling broadly.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Uranowitz accepts the award for Best Featured Actor in a Play for ‘Leopoldstadt’ onstage during The 76th Annual Tony Awards. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jordan E. Cooper, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Samuel L. Jackson, \u003cem>The Piano Lesson\u003cbr>\n\u003c/em>Arian Moayed, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>David Zayas, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Michael Arden, \u003c/strong>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Lear deBessonet, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Casey Nicholaw, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Jack O’Brien, \u003cem>Shucked\u003cbr>\n\u003c/em>Jessica Stone, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Patrick Marber,\u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem> Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Saheem Ali, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jo Bonney, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Jamie Lloyd, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Stevie Walker-Webb,\u003cem> Ain’t No Mo\u003cbr>\n\u003c/em>Max Webster, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/22/life-of-pi-theater\">\u003cem>Life of Pi\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Book of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>David Lindsay-Abaire, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>David West Read,\u003cem> & Juliet\u003cbr>\n\u003c/em>Robert Horn,\u003cem> Shucked\u003cbr>\n\u003c/em>Matthew López and Amber Ruffin,\u003cem> Some Like It Hot\u003cbr>\n\u003c/em>David Thompson and Sharon Washington,\u003cem> New York, New York\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Original Score\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo,\u003c/em>\u003c/strong> \u003c/a>\u003cstrong>music by Jeanine Tesori; lyrics by David Lindsay-Abaire\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Almost Famous, \u003c/em>music by Tom Kitt; lyrics by Cameron Crowe and Tom Kitt\u003cbr>\n\u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP, \u003c/em>\u003c/a>music and lyrics: Helen Park and Max Vernon\u003cbr>\n\u003cem>Shucked\u003c/em>, music and lyrics: Brandy Clark and Shane McAnally\u003cbr>\n\u003cem>Some Like It Hot\u003c/em>, music: Marc Shaiman; lyrics: Scott Wittman & Marc Shaiman\u003c/p>\n\u003ch3>\u003cstrong>Best Choreography\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Casey Nicholaw, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steven Hoggett, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Susan Stroman, \u003cem>New York, New York\u003cbr>\n\u003c/em>Jennifer Weber, \u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jennifer Weber, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Awards+2023%3A+Here%27s+the+list+of+major+winners+with+photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"History was made as Alex Newell became the first nonbinary actor to win a Tony and J. Harrison Ghee the second.","status":"publish","parent":0,"modified":1705005388,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":754},"headData":{"title":"Tony Awards 2023: Here's the List of Major Winners With Photos | KQED","description":"History was made as Alex Newell became the first nonbinary actor to win a Tony and J. Harrison Ghee the second.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tony Awards 2023: Here's the List of Major Winners With Photos","datePublished":"2023-06-12T05:30:30.000Z","dateModified":"2024-01-11T20:36:28.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"tony-awards-2023-heres-the-list-of-major-winners-with-photos","nprImageCredit":"Jemal Countess","nprImageAgency":"Getty Images for Tony Awards Pro","nprStoryId":"1180421487","nprApiLink":"http://api.npr.org/query?id=1180421487&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/06/11/1180421487/tony-award-winners-2023?ft=nprml&f=1180421487","nprRetrievedStory":"1","nprPubDate":"Sun, 11 Jun 2023 23:05:00 -0400","nprStoryDate":"Sun, 11 Jun 2023 19:09:16 -0400","nprLastModifiedDate":"Sun, 11 Jun 2023 23:05:01 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930391/tony-awards-2023-list-of-winners-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 76th Tony Awards wrapped up at the United Palace Sunday night. Below is the list of major 2023 Tony Award nominees with winners marked in bold. The complete list of winners is \u003ca href=\"https://www.tonyawards.com/winners/\">here\u003c/a>.\u003c/p>\n\u003ch3>Best Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>& Juliet\u003cbr>\nNew York, New York\u003cbr>\nShucked\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/06/09/1181406854/some-like-it-hot-on-broadway-remixes-the-original-1959-charm-for-a-modern-audien\">\u003cem>Some Like It Hot\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Ain’t No Mo’\u003cbr>\nBetween Riverside and Crazy\u003cbr>\nCost of Living\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003ch3>Best Revival of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Camelot\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Revival of a Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Topdog/Underdog\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg\" alt=\"A Black woman in a pink dress gasps with joy while accepting a trophy at a podium. Behind her stand three Black men in suits and a woman wearing a gold gown.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzan-Lori Parks accepts the award for Best Revival of a Play for ‘Topdog/Underdog’ onstage during The 76th Annual Tony Awards at United Palace Theater on June 11, 2023 in New York City. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Doll’s House\u003cbr>\nThe Piano Lesson\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actress of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Victoria Clark, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Annaleigh Ashford, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Sara Bareilles, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Lorna Courtney, \u003cem>& Juliet\u003cbr>\n\u003c/em>Micaela Diamond, \u003cem>Parade\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actress of a Play\u003c/h3>\n\u003cp>Winner: \u003cstrong>Jodie Comer, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/04/11/1169318356/prima-facie\">\u003cstrong>\u003cem>Prima Facie\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Jessica Chastain, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Jessica Hecht, \u003cem>Summer, 1976\u003cbr>\n\u003c/em>Audra McDonald, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/20/audra-mcdonald-ohio-state-murders\">\u003cem>Ohio State Murders\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actor of a Musical\u003c/h3>\n\u003cp>Winner: \u003cstrong>J. Harrison Ghee, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930397\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930397\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg\" alt=\"A nonbinary Black person in a powder blue gown and long gloves holds a trophy and leans forward towards a microphone.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Harrison Ghee accepts the award for Best Leading Actor in a Musical for ‘Some Like It Hot.’ They are the second nonbinary actor to win. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian Borle, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Josh Groban, \u003ca href=\"https://www.npr.org/2023/04/10/1168970326/josh-groban-never-gave-up-his-dream-of-playing-sweeney-todd\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Brian D’Arcy James, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ben Platt, \u003cem>Parade\u003cbr>\n\u003c/em>Colton Ryan, \u003cem>New York, New York\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actor of a Play\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Sean Hayes, \u003c/strong>\u003cstrong>\u003cem>Good Night, Oscar\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yahya Abdul-Mateen II, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Corey Hawkins, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Stephen McKinley Henderson, \u003cem>Between Riverside and Crazy\u003cbr>\n\u003c/em>Wendell Pierce, \u003ca href=\"https://www.npr.org/2022/10/11/1128092585/too-young-too-old-or-just-a-woman-wendell-pierce-stars-in-death-of-a-salesman\">\u003cem>Death of a Salesman\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Bonnie Milligan, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg\" alt=\"A curvy white blonde woman wearing a purple strapless gown stands in front of a wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Milligan wins the Tony Award for best featured actress in a musical. \u003ccite>(Dimitrios Kambouris/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julia Lester, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ruthie Ann Miles, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>NaTasha Yvette Williams, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Betsy Wolfe, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Play\u003c/strong>\u003c/h3>\n\u003cp>Winner: \u003cstrong>Miriam Silverman, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cstrong>\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Nikki Crawford, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Crystal Lucas-Perry, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Katy Sullivan, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Kara Young, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Alex Newell, \u003c/strong>\u003cstrong>\u003cem>Shucked\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg\" alt=\"A curvy Black woman in a gold gown smiles and strikes a pose in front of a green wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Newell wins Best Featured Actor in a musical at The 76th Annual Tony Awards. \u003ccite>(Dominik Bindl/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kevin Cahoon, \u003cem>Shucked\u003c/em>\u003c/p>\n\u003cp>Justin Cooley, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Kevin Del Aguila, \u003cem>Some Like It Hot\u003c/em>\u003c/p>\n\u003cp>Jordan Donica, \u003cem>Camelot\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Brandon Uranowitz, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg\" alt=\"A man with dark curly hair and beard stands on stage holding a trophy and a sheet of paper. He is smiling broadly.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Uranowitz accepts the award for Best Featured Actor in a Play for ‘Leopoldstadt’ onstage during The 76th Annual Tony Awards. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jordan E. Cooper, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Samuel L. Jackson, \u003cem>The Piano Lesson\u003cbr>\n\u003c/em>Arian Moayed, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>David Zayas, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Michael Arden, \u003c/strong>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Lear deBessonet, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Casey Nicholaw, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Jack O’Brien, \u003cem>Shucked\u003cbr>\n\u003c/em>Jessica Stone, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Patrick Marber,\u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem> Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Saheem Ali, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jo Bonney, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Jamie Lloyd, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Stevie Walker-Webb,\u003cem> Ain’t No Mo\u003cbr>\n\u003c/em>Max Webster, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/22/life-of-pi-theater\">\u003cem>Life of Pi\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Book of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>David Lindsay-Abaire, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>David West Read,\u003cem> & Juliet\u003cbr>\n\u003c/em>Robert Horn,\u003cem> Shucked\u003cbr>\n\u003c/em>Matthew López and Amber Ruffin,\u003cem> Some Like It Hot\u003cbr>\n\u003c/em>David Thompson and Sharon Washington,\u003cem> New York, New York\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Original Score\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo,\u003c/em>\u003c/strong> \u003c/a>\u003cstrong>music by Jeanine Tesori; lyrics by David Lindsay-Abaire\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Almost Famous, \u003c/em>music by Tom Kitt; lyrics by Cameron Crowe and Tom Kitt\u003cbr>\n\u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP, \u003c/em>\u003c/a>music and lyrics: Helen Park and Max Vernon\u003cbr>\n\u003cem>Shucked\u003c/em>, music and lyrics: Brandy Clark and Shane McAnally\u003cbr>\n\u003cem>Some Like It Hot\u003c/em>, music: Marc Shaiman; lyrics: Scott Wittman & Marc Shaiman\u003c/p>\n\u003ch3>\u003cstrong>Best Choreography\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Casey Nicholaw, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steven Hoggett, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Susan Stroman, \u003cem>New York, New York\u003cbr>\n\u003c/em>Jennifer Weber, \u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jennifer Weber, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Awards+2023%3A+Here%27s+the+list+of+major+winners+with+photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930391/tony-awards-2023-list-of-winners-photos","authors":["92"],"categories":["arts_1","arts_967"],"tags":["arts_8417","arts_2347","arts_2415","arts_13825","arts_1072","arts_5092"],"affiliates":["arts_137"],"featImg":"arts_13930395","label":"arts_137"},"arts_13924520":{"type":"posts","id":"arts_13924520","meta":{"index":"posts_1591205157","site":"arts","id":"13924520","score":null,"sort":[1675197006000]},"guestAuthors":[],"slug":"pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary","title":"Pamela Anderson Captivatingly Tells Her Own Story in New Netflix Documentary","publishDate":1675197006,"format":"standard","headTitle":"Pamela Anderson Captivatingly Tells Her Own Story in New Netflix Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Pamela Anderson was always a bit of an open book in interviews. No one ever told her not to be, or that because she talked about some things that she didn’t have to talk about everything. She didn’t know that she could draw her own line in the sand if a question made her feel uncomfortable.\u003c/p>\n\u003cp>And so she answered all manner of questions about her breasts, her body, her image, her boyfriends — partially because she was gracious and self-deprecating, partially because her body was, in some ways, her meal ticket and partially because the people asking these questions were more often than not respected journalists working for respected outlets.\u003c/p>\n\u003cp>[aside postid='arts_13908915']From the moment that audience camera zoomed in on her in the Labatt T-shirt at a Canadian football game in 1989, the image of Pamela Anderson was, essentially, no longer her own. It belonged to everyone else.\u003c/p>\n\u003cp>By the time private home videos showing her and husband Tommy Lee having sex were stolen, reproduced and distributed for sale globally, no one seemed all that horrified on her behalf. They couldn’t even fake it when speaking to her. She wasn’t a person; She was just an object. And then, in some ways, it was done all over again many years later when the Hulu series \u003cem>Pam & Tommy\u003c/em> was made without her involvement or consent.\u003c/p>\n\u003cp>\u003cem>Pamela, a Love Story\u003c/em>, a new documentary from filmmaker Ryan White, gives Anderson the chance to tell her story her own way, from her earliest days to her \u003cem>Playboy\u003c/em> debut, her \u003cem>Baywatch\u003c/em> fame, her many marriages and up through her recent run on Broadway. She is still that open book, disarmingly funny and candid and uncynical, sitting there beautifully makeup free, letting the filmmakers and audience peer into her soul through many pages of journals going back to her childhood. It is a captivating watch, especially for those who never thought much about her at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3SBJB8r8fVQ\u003c/p>\n\u003cp>Anderson’s life was and is immensely complex. Her parents’ relationship was volatile and sometimes violent. They lived on welfare for a time and she still remembers the taste of the powdered milk. She had a female babysitter who molested her for years. At age 12 she was raped by a 25-year-old. She learned early to leave her body and make her own little world, she says, and she knew from a young age that she had to get off that island.\u003c/p>\n\u003cp>Like many women before and after her, Anderson didn’t feel beautiful growing up and after the sexual trauma, her body was a source of secret shame. Ironic that it was her body that would be her ticket out, ultimately. But modeling felt like playing a character, she said. Even when mostly nude, it didn’t feel like herself. Sometimes it was even fun.\u003c/p>\n\u003cp>[aside postid='arts_13810000']There is a breeziness to Anderson, who, despite everything, does not think of herself as a victim. She doesn’t regret marrying Tommy Lee after four days of knowing him — her account of the quick courtship is quite amusing. At a certain point, though sick of always having to talk about her breasts, she used her image for a cause she cared about: PETA. She even sat through a roast under the condition that a sizable donation be made to the organization. She is a hopeful romantic who is hard not to root for.\u003c/p>\n\u003cp>She has made peace with many, many things, some simply by refusing to dwell, but one thing that still stings is the tape — such a clear violation of her privacy that you wonder what sort of culture and legal system would allow it to get as out of control as it did. That a series would attempt to make entertainment out of it just reopened old wounds and traumas. Even if it was done out of some altruistic motive to reframe the recent past, for Anderson, it was another group of people making money off, what her son calls, the worst thing that’s ever happened to her.\u003c/p>\n\u003cp>As this documentary reminds, Anderson is still right here. She’s not some distant, deceased figure who needs to be speculated about or saved by miniseries. You can just ask her how she felt about it then, how she feels about it now: She’ll tell you.\u003c/p>\n\u003cp>You wonder if no one thought to ever ask her the right questions before, if we just weren’t listening carefully enough, or the wrong people were in the position to ask the questions. But I’m glad that this era of the biographical documentary is going strong, allowing for people like Anderson to correct the record themselves.\u003c/p>\n\u003cp>Besides, at 54 she’s moved on and has surprises yet, including a well-received Broadway run as Roxie Hart in \u003cem>Chicago\u003c/em>. “Nowadays” would have been a canny choice for a closing montage for a documentary like this, but hearing it in Anderson’s perfectly imperfect voice is simply revelatory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pamela, a Love Story,’ is streaming now on Netflix. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Pamela, a Love Story’ offers true insight into the immensely complex life of the ‘Baywatch’ icon.","status":"publish","parent":0,"modified":1705005916,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":879},"headData":{"title":"Review: ‘Pamela, a Love Story’ Tells Truth About Anderson’s Life | KQED","description":"‘Pamela, a Love Story’ offers true insight into the immensely complex life of the ‘Baywatch’ icon.","ogTitle":"Pamela Anderson Captivatingly Tells Her Own Story in New Netflix Documentary","ogDescription":"","ogImgId":"","twTitle":"Pamela Anderson Captivatingly Tells Her Own Story in New Netflix Documentary","twDescription":"","twImgId":"","socialTitle":"Review: ‘Pamela, a Love Story’ Tells Truth About Anderson’s Life %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pamela Anderson Captivatingly Tells Her Own Story in New Netflix Documentary","datePublished":"2023-01-31T20:30:06.000Z","dateModified":"2024-01-11T20:45:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pamela Anderson was always a bit of an open book in interviews. No one ever told her not to be, or that because she talked about some things that she didn’t have to talk about everything. She didn’t know that she could draw her own line in the sand if a question made her feel uncomfortable.\u003c/p>\n\u003cp>And so she answered all manner of questions about her breasts, her body, her image, her boyfriends — partially because she was gracious and self-deprecating, partially because her body was, in some ways, her meal ticket and partially because the people asking these questions were more often than not respected journalists working for respected outlets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908915","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>From the moment that audience camera zoomed in on her in the Labatt T-shirt at a Canadian football game in 1989, the image of Pamela Anderson was, essentially, no longer her own. It belonged to everyone else.\u003c/p>\n\u003cp>By the time private home videos showing her and husband Tommy Lee having sex were stolen, reproduced and distributed for sale globally, no one seemed all that horrified on her behalf. They couldn’t even fake it when speaking to her. She wasn’t a person; She was just an object. And then, in some ways, it was done all over again many years later when the Hulu series \u003cem>Pam & Tommy\u003c/em> was made without her involvement or consent.\u003c/p>\n\u003cp>\u003cem>Pamela, a Love Story\u003c/em>, a new documentary from filmmaker Ryan White, gives Anderson the chance to tell her story her own way, from her earliest days to her \u003cem>Playboy\u003c/em> debut, her \u003cem>Baywatch\u003c/em> fame, her many marriages and up through her recent run on Broadway. She is still that open book, disarmingly funny and candid and uncynical, sitting there beautifully makeup free, letting the filmmakers and audience peer into her soul through many pages of journals going back to her childhood. It is a captivating watch, especially for those who never thought much about her at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3SBJB8r8fVQ'\n title='//www.youtube.com/embed/3SBJB8r8fVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anderson’s life was and is immensely complex. Her parents’ relationship was volatile and sometimes violent. They lived on welfare for a time and she still remembers the taste of the powdered milk. She had a female babysitter who molested her for years. At age 12 she was raped by a 25-year-old. She learned early to leave her body and make her own little world, she says, and she knew from a young age that she had to get off that island.\u003c/p>\n\u003cp>Like many women before and after her, Anderson didn’t feel beautiful growing up and after the sexual trauma, her body was a source of secret shame. Ironic that it was her body that would be her ticket out, ultimately. But modeling felt like playing a character, she said. Even when mostly nude, it didn’t feel like herself. Sometimes it was even fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13810000","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There is a breeziness to Anderson, who, despite everything, does not think of herself as a victim. She doesn’t regret marrying Tommy Lee after four days of knowing him — her account of the quick courtship is quite amusing. At a certain point, though sick of always having to talk about her breasts, she used her image for a cause she cared about: PETA. She even sat through a roast under the condition that a sizable donation be made to the organization. She is a hopeful romantic who is hard not to root for.\u003c/p>\n\u003cp>She has made peace with many, many things, some simply by refusing to dwell, but one thing that still stings is the tape — such a clear violation of her privacy that you wonder what sort of culture and legal system would allow it to get as out of control as it did. That a series would attempt to make entertainment out of it just reopened old wounds and traumas. Even if it was done out of some altruistic motive to reframe the recent past, for Anderson, it was another group of people making money off, what her son calls, the worst thing that’s ever happened to her.\u003c/p>\n\u003cp>As this documentary reminds, Anderson is still right here. She’s not some distant, deceased figure who needs to be speculated about or saved by miniseries. You can just ask her how she felt about it then, how she feels about it now: She’ll tell you.\u003c/p>\n\u003cp>You wonder if no one thought to ever ask her the right questions before, if we just weren’t listening carefully enough, or the wrong people were in the position to ask the questions. But I’m glad that this era of the biographical documentary is going strong, allowing for people like Anderson to correct the record themselves.\u003c/p>\n\u003cp>Besides, at 54 she’s moved on and has surprises yet, including a well-received Broadway run as Roxie Hart in \u003cem>Chicago\u003c/em>. “Nowadays” would have been a canny choice for a closing montage for a documentary like this, but hearing it in Anderson’s perfectly imperfect voice is simply revelatory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pamela, a Love Story,’ is streaming now on Netflix. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary","authors":["byline_arts_13924520"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_2347","arts_6535","arts_13672","arts_3324","arts_5422","arts_585"],"featImg":"arts_13924522","label":"arts_140"},"arts_13890664":{"type":"posts","id":"arts_13890664","meta":{"index":"posts_1591205157","site":"arts","id":"13890664","score":null,"sort":[1608321991000]},"guestAuthors":[],"slug":"ma-raineys-black-bottom-shines-a-light-on-august-wilsons-vision","title":"'Ma Rainey's Black Bottom' Shines a Light on August Wilson's Vision","publishDate":1608321991,"format":"standard","headTitle":"‘Ma Rainey’s Black Bottom’ Shines a Light on August Wilson’s Vision | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> was August Wilson’s first Broadway hit—and a preamble to his cycle of award-winning plays about the African-American experience across the 20th Century that included \u003cem>Fences\u003c/em> and \u003cem>The Piano Lesson\u003c/em>.\u003c/p>\n\u003cp>Now \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first of the late playwright’s works to be adapted for Netflix\u003cem>—\u003c/em>premiering Dec. 18.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ord7gP151vk\u003c/p>\n\u003cp>\u003ca href=\"https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Wilson\u003c/a> was a little-known poet when the play opened at Yale Repertory Theater in the \u003ca href=\"https://yalerep.org/productions/ma-raineys-black-bottom-8/\" target=\"_blank\" rel=\"noopener noreferrer\">spring of 1984\u003c/a>. Sitting in the theater, Wilson told me the story came to him one day when he was listening to a recording of Ma Rainey singing the title song.\u003c/p>\n\u003cp>“I felt privileged to be listening to her sing,” Wilson recalls. “I thought, ‘How did this record get recorded?’ And ‘What was the price that was paid?’ I know those things are paid for in blood, sweat and tears.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> takes place in a Chicago studio on the day in 1927 when the song was recorded. The Netflix adaptation preserves Wilson’s dialogue, with added musical numbers bookending the script.\u003c/p>\n\u003cp>On the surface, the story is about the economic exploitation of the early black performers. Rainey was called “The Mother of the Blues.” But Wilson didn’t write a biography. He said he avoided doing research—and he created fictional musicians for her band—so that he could deal with larger issues.\u003c/p>\n\u003cp>George C. Wolfe directed the film and says all of the characters have come to Chicago from the South. “In the South, Black people could create, and nurture, and support themselves and their own communities,” Wolfe says. “When they came North, if they wanted to achieve anything, they had to come into contact with the White power structure. And by virtue of coming into contact with the White power structure, their power was in essence nullified.”\u003c/p>\n\u003cfigure id=\"attachment_13890666\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg\" alt=\"Viola Davis as Ma Rainey in the film adaptation of 'Ma Rainey's Black Bottom.'\" width=\"200\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5-160x174.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis as Ma Rainey in the film adaptation of ‘Ma Rainey’s Black Bottom.’ \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ma Rainey is the title character, played in the film by Viola Davis, but the central drama belongs to a sideman in her band, the ambitious young cornetist, Levee, played by Chadwick Boseman in his final performance before he died of cancer this past summer.\u003c/p>\n\u003cp>By the end of the story, Levee is lied to, cheated, and broken. He says God has turned his back on him.\u003c/p>\n\u003cp>“I was talking with someone today,” Wilson said in 1984, “and [what’s] very strange is that if God is white, as Christ is often portrayed—and people actually believe that—and you look around in your life, you have white men oppressing you. Everywhere you look. Every contact you have with white men is a negative contact, then I don’t see how you can worship a God made in that image.”\u003c/p>\n\u003cp>Wilson grew up poor in the Hill District of Pittsburgh. His father was a white baker who was mostly absent from his family of six kids. So Wilson identified with his African-American mother and he drew on his experiences for all of his plays.\u003c/p>\n\u003cp>“What I do is I go inside myself,” Wilson said. “There’s a landscape there. Sometimes there’s a terrifying landscape. And I start walking there. My baggage is the small imperial truths which I have accumulated from my life experience. You never know what you’re going to confront. But if you’re writing seriously out of the core of yourself, then very oftimes you confront things which are frightening. And you wrassle with them and deal with them and hopefully after you have walked through that landscape you’ve come out with something that—a larger something, be it truth or not. That is both illuminating even as it’s blinding. And then you say you’ve got a play.”\u003c/p>\n\u003cp>And it’s the character of Levee who carries that story in \u003cem>Ma Rainey’s Black Bottom\u003c/em>, says Wolfe.\u003c/p>\n\u003cfigure id=\"attachment_13890667\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg\" alt=\"Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee.\" width=\"200\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee. \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Levee is this bright, promising future—but [are] the pain and the scars and the sins of the past going to keep Levee from realizing all the bright promising future that he has before him?” Wolfe asks. “And that’s America. Is America ever going to deliver on its possibility when it is forever haunted by its un-owned sins of the past?”\u003c/p>\n\u003cp>Wolfe expects the film to strike a chord with today’s audiences.\u003c/p>\n\u003cp>“It would be lovely one day if it was a lovely piece of nostalgia about the difficult, complicated racial equation of 1927. But that’s not going to happen for a while,” says Wolfe.\u003c/p>\n\u003cp>In the half century between when the play is set and its 1984 premiere, Wilson said the move towards racial equality had stalled.\u003c/p>\n\u003cp>“I’m not certain we’re making progress. I don’t believe that we can make progress in America until Blacks are allowed their cultural differences,” Wilson said. “I don’t see how we can make progress until white America recognizes and accepts the fact that Black Americans are not the same as white Americans.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>August Wilson died in 2005. \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first in a planned series of Wilson’s plays to be adapted for Netflix.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ma+Rainey%27s+Black+Bottom%27+Shines+A+Light+On+August+Wilson%27s+Vision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Wilson's first Broadway hit, 'Ma Rainey's Black Bottom,' has been adapted for Netflix, starring Viola Davis and Chadwick Boseman.","status":"publish","parent":0,"modified":1705019710,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":977},"headData":{"title":"'Ma Rainey's Black Bottom' Shines a Light on August Wilson's Vision | KQED","description":"Wilson's first Broadway hit, 'Ma Rainey's Black Bottom,' has been adapted for Netflix, starring Viola Davis and Chadwick Boseman.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Ma Rainey's Black Bottom' Shines a Light on August Wilson's Vision","datePublished":"2020-12-18T20:06:31.000Z","dateModified":"2024-01-12T00:35:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Jeff Kravitz","nprByline":"Tom Vitale","nprImageAgency":"FilmMagic, Inc","nprStoryId":"947649431","nprApiLink":"http://api.npr.org/query?id=947649431&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/12/18/947649431/ma-raineys-black-bottom-shines-a-light-on-august-wilsons-vision?ft=nprml&f=947649431","nprRetrievedStory":"1","nprPubDate":"Fri, 18 Dec 2020 13:39:00 -0500","nprStoryDate":"Fri, 18 Dec 2020 05:03:00 -0500","nprLastModifiedDate":"Fri, 18 Dec 2020 13:39:52 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/12/20201218_me_ma_raineys_black_bottom_shines_a_light_on_august_wilsons_vision.mp3?orgId=1&topicId=1008&d=333&p=3&story=947649431&ft=nprml&f=947649431","nprAudioM3u":"http://api.npr.org/m3u/1947918317-16d16c.m3u?orgId=1&topicId=1008&d=333&p=3&story=947649431&ft=nprml&f=947649431","templateType":"standard","featuredImageType":"standard","path":"/arts/13890664/ma-raineys-black-bottom-shines-a-light-on-august-wilsons-vision","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2020/12/20201218_me_ma_raineys_black_bottom_shines_a_light_on_august_wilsons_vision.mp3?orgId=1&topicId=1008&d=333&p=3&story=947649431&ft=nprml&f=947649431","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> was August Wilson’s first Broadway hit—and a preamble to his cycle of award-winning plays about the African-American experience across the 20th Century that included \u003cem>Fences\u003c/em> and \u003cem>The Piano Lesson\u003c/em>.\u003c/p>\n\u003cp>Now \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first of the late playwright’s works to be adapted for Netflix\u003cem>—\u003c/em>premiering Dec. 18.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ord7gP151vk'\n title='//www.youtube.com/embed/ord7gP151vk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.centertheatregroup.org/programs/students/learn-about-theatre/august-wilson-monologue-competition/august-wilson-biography/\" target=\"_blank\" rel=\"noopener noreferrer\">Wilson\u003c/a> was a little-known poet when the play opened at Yale Repertory Theater in the \u003ca href=\"https://yalerep.org/productions/ma-raineys-black-bottom-8/\" target=\"_blank\" rel=\"noopener noreferrer\">spring of 1984\u003c/a>. Sitting in the theater, Wilson told me the story came to him one day when he was listening to a recording of Ma Rainey singing the title song.\u003c/p>\n\u003cp>“I felt privileged to be listening to her sing,” Wilson recalls. “I thought, ‘How did this record get recorded?’ And ‘What was the price that was paid?’ I know those things are paid for in blood, sweat and tears.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ma Rainey’s Black Bottom\u003c/em> takes place in a Chicago studio on the day in 1927 when the song was recorded. The Netflix adaptation preserves Wilson’s dialogue, with added musical numbers bookending the script.\u003c/p>\n\u003cp>On the surface, the story is about the economic exploitation of the early black performers. Rainey was called “The Mother of the Blues.” But Wilson didn’t write a biography. He said he avoided doing research—and he created fictional musicians for her band—so that he could deal with larger issues.\u003c/p>\n\u003cp>George C. Wolfe directed the film and says all of the characters have come to Chicago from the South. “In the South, Black people could create, and nurture, and support themselves and their own communities,” Wolfe says. “When they came North, if they wanted to achieve anything, they had to come into contact with the White power structure. And by virtue of coming into contact with the White power structure, their power was in essence nullified.”\u003c/p>\n\u003cfigure id=\"attachment_13890666\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg\" alt=\"Viola Davis as Ma Rainey in the film adaptation of 'Ma Rainey's Black Bottom.'\" width=\"200\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_09839_r_custom-c6a835c81318f84994fa7913fb82b2d8b9320bb5-160x174.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis as Ma Rainey in the film adaptation of ‘Ma Rainey’s Black Bottom.’ \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ma Rainey is the title character, played in the film by Viola Davis, but the central drama belongs to a sideman in her band, the ambitious young cornetist, Levee, played by Chadwick Boseman in his final performance before he died of cancer this past summer.\u003c/p>\n\u003cp>By the end of the story, Levee is lied to, cheated, and broken. He says God has turned his back on him.\u003c/p>\n\u003cp>“I was talking with someone today,” Wilson said in 1984, “and [what’s] very strange is that if God is white, as Christ is often portrayed—and people actually believe that—and you look around in your life, you have white men oppressing you. Everywhere you look. Every contact you have with white men is a negative contact, then I don’t see how you can worship a God made in that image.”\u003c/p>\n\u003cp>Wilson grew up poor in the Hill District of Pittsburgh. His father was a white baker who was mostly absent from his family of six kids. So Wilson identified with his African-American mother and he drew on his experiences for all of his plays.\u003c/p>\n\u003cp>“What I do is I go inside myself,” Wilson said. “There’s a landscape there. Sometimes there’s a terrifying landscape. And I start walking there. My baggage is the small imperial truths which I have accumulated from my life experience. You never know what you’re going to confront. But if you’re writing seriously out of the core of yourself, then very oftimes you confront things which are frightening. And you wrassle with them and deal with them and hopefully after you have walked through that landscape you’ve come out with something that—a larger something, be it truth or not. That is both illuminating even as it’s blinding. And then you say you’ve got a play.”\u003c/p>\n\u003cp>And it’s the character of Levee who carries that story in \u003cem>Ma Rainey’s Black Bottom\u003c/em>, says Wolfe.\u003c/p>\n\u003cfigure id=\"attachment_13890667\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg\" alt=\"Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee.\" width=\"200\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/mrbb_unit_14123_r_custom-433cbdccdeb557d64052ea8e30eff25b95aca07d-160x106.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">L-R: Michael Potts as Slow Drag, Glynn Turman as Toldeo, Colman Domingo as Cutler, and Chadwick Boseman as Levee. \u003ccite>(David Lee/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Levee is this bright, promising future—but [are] the pain and the scars and the sins of the past going to keep Levee from realizing all the bright promising future that he has before him?” Wolfe asks. “And that’s America. Is America ever going to deliver on its possibility when it is forever haunted by its un-owned sins of the past?”\u003c/p>\n\u003cp>Wolfe expects the film to strike a chord with today’s audiences.\u003c/p>\n\u003cp>“It would be lovely one day if it was a lovely piece of nostalgia about the difficult, complicated racial equation of 1927. But that’s not going to happen for a while,” says Wolfe.\u003c/p>\n\u003cp>In the half century between when the play is set and its 1984 premiere, Wilson said the move towards racial equality had stalled.\u003c/p>\n\u003cp>“I’m not certain we’re making progress. I don’t believe that we can make progress in America until Blacks are allowed their cultural differences,” Wilson said. “I don’t see how we can make progress until white America recognizes and accepts the fact that Black Americans are not the same as white Americans.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>August Wilson died in 2005. \u003cem>Ma Rainey’s Black Bottom\u003c/em> is the first in a planned series of Wilson’s plays to be adapted for Netflix.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Ma+Rainey%27s+Black+Bottom%27+Shines+A+Light+On+August+Wilson%27s+Vision&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890664/ma-raineys-black-bottom-shines-a-light-on-august-wilsons-vision","authors":["byline_arts_13890664"],"categories":["arts_1","arts_74","arts_990"],"tags":["arts_2347","arts_11327","arts_977","arts_3324"],"affiliates":["arts_137"],"featImg":"arts_13890671","label":"arts_137"},"arts_13890449":{"type":"posts","id":"arts_13890449","meta":{"index":"posts_1591205157","site":"arts","id":"13890449","score":null,"sort":[1608056594000]},"guestAuthors":[],"slug":"actress-dancer-choreographer-ann-reinking-dies-at-71","title":"Actress, Dancer, Choreographer Ann Reinking Dies at 71","publishDate":1608056594,"format":"standard","headTitle":"Actress, Dancer, Choreographer Ann Reinking Dies at 71 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Tony-winning legend and dance icon Ann Reinking died on Saturday, family members confirmed to news outlets on Monday. She was 71.\u003c/p>\n\u003cp>“The world and our family have lost a vibrant, amazing talent and beautiful soul. Ann was the heart of our family and the life of the party,” her family said in a statement, as \u003ca href=\"https://variety.com/2020/legit/news/ann-reinking-dead-chicago-1234853416/\" target=\"_blank\" rel=\"noopener noreferrer\">reported \u003c/a>by \u003cem>Variety. \u003c/em>\u003c/p>\n\u003cp>“She was visiting our brother in Washington state when she went to sleep and never woke up. We will miss her more than we can say. Heaven has the best choreographer available now. I’m sure they are dancing up a storm up there! Annie, we will love and miss you always!!!”\u003c/p>\n\u003cp>Born in Seattle, Reinking trained in ballet, but ended up in the chorus lines of many musicals, including \u003cem>Cabaret \u003c/em>and \u003cem>Pippin\u003c/em>.\u003c/p>\n\u003cp>She graduated to lead roles in shows such as \u003cem>Goodtime Charley\u003c/em>, with Joel Grey. In 1977, she took on her most famous role when she replaced Gwen Verdon in \u003cem>Chicago\u003c/em>, directed and choreographed by Bob Fosse. Fosse hired her for \u003cem>Dancin’ \u003c/em>and \u003cem>Sweet Charity\u003c/em>, and she even played a version of herself in Fosse’s film, \u003cem>All That Jazz. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1996, nearly two decades after first dazzling audiences as Roxie Hart in \u003cem>Chicago\u003c/em>, she did it again in a revival she hoped would help audiences “\u003ca href=\"https://www.nytimes.com/1996/11/10/theater/two-decades-later-just-right-for-the-role.html\" target=\"_blank\" rel=\"noopener noreferrer\">rediscover what theater was\u003c/a>.” She won a \u003ca href=\"https://www.tonyawards.com/winners/year/1997/category/choreography/show/any/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Award for Best Choreography\u003c/a> for her efforts the following year.\u003c/p>\n\u003cp>https://twitter.com/LesNesman5/status/1338866178513461255\u003c/p>\n\u003cp>A mainstay in Broadway musicals for decades, Reinking was both a muse and lover to Fosse\u003cem>.\u003c/em>\u003c/p>\n\u003cp>That relationship was a pivotal plot line—though somewhat fictionalized—in FX’s recent limited series production, \u003cem>Fosse/Verdon. \u003c/em>Fosse was married to Gwen Verdon. Reinking consulted on the project, serving as a personal sounding board to actress Margaret Qualley, who portrayed the famous dancer.\u003c/p>\n\u003cp>“I was really nervous because I wanted to do right by her,” Qualley \u003ca href=\"https://www.indiewire.com/2019/08/fosse-verdon-margaret-qualley-ann-reinking-1202168945/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003c/a>\u003cem>IndieWire\u003c/em> of the experience. “I looked up to her for so long, was so familiar with her. More than anything, I wanted her to like it. I didn’t even know her yet, but I was already thinking about that.”\u003c/p>\n\u003cp>On Monday, choreographer Christopher Dean, whom \u003cem>Variety\u003c/em> reports teaches Reinking’s niece, mourned the death of the actress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The lights on Broadway are forever more dim this morning and there is one less star in the sky,” he wrote in \u003ca href=\"https://www.facebook.com/thechristopherdean\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>. “The good news is that heaven has the very best choreographer on earth now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actress%2C+Dancer%2C+Choreographer+Ann+Reinking+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"A mainstay in Broadway musicals, the Tony winner earned widespread praise as Roxie Hart in 'Chicago' in 1977.","status":"publish","parent":0,"modified":1705019731,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":444},"headData":{"title":"Actress, Dancer, Choreographer Ann Reinking Dies at 71 | KQED","description":"A mainstay in Broadway musicals, the Tony winner earned widespread praise as Roxie Hart in 'Chicago' in 1977.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Actress, Dancer, Choreographer Ann Reinking Dies at 71","datePublished":"2020-12-15T18:23:14.000Z","dateModified":"2024-01-12T00:35:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Richard Drew","nprByline":"Jeff Lunden","nprImageAgency":"AP","nprStoryId":"946566153","nprApiLink":"http://api.npr.org/query?id=946566153&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/12/15/946566153/actress-dancer-choreographer-ann-reinking-dies-at-71?ft=nprml&f=946566153","nprRetrievedStory":"1","nprPubDate":"Tue, 15 Dec 2020 09:56:00 -0500","nprStoryDate":"Tue, 15 Dec 2020 09:56:49 -0500","nprLastModifiedDate":"Tue, 15 Dec 2020 09:57:51 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13890449/actress-dancer-choreographer-ann-reinking-dies-at-71","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony-winning legend and dance icon Ann Reinking died on Saturday, family members confirmed to news outlets on Monday. She was 71.\u003c/p>\n\u003cp>“The world and our family have lost a vibrant, amazing talent and beautiful soul. Ann was the heart of our family and the life of the party,” her family said in a statement, as \u003ca href=\"https://variety.com/2020/legit/news/ann-reinking-dead-chicago-1234853416/\" target=\"_blank\" rel=\"noopener noreferrer\">reported \u003c/a>by \u003cem>Variety. \u003c/em>\u003c/p>\n\u003cp>“She was visiting our brother in Washington state when she went to sleep and never woke up. We will miss her more than we can say. Heaven has the best choreographer available now. I’m sure they are dancing up a storm up there! Annie, we will love and miss you always!!!”\u003c/p>\n\u003cp>Born in Seattle, Reinking trained in ballet, but ended up in the chorus lines of many musicals, including \u003cem>Cabaret \u003c/em>and \u003cem>Pippin\u003c/em>.\u003c/p>\n\u003cp>She graduated to lead roles in shows such as \u003cem>Goodtime Charley\u003c/em>, with Joel Grey. In 1977, she took on her most famous role when she replaced Gwen Verdon in \u003cem>Chicago\u003c/em>, directed and choreographed by Bob Fosse. Fosse hired her for \u003cem>Dancin’ \u003c/em>and \u003cem>Sweet Charity\u003c/em>, and she even played a version of herself in Fosse’s film, \u003cem>All That Jazz. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1996, nearly two decades after first dazzling audiences as Roxie Hart in \u003cem>Chicago\u003c/em>, she did it again in a revival she hoped would help audiences “\u003ca href=\"https://www.nytimes.com/1996/11/10/theater/two-decades-later-just-right-for-the-role.html\" target=\"_blank\" rel=\"noopener noreferrer\">rediscover what theater was\u003c/a>.” She won a \u003ca href=\"https://www.tonyawards.com/winners/year/1997/category/choreography/show/any/\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Award for Best Choreography\u003c/a> for her efforts the following year.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1338866178513461255"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A mainstay in Broadway musicals for decades, Reinking was both a muse and lover to Fosse\u003cem>.\u003c/em>\u003c/p>\n\u003cp>That relationship was a pivotal plot line—though somewhat fictionalized—in FX’s recent limited series production, \u003cem>Fosse/Verdon. \u003c/em>Fosse was married to Gwen Verdon. Reinking consulted on the project, serving as a personal sounding board to actress Margaret Qualley, who portrayed the famous dancer.\u003c/p>\n\u003cp>“I was really nervous because I wanted to do right by her,” Qualley \u003ca href=\"https://www.indiewire.com/2019/08/fosse-verdon-margaret-qualley-ann-reinking-1202168945/\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003c/a>\u003cem>IndieWire\u003c/em> of the experience. “I looked up to her for so long, was so familiar with her. More than anything, I wanted her to like it. I didn’t even know her yet, but I was already thinking about that.”\u003c/p>\n\u003cp>On Monday, choreographer Christopher Dean, whom \u003cem>Variety\u003c/em> reports teaches Reinking’s niece, mourned the death of the actress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The lights on Broadway are forever more dim this morning and there is one less star in the sky,” he wrote in \u003ca href=\"https://www.facebook.com/thechristopherdean\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook post\u003c/a>. “The good news is that heaven has the very best choreographer on earth now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actress%2C+Dancer%2C+Choreographer+Ann+Reinking+Dies+At+71&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890449/actress-dancer-choreographer-ann-reinking-dies-at-71","authors":["byline_arts_13890449"],"categories":["arts_1","arts_966","arts_1564"],"tags":["arts_2347","arts_6535","arts_1420"],"affiliates":["arts_137"],"featImg":"arts_13890454","label":"arts_137"},"arts_13887871":{"type":"posts","id":"arts_13887871","meta":{"index":"posts_1591205157","site":"arts","id":"13887871","score":null,"sort":[1602627875000]},"guestAuthors":[],"slug":"david-byrne-and-spike-lee-conjure-up-a-joyous-vision-of-american-utopia","title":"David Byrne and Spike Lee Conjure Up a Joyous Vision of 'American Utopia'","publishDate":1602627875,"format":"standard","headTitle":"David Byrne and Spike Lee Conjure Up a Joyous Vision of ‘American Utopia’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Back when the Nazis were running roughshod over his homeland, \u003ca href=\"https://www.npr.org/artists/15294092/bertolt-brecht\" target=\"_blank\" rel=\"noopener noreferrer\">Bertolt Brecht\u003c/a> wrote a short poem that asked, “In the dark times, will there still be singing?” And it gave a reply: “Yes, there will be singing. About the dark times.”\u003c/p>\n\u003cp>Of course, there are many ways of singing about darkness. One is to celebrate hope. That’s what’s on offer in HBO’s \u003cem>David Byrne’s American Utopia\u003c/em>, a joyous blend of song, dance and revival meeting. The film, which captures a live performance of Byrne’s acclaimed Broadway show, was directed by \u003ca href=\"https://www.npr.org/2017/12/14/570761380/31-years-later-spike-lees-got-a-fresh-take-on-shes-gotta-have-it\" target=\"_blank\" rel=\"noopener noreferrer\">Spike Lee\u003c/a>.\u003c/p>\n\u003cp>Now, Spike might not be the first person you’d expect to click with Byrne, a guy I don’t exactly picture yelling courtside at a Knicks game. Yet Lee is terrific at filming live performances, and his swooping, shrewdly observant camera meshes perfectly with Byrne’s layered and rousing sense of musical theater. This is one show you can dance to.\u003c/p>\n\u003cp>\u003cem>American Utopia\u003c/em> starts with Byrne, barefoot in a silver-gray suit, holding a model of the brain and pondering different ideas of connection. He’s gradually joined by his equally barefoot co-stars, also uniformed in silver-gray suits, who sing, dance and play hand-held instruments as they perform nearly 20 Byrne songs, from his Talking Heads classics to his more recent solo work. Thanks to wireless technology, everyone moves around the stage in seemingly total freedom.\u003c/p>\n\u003cp>Byrne’s work has long been obsessed with the many ways of being imprisoned—in oneself, in an addiction to things, in a meaningless life—and equally attuned to different forms of escape. \u003cem>American Utopia\u003c/em> features a series of songs that ask questions about the meaning of home. The answers range from the welcoming good spirits of “Everybody’s Coming to My House” to the rowdier energies found in \u003ca href=\"https://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener noreferrer\">Talking Heads\u003c/a>‘ party song “Burning Down the House.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lg4hcgtjDPc\u003c/p>\n\u003cp>In fact, the show isn’t actually about burning anything down. It’s about conjuring an image of an American utopia. You’ll be relieved to hear that Byrne is not hectoring. Yes, he gives a little speech about the need to vote—but he doesn’t say who for. And yes, Byrne points out that many of his cast members are immigrants, as is he—a naturalized American born in Scotland. Yet his vision of utopia is not any kind of political program. It’s the show itself.\u003c/p>\n\u003cp>For Byrne, utopia is about embracing difference. It’s about men and women from a diversity of races and cultures coming together to create something new, alive and beautiful that helps people connect. While Byrne starts alone on the stage, by the grand finale, he and his co-stars are marching through the aisles singing the cheery song “Road to Nowhere.” Everybody’s together on-screen—even the audience.\u003c/p>\n\u003cp>In a way, the show echoes Byrne’s own artistic transformation. Back in his early, post-punk days, he was almost a parody of the nerdy, angst-riddled white guy. With his on-stage tics and spasms, he seemed a bit like \u003cem>Psycho\u003c/em>‘s \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=91947125\" target=\"_blank\" rel=\"noopener noreferrer\">Norman Bates,\u003c/a> if Norman hadn’t turned into his dead mother but instead gone to art school. What liberated him seems to have been his encounter with Black music, both American funk and the complex rhythms of Brazil. Byrne’s persona became sunnier and more communal, as you could see in Jonathan Demme’s great 1984 concert film \u003cem>Stop Making Sense\u003c/em>, where Byrne and his fellow Talking Heads exude sheer collective joy.\u003c/p>\n\u003cp>Now, the skeptic in me feels obliged to note one limitation of the show’s communitarian notion of utopia. Byrne writes and sings lead on all the songs—he’s obviously the star. Everybody else plays second fiddle, and while they clearly enjoy performing, I suspect being a backup is not how \u003cem>they\u003c/em> view utopia.\u003c/p>\n\u003cp>Yet if Byrne doesn’t always rise above stardom’s privilege, he is attuned to other ways he’s privileged. He realizes that the show’s upbeat vibe could easily turn into feelgood kitsch that feels disconnected from present-day reality. He puts some political steel in the show’s spine by including a startling rendition of the \u003ca href=\"https://www.npr.org/2020/05/18/856841290/janelle-mon-e-wants-to-represent-the-underdog-in-music-and-onscreen\" target=\"_blank\" rel=\"noopener noreferrer\">Janelle Monáe\u003c/a> protest song, “\u003ca href=\"https://www.npr.org/sections/allsongs/2015/08/18/385202798/janelle-mon-e-releases-visceral-protest-song-hell-you-talmbout\" target=\"_blank\" rel=\"noopener noreferrer\">Hell You Talmbout\u003c/a>,” whose lyrics are basically the names of African Americans who have died at police hands or from racial violence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This powerful song is political in the way Byrne’s talk about voting is not. Yet its presence offers a necessary reminder that any utopia begins in a world that is painfully far from perfect. You can only sing yourself through the dark times if you don’t forget how dark they can be.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Byrne+And+Spike+Lee+Conjure+Up+A+Joyous+Vision+Of+%27American+Utopia%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Lee's new film for HBO captures a live performance of Byrne's acclaimed Broadway show, 'David Byrne's American Utopia.' ","status":"publish","parent":0,"modified":1705019993,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":853},"headData":{"title":"David Byrne and Spike Lee Conjure Up a Joyous Vision of 'American Utopia' | KQED","description":"Lee's new film for HBO captures a live performance of Byrne's acclaimed Broadway show, 'David Byrne's American Utopia.' ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"David Byrne and Spike Lee Conjure Up a Joyous Vision of 'American Utopia'","datePublished":"2020-10-13T22:24:35.000Z","dateModified":"2024-01-12T00:39:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"David Lee","nprByline":"John Powers","nprImageAgency":"HBO","nprStoryId":"923258756","nprApiLink":"http://api.npr.org/query?id=923258756&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/10/13/923258756/david-byrne-and-spike-lee-conjure-up-a-joyous-vision-of-american-utopia?ft=nprml&f=923258756","nprRetrievedStory":"1","nprPubDate":"Tue, 13 Oct 2020 14:52:00 -0400","nprStoryDate":"Tue, 13 Oct 2020 14:48:41 -0400","nprLastModifiedDate":"Tue, 13 Oct 2020 14:49:40 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2020/10/20201013_fa_02.mp3?orgId=427869011&topicId=4467349&d=500&p=13&story=923258756&ft=nprml&f=923258756","nprAudioM3u":"http://api.npr.org/m3u/1923314145-90c31b.m3u?orgId=427869011&topicId=4467349&d=500&p=13&story=923258756&ft=nprml&f=923258756","templateType":"standard","featuredImageType":"standard","path":"/arts/13887871/david-byrne-and-spike-lee-conjure-up-a-joyous-vision-of-american-utopia","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2020/10/20201013_fa_02.mp3?orgId=427869011&topicId=4467349&d=500&p=13&story=923258756&ft=nprml&f=923258756","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back when the Nazis were running roughshod over his homeland, \u003ca href=\"https://www.npr.org/artists/15294092/bertolt-brecht\" target=\"_blank\" rel=\"noopener noreferrer\">Bertolt Brecht\u003c/a> wrote a short poem that asked, “In the dark times, will there still be singing?” And it gave a reply: “Yes, there will be singing. About the dark times.”\u003c/p>\n\u003cp>Of course, there are many ways of singing about darkness. One is to celebrate hope. That’s what’s on offer in HBO’s \u003cem>David Byrne’s American Utopia\u003c/em>, a joyous blend of song, dance and revival meeting. The film, which captures a live performance of Byrne’s acclaimed Broadway show, was directed by \u003ca href=\"https://www.npr.org/2017/12/14/570761380/31-years-later-spike-lees-got-a-fresh-take-on-shes-gotta-have-it\" target=\"_blank\" rel=\"noopener noreferrer\">Spike Lee\u003c/a>.\u003c/p>\n\u003cp>Now, Spike might not be the first person you’d expect to click with Byrne, a guy I don’t exactly picture yelling courtside at a Knicks game. Yet Lee is terrific at filming live performances, and his swooping, shrewdly observant camera meshes perfectly with Byrne’s layered and rousing sense of musical theater. This is one show you can dance to.\u003c/p>\n\u003cp>\u003cem>American Utopia\u003c/em> starts with Byrne, barefoot in a silver-gray suit, holding a model of the brain and pondering different ideas of connection. He’s gradually joined by his equally barefoot co-stars, also uniformed in silver-gray suits, who sing, dance and play hand-held instruments as they perform nearly 20 Byrne songs, from his Talking Heads classics to his more recent solo work. Thanks to wireless technology, everyone moves around the stage in seemingly total freedom.\u003c/p>\n\u003cp>Byrne’s work has long been obsessed with the many ways of being imprisoned—in oneself, in an addiction to things, in a meaningless life—and equally attuned to different forms of escape. \u003cem>American Utopia\u003c/em> features a series of songs that ask questions about the meaning of home. The answers range from the welcoming good spirits of “Everybody’s Coming to My House” to the rowdier energies found in \u003ca href=\"https://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener noreferrer\">Talking Heads\u003c/a>‘ party song “Burning Down the House.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lg4hcgtjDPc'\n title='//www.youtube.com/embed/lg4hcgtjDPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In fact, the show isn’t actually about burning anything down. It’s about conjuring an image of an American utopia. You’ll be relieved to hear that Byrne is not hectoring. Yes, he gives a little speech about the need to vote—but he doesn’t say who for. And yes, Byrne points out that many of his cast members are immigrants, as is he—a naturalized American born in Scotland. Yet his vision of utopia is not any kind of political program. It’s the show itself.\u003c/p>\n\u003cp>For Byrne, utopia is about embracing difference. It’s about men and women from a diversity of races and cultures coming together to create something new, alive and beautiful that helps people connect. While Byrne starts alone on the stage, by the grand finale, he and his co-stars are marching through the aisles singing the cheery song “Road to Nowhere.” Everybody’s together on-screen—even the audience.\u003c/p>\n\u003cp>In a way, the show echoes Byrne’s own artistic transformation. Back in his early, post-punk days, he was almost a parody of the nerdy, angst-riddled white guy. With his on-stage tics and spasms, he seemed a bit like \u003cem>Psycho\u003c/em>‘s \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=91947125\" target=\"_blank\" rel=\"noopener noreferrer\">Norman Bates,\u003c/a> if Norman hadn’t turned into his dead mother but instead gone to art school. What liberated him seems to have been his encounter with Black music, both American funk and the complex rhythms of Brazil. Byrne’s persona became sunnier and more communal, as you could see in Jonathan Demme’s great 1984 concert film \u003cem>Stop Making Sense\u003c/em>, where Byrne and his fellow Talking Heads exude sheer collective joy.\u003c/p>\n\u003cp>Now, the skeptic in me feels obliged to note one limitation of the show’s communitarian notion of utopia. Byrne writes and sings lead on all the songs—he’s obviously the star. Everybody else plays second fiddle, and while they clearly enjoy performing, I suspect being a backup is not how \u003cem>they\u003c/em> view utopia.\u003c/p>\n\u003cp>Yet if Byrne doesn’t always rise above stardom’s privilege, he is attuned to other ways he’s privileged. He realizes that the show’s upbeat vibe could easily turn into feelgood kitsch that feels disconnected from present-day reality. He puts some political steel in the show’s spine by including a startling rendition of the \u003ca href=\"https://www.npr.org/2020/05/18/856841290/janelle-mon-e-wants-to-represent-the-underdog-in-music-and-onscreen\" target=\"_blank\" rel=\"noopener noreferrer\">Janelle Monáe\u003c/a> protest song, “\u003ca href=\"https://www.npr.org/sections/allsongs/2015/08/18/385202798/janelle-mon-e-releases-visceral-protest-song-hell-you-talmbout\" target=\"_blank\" rel=\"noopener noreferrer\">Hell You Talmbout\u003c/a>,” whose lyrics are basically the names of African Americans who have died at police hands or from racial violence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This powerful song is political in the way Byrne’s talk about voting is not. Yet its presence offers a necessary reminder that any utopia begins in a world that is painfully far from perfect. You can only sing yourself through the dark times if you don’t forget how dark they can be.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Byrne+And+Spike+Lee+Conjure+Up+A+Joyous+Vision+Of+%27American+Utopia%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13887871/david-byrne-and-spike-lee-conjure-up-a-joyous-vision-of-american-utopia","authors":["byline_arts_13887871"],"categories":["arts_1"],"tags":["arts_2347","arts_12467","arts_8350","arts_4001"],"affiliates":["arts_137"],"featImg":"arts_13887872","label":"arts_137"},"arts_13862641":{"type":"posts","id":"arts_13862641","meta":{"index":"posts_1591205157","site":"arts","id":"13862641","score":null,"sort":[1564601753000]},"guestAuthors":[],"slug":"hal-prince-transformational-broadway-producer-and-director-has-died","title":"Hal Prince, Transformational Broadway Producer And Director, Has Died","publishDate":1564601753,"format":"standard","headTitle":"Hal Prince, Transformational Broadway Producer And Director, Has Died | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>The musical theater director and producer Hal Prince, winner of an unprecedented 21 Tony Awards, has died in Iceland after a brief illness. He was 91.\u003c/p>\n\u003cp>Prince worked on such major shows as \u003cem>Cabaret\u003c/em>, \u003cem>Sweeney Todd\u003c/em> and \u003cem>The Phantom of the Opera. \u003c/em>But he was always looking forward to the next show, regardless of how the last one turned out.\u003c/p>\n\u003cp>In 1965, composer John Kander was working on a show that Prince produced called \u003cem>Flora, The Red Menace\u003c/em> — and it was not going well.\u003c/p>\n\u003cp>“A week before the show opened, Hal had said, ‘Whatever happens to \u003cem>Flora\u003c/em>, we’ll meet at my apartment and work on the next piece,'” Kander says. “And that’s exactly what happened. The show was not a success and we met at Hal’s apartment and started working on a piece which eventually became \u003cem>Cabaret\u003c/em>.”\u003c/p>\n\u003cp>Prince was born in New York in 1928 and fell in love with the theater as a kid. He said that as soon as he graduated from the University of Pennsylvania, he approached Broadway producer and director George Abbott to ask for a job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I worked for nothing,” Prince said. “That was my proposal and he accepted it. And then he paid me after about six months. I went backstage on a show and I had a decent salary. And from then on, I’ve been living a comfortable life in those terms.”\u003c/p>\n\u003cp>Prince learned not only his work ethic from George Abbott — he became a producer himself. And in 1954 he produced \u003cem>The Pajama Game\u003c/em> and hired Abbott to direct it.\u003c/p>\n\u003cp>It was the beginning of a phenomenally successful career as a producer. Among Prince’s other shows were \u003cem>Damn Yankees\u003c/em>, \u003cem>West Side Story\u003c/em> and \u003cem>Fiddler on the Roof\u003c/em>.\u003c/p>\n\u003cp>But Prince had other ambitions.\u003c/p>\n\u003cp>“I wanted to be a playwright, which I couldn’t do,” he said. “And I wanted to be a director which I could do.”\u003c/p>\n\u003cp>So Prince hired himself to direct shows like \u003cem>Cabaret\u003c/em> and \u003cem>Zorba.\u003c/em> In 1970, he began a remarkable period of collaboration with composer/lyricist Stephen Sondheim. They worked together on six shows, which Prince both directed and produced.\u003c/p>\n\u003cp>“He always makes me want to go to the piano and write,” Sondheim says. “I always leave meetings with Hal just bursting with ideas. Hal’s as stimulating as anybody I’ve ever met.”\u003c/p>\n\u003cp>Among their shows were \u003cem>Company\u003c/em>, \u003cem>Follies\u003c/em> and \u003cem>Sweeney Todd\u003c/em>, which expanded and transformed musical theater. They were often referred to as “concept” musicals — serious works on serious topics, like contemporary marriage, disillusion of the American dream, the corrosive nature of the Industrial Revolution.\u003c/p>\n\u003cp>“I’m very issue-oriented and I like a good story in the theater, obviously,” Prince said. “But I have to have — in order to do decent work, me — I have to have some kind of metaphor or I can’t do it.”\u003c/p>\n\u003cp>Prince’s shows were always impeccably staged and designed, says another frequent collaborator, composer Andrew Lloyd Webber.\u003c/p>\n\u003cp>“He is so visual,” Webber says. “And when he gets something right, visually, I mean, nobody gets it more right than him.”\u003c/p>\n\u003cp>They worked together on \u003cem>Evita\u003c/em> and \u003cem>The\u003c/em> \u003cem>Phantom of the Opera\u003c/em>. The latter is by far the biggest hit Hal Prince ever directed. It’s the longest-running show on Broadway.\u003c/p>\n\u003cp>But Prince also had his share of flops. His wife Judy confronted him one day.\u003c/p>\n\u003cp>“She said, ‘I’m sick to death of you talking about hits and flops,'” he said. “‘Do you not acknowledge that some of your greatest successes were flops at the box office and some of your biggest hits were not such damn successes artistically?'”\u003c/p>\n\u003cp>So he kept on working. Still, Prince acknowledged it wasn’t enough to have talent or intellectual curiosity or an impeccable work ethic.\u003c/p>\n\u003cp>“There is not an artist in the world who achieves any success who hasn’t had a lot of luck,” Prince said. “You’re lucky to be born when you are, where you are.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the American musical theater was lucky that Hal Prince helped to shape and define it.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n","blocks":[],"excerpt":"The winner of an unprecedented 21 Tony Awards, Prince left a major impact on American musical theater. Among his shows: \u003cem>Cabaret\u003c/em>, \u003cem>Fiddler on the Roof\u003c/em> and \u003cem>The Phantom of the Opera\u003c/em>. He was 91.","status":"publish","parent":0,"modified":1705022433,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":741},"headData":{"title":"Hal Prince, Transformational Broadway Producer And Director, Has Died | KQED","description":"The winner of an unprecedented 21 Tony Awards, Prince left a major impact on American musical theater. Among his shows: Cabaret, Fiddler on the Roof and The Phantom of the Opera. He was 91.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hal Prince, Transformational Broadway Producer And Director, Has Died","datePublished":"2019-07-31T19:35:53.000Z","dateModified":"2024-01-12T01:20:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jeff Lunden","nprImageAgency":"Associated Press","nprStoryId":"574047835","nprApiLink":"http://api.npr.org/query?id=574047835&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/07/31/574047835/hal-prince-transformational-broadway-producer-and-director-has-died?ft=nprml&f=574047835","nprRetrievedStory":"1","nprPubDate":"Wed, 31 Jul 2019 12:08:00 -0400","nprStoryDate":"Wed, 31 Jul 2019 12:05:40 -0400","nprLastModifiedDate":"Wed, 31 Jul 2019 12:08:52 -0400","path":"/arts/13862641/hal-prince-transformational-broadway-producer-and-director-has-died","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The musical theater director and producer Hal Prince, winner of an unprecedented 21 Tony Awards, has died in Iceland after a brief illness. He was 91.\u003c/p>\n\u003cp>Prince worked on such major shows as \u003cem>Cabaret\u003c/em>, \u003cem>Sweeney Todd\u003c/em> and \u003cem>The Phantom of the Opera. \u003c/em>But he was always looking forward to the next show, regardless of how the last one turned out.\u003c/p>\n\u003cp>In 1965, composer John Kander was working on a show that Prince produced called \u003cem>Flora, The Red Menace\u003c/em> — and it was not going well.\u003c/p>\n\u003cp>“A week before the show opened, Hal had said, ‘Whatever happens to \u003cem>Flora\u003c/em>, we’ll meet at my apartment and work on the next piece,'” Kander says. “And that’s exactly what happened. The show was not a success and we met at Hal’s apartment and started working on a piece which eventually became \u003cem>Cabaret\u003c/em>.”\u003c/p>\n\u003cp>Prince was born in New York in 1928 and fell in love with the theater as a kid. He said that as soon as he graduated from the University of Pennsylvania, he approached Broadway producer and director George Abbott to ask for a job.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I worked for nothing,” Prince said. “That was my proposal and he accepted it. And then he paid me after about six months. I went backstage on a show and I had a decent salary. And from then on, I’ve been living a comfortable life in those terms.”\u003c/p>\n\u003cp>Prince learned not only his work ethic from George Abbott — he became a producer himself. And in 1954 he produced \u003cem>The Pajama Game\u003c/em> and hired Abbott to direct it.\u003c/p>\n\u003cp>It was the beginning of a phenomenally successful career as a producer. Among Prince’s other shows were \u003cem>Damn Yankees\u003c/em>, \u003cem>West Side Story\u003c/em> and \u003cem>Fiddler on the Roof\u003c/em>.\u003c/p>\n\u003cp>But Prince had other ambitions.\u003c/p>\n\u003cp>“I wanted to be a playwright, which I couldn’t do,” he said. “And I wanted to be a director which I could do.”\u003c/p>\n\u003cp>So Prince hired himself to direct shows like \u003cem>Cabaret\u003c/em> and \u003cem>Zorba.\u003c/em> In 1970, he began a remarkable period of collaboration with composer/lyricist Stephen Sondheim. They worked together on six shows, which Prince both directed and produced.\u003c/p>\n\u003cp>“He always makes me want to go to the piano and write,” Sondheim says. “I always leave meetings with Hal just bursting with ideas. Hal’s as stimulating as anybody I’ve ever met.”\u003c/p>\n\u003cp>Among their shows were \u003cem>Company\u003c/em>, \u003cem>Follies\u003c/em> and \u003cem>Sweeney Todd\u003c/em>, which expanded and transformed musical theater. They were often referred to as “concept” musicals — serious works on serious topics, like contemporary marriage, disillusion of the American dream, the corrosive nature of the Industrial Revolution.\u003c/p>\n\u003cp>“I’m very issue-oriented and I like a good story in the theater, obviously,” Prince said. “But I have to have — in order to do decent work, me — I have to have some kind of metaphor or I can’t do it.”\u003c/p>\n\u003cp>Prince’s shows were always impeccably staged and designed, says another frequent collaborator, composer Andrew Lloyd Webber.\u003c/p>\n\u003cp>“He is so visual,” Webber says. “And when he gets something right, visually, I mean, nobody gets it more right than him.”\u003c/p>\n\u003cp>They worked together on \u003cem>Evita\u003c/em> and \u003cem>The\u003c/em> \u003cem>Phantom of the Opera\u003c/em>. The latter is by far the biggest hit Hal Prince ever directed. It’s the longest-running show on Broadway.\u003c/p>\n\u003cp>But Prince also had his share of flops. His wife Judy confronted him one day.\u003c/p>\n\u003cp>“She said, ‘I’m sick to death of you talking about hits and flops,'” he said. “‘Do you not acknowledge that some of your greatest successes were flops at the box office and some of your biggest hits were not such damn successes artistically?'”\u003c/p>\n\u003cp>So he kept on working. Still, Prince acknowledged it wasn’t enough to have talent or intellectual curiosity or an impeccable work ethic.\u003c/p>\n\u003cp>“There is not an artist in the world who achieves any success who hasn’t had a lot of luck,” Prince said. “You’re lucky to be born when you are, where you are.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And the American musical theater was lucky that Hal Prince helped to shape and define it.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13862641/hal-prince-transformational-broadway-producer-and-director-has-died","authors":["byline_arts_13862641"],"programs":["arts_1272"],"categories":["arts_1003","arts_1564"],"tags":["arts_2347","arts_7525","arts_596","arts_5092"],"affiliates":["arts_137"],"featImg":"arts_13862642","label":"arts_1272"},"arts_13859688":{"type":"posts","id":"arts_13859688","meta":{"index":"posts_1591205157","site":"arts","id":"13859688","score":null,"sort":[1560981601000]},"guestAuthors":[],"slug":"in-2019-beloved-rent-characters-read-more-like-gentrifiers","title":"In 2019, Beloved 'Rent' Characters Read More Like Gentrifiers","publishDate":1560981601,"format":"image","headTitle":"In 2019, Beloved ‘Rent’ Characters Read More Like Gentrifiers | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>At 14 years old, I prided myself in being that queer theater nerd who memorized all the lyrics from \u003cem>Rent\u003c/em>, singing “No Day But Today” at the top of my lungs on repeat. I was a total \u003cem>Rent\u003c/em>-head, guilty as charged.\u003c/p>\n\u003cp>When \u003cem>Rent\u003c/em> came out in 1996, it was revolutionary. Jonathan Larson set out to create a rock opera for the MTV generation that centered HIV-positive characters and perspectives. His Gen-X interpretation of Giacomo Puccini’s \u003cem>La Boheme\u003c/em> was an unflinching portrait of queer and “bohemian” East Village life, full of sex-positive play, ACAB performance art and punk rock attitude.\u003c/p>\n\u003cp>It was cool. It was catchy. And, as a kid growing up in the homophobic climate of George W. Bush’s presidency, I ate it up.\u003c/p>\n\u003cp>Last week, \u003cem>Rent\u003c/em> premiered at SHN Golden Gate Theatre for its \u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DA9C2E47-E9AC-483F-BAFA-3C37EE4CFA01\" target=\"_blank\" rel=\"noopener\">20th-anniversary tour\u003c/a>, inviting audiences to revisit the corner of 11th Street and Avenue B with a new cast.\u003c/p>\n\u003cp>The performances were stellar. But watching Jonathan Larson’s Broadway hit unfold in 2019, I began to see that many of the once-beloved characters I so admired aren’t the freedom fighters I thought they were. Instead, they came off as entitled opportunists with a kink for poverty fetishism.\u003c/p>\n\u003cfigure id=\"attachment_13859881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RENT12-0419-800.jpg\" alt=\"(L-R) Deri'Andra Tucker as Mimi and Joshua Bess as Roger with the company of the RENT 20th Anniversary Tour.\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT12-0419-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT12-0419-800-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT12-0419-800-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT12-0419-800-789x1200.jpg 789w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Deri’Andra Tucker as Mimi and Joshua Bess as Roger with the company of the Rent 20th Anniversary Tour. \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite what \u003cem>Rent\u003c/em>‘s narrative drives home, most people cannot choose their way out of systemic poverty by “selling out.” Mark Cohen (Logan Marks) walks off the job at his new digital media gig, calling it “soul-sucking” and a compromise of his bohemian ideals. Raised middle class, he now lives in a warehouse where he’s behind on rent. Mark aspires to the starving artist stereotype, as if suffering is more conducive to making art. It’s cosplay at its finest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the musical, it becomes apparent that Mark often treats the vulnerable people around him as supporting characters in his quest to become an edgy filmmaker. Rewatching \u003cem>Rent\u003c/em> in 2019, I fixated on a scene I had overlooked as a teen. Mark films police officers poking their nightsticks at a woman living in their block’s encampment. Realizing Mark is filming her, the woman in her blanket rails at Mark, singing:\u003c/p>\n\u003cblockquote>\u003cp>Who the fuck do you think you are?\u003cbr>\nI don’t need no goddamn help\u003cbr>\nFrom some bleeding heart cameraman\u003cbr>\nMy life’s not for you to\u003cbr>\nMake a name for yourself on!\u003c/p>\u003c/blockquote>\n\u003cp>Despite the homeless woman’s pushback, Mark goes on to film occupants of the tent city while also questionably carrying his camera into an HIV-positive support group, where he arrives uninvited as a documentarian rather than a participant. Homeless encampments and the people who live in them routinely provide the “gritty, urban” backdrop and holiday-tinged comedic relief in the play.\u003c/p>\n\u003cp>Enter Maureen Johnson (Lyndie Moe), a heroine I so admired as an emerging young feminist. Though marketed as a protest to save the tent city, her “Over The Moon” solo plays out like a vapid attention grab. Maureen doesn’t care about police raiding the tent city or the eviction of tenants; she just doesn’t want to lose her performance space. She takes on the role of a diva with glee, making her lawyer girlfriend Joanne Jefferson (Lencia Kebede) tend to her every beck and call.\u003c/p>\n\u003cfigure id=\"attachment_13859706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859706\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen.jpg\" alt=\"Joanne (Lencia Kebede) and Maureen (Lyndie Moe) perform "Take Me or Leave Me" in the 20th Anniversary Tour of 'RENT.'\" width=\"800\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen-768x1203.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen-766x1200.jpg 766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanne (Lencia Kebede) and Maureen (Lyndie Moe) perform “Take Me or Leave Me” in the 20th Anniversary Tour of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Maureen and Joanne’s relationship once felt like a triumph for bi-visibility (and interracial couples), their courtship is riddled with manipulation, gaslighting and cheating. Much like how Mark expresses his rebelliousness at the expense of others, Maureen disregards Joanne’s feelings and continuously crosses her boundaries with carefree antics. Maureen’s character also falls into the age-old “\u003ca href=\"https://thebodyisnotanapology.com/magazine/4-terrible-bisexuality-tropes-on-tv-gillian-b/\" target=\"_blank\" rel=\"noopener\">slutty bisexual\u003c/a>” trope. We hear about her sexual exploits in explicit detail when Joanne opens up to Mark about Maureen’s cheating in the duet “Tango Maureen.”\u003c/p>\n\u003cp>Despite the characters’ romantic rebelliousness, they never \u003cem>really\u003c/em> challenge the status quo. Instead, they partake in a shallow revolution that’s ultimately self-serving. As the ragtag crew of antiheroes crashes a local cafe, they push past the waiter, jump on tables and demand service without the expectation of paying or tipping.\u003c/p>\n\u003cp>Take, for instance, the anthemic “La Vie Bohème.” As the protagonists rattle off all the tenets of their countercultural lifestyle, you begin to realize that, like the hipsters of today, they’re consuming aspects of other cultures to make themselves more interesting:\u003c/p>\n\u003cblockquote>\u003cp>To hand-crafted beers\u003cbr>\nMade in local breweries\u003cbr>\nTo yoga, to yogurt, to rice and beans and cheese\u003cbr>\nTo leather, to dildos, to curry vindaloo\u003cbr>\nTo huevos rancheros and Maya Angelou\u003c/p>\u003c/blockquote>\n\u003cp>Followed by this troubling excerpt:\u003c/p>\n\u003cblockquote>\u003cp>… and Maureen Johnson, back from her spectacular one-night engagement at the 11th Street lot, will sing Native American tribal chants backwards through her vocoder, while accompanying herself on the electric cello—which she has never studied.\u003c/p>\u003c/blockquote>\n\u003cp>Hand-crafted beers, yoga and the appropriation of indigenous ceremonial songs sound more like a recipe for gentrification than something radical. But #LaVieBohème, right?\u003c/p>\n\u003cfigure id=\"attachment_13859847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859847\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RENT14-0419-800.jpg\" alt=\"The Company of the 'RENT' 20th Anniversary Tour.\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT14-0419-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT14-0419-800-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT14-0419-800-768x450.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Company of the ‘Rent’ 20th Anniversary Tour. \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a cultural phenomenon, \u003cem>Rent\u003c/em> put HIV-positive voices front and center and created nuanced roles for queer, black and brown artists on the Broadway stage. And for a generation who felt betrayed by their government, their bodies and the status quo, \u003cem>Rent\u003c/em> offered full-throated release in 1996.\u003c/p>\n\u003cp>Despite the pitfalls of the script, that legacy of radical inclusion carries through in the performances today. Mimi Marquez (Deri’Andra Tucker) electrified with her soulful rock’n’roll howls in “Out Tonight.” Angel Schunard (Javon King) astounded audiences with a jaw-dropping backflip to the house beat of “Today 4 You.”\u003c/p>\n\u003cp>While it’s undeniable that the original production helped communities feel seen while inciting empathy among the masses, \u003cem>Rent\u003c/em> now stops short as a superficial stick-it-to-the-man narrative for the mainstream to consume.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rent’ plays at SHN Golden Gate Theatre through June 23. \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=rent-2019&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"SHN's production reveals the Broadway musical's portrayal of countercultural New York life didn't age well.","status":"publish","parent":0,"modified":1705022626,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1105},"headData":{"title":"In 2019, Beloved 'Rent' Characters Read More Like Gentrifiers | KQED","description":"SHN's production reveals the Broadway musical's portrayal of countercultural New York life didn't age well.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In 2019, Beloved 'Rent' Characters Read More Like Gentrifiers","datePublished":"2019-06-19T22:00:01.000Z","dateModified":"2024-01-12T01:23:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13859688/in-2019-beloved-rent-characters-read-more-like-gentrifiers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 14 years old, I prided myself in being that queer theater nerd who memorized all the lyrics from \u003cem>Rent\u003c/em>, singing “No Day But Today” at the top of my lungs on repeat. I was a total \u003cem>Rent\u003c/em>-head, guilty as charged.\u003c/p>\n\u003cp>When \u003cem>Rent\u003c/em> came out in 1996, it was revolutionary. Jonathan Larson set out to create a rock opera for the MTV generation that centered HIV-positive characters and perspectives. His Gen-X interpretation of Giacomo Puccini’s \u003cem>La Boheme\u003c/em> was an unflinching portrait of queer and “bohemian” East Village life, full of sex-positive play, ACAB performance art and punk rock attitude.\u003c/p>\n\u003cp>It was cool. It was catchy. And, as a kid growing up in the homophobic climate of George W. Bush’s presidency, I ate it up.\u003c/p>\n\u003cp>Last week, \u003cem>Rent\u003c/em> premiered at SHN Golden Gate Theatre for its \u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=DA9C2E47-E9AC-483F-BAFA-3C37EE4CFA01\" target=\"_blank\" rel=\"noopener\">20th-anniversary tour\u003c/a>, inviting audiences to revisit the corner of 11th Street and Avenue B with a new cast.\u003c/p>\n\u003cp>The performances were stellar. But watching Jonathan Larson’s Broadway hit unfold in 2019, I began to see that many of the once-beloved characters I so admired aren’t the freedom fighters I thought they were. Instead, they came off as entitled opportunists with a kink for poverty fetishism.\u003c/p>\n\u003cfigure id=\"attachment_13859881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859881\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RENT12-0419-800.jpg\" alt=\"(L-R) Deri'Andra Tucker as Mimi and Joshua Bess as Roger with the company of the RENT 20th Anniversary Tour.\" width=\"800\" height=\"1217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT12-0419-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT12-0419-800-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT12-0419-800-768x1168.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT12-0419-800-789x1200.jpg 789w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Deri’Andra Tucker as Mimi and Joshua Bess as Roger with the company of the Rent 20th Anniversary Tour. \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite what \u003cem>Rent\u003c/em>‘s narrative drives home, most people cannot choose their way out of systemic poverty by “selling out.” Mark Cohen (Logan Marks) walks off the job at his new digital media gig, calling it “soul-sucking” and a compromise of his bohemian ideals. Raised middle class, he now lives in a warehouse where he’s behind on rent. Mark aspires to the starving artist stereotype, as if suffering is more conducive to making art. It’s cosplay at its finest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the musical, it becomes apparent that Mark often treats the vulnerable people around him as supporting characters in his quest to become an edgy filmmaker. Rewatching \u003cem>Rent\u003c/em> in 2019, I fixated on a scene I had overlooked as a teen. Mark films police officers poking their nightsticks at a woman living in their block’s encampment. Realizing Mark is filming her, the woman in her blanket rails at Mark, singing:\u003c/p>\n\u003cblockquote>\u003cp>Who the fuck do you think you are?\u003cbr>\nI don’t need no goddamn help\u003cbr>\nFrom some bleeding heart cameraman\u003cbr>\nMy life’s not for you to\u003cbr>\nMake a name for yourself on!\u003c/p>\u003c/blockquote>\n\u003cp>Despite the homeless woman’s pushback, Mark goes on to film occupants of the tent city while also questionably carrying his camera into an HIV-positive support group, where he arrives uninvited as a documentarian rather than a participant. Homeless encampments and the people who live in them routinely provide the “gritty, urban” backdrop and holiday-tinged comedic relief in the play.\u003c/p>\n\u003cp>Enter Maureen Johnson (Lyndie Moe), a heroine I so admired as an emerging young feminist. Though marketed as a protest to save the tent city, her “Over The Moon” solo plays out like a vapid attention grab. Maureen doesn’t care about police raiding the tent city or the eviction of tenants; she just doesn’t want to lose her performance space. She takes on the role of a diva with glee, making her lawyer girlfriend Joanne Jefferson (Lencia Kebede) tend to her every beck and call.\u003c/p>\n\u003cfigure id=\"attachment_13859706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859706\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen.jpg\" alt=\"Joanne (Lencia Kebede) and Maureen (Lyndie Moe) perform "Take Me or Leave Me" in the 20th Anniversary Tour of 'RENT.'\" width=\"800\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen-160x251.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen-768x1203.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT6-800-joanne-maureen-766x1200.jpg 766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanne (Lencia Kebede) and Maureen (Lyndie Moe) perform “Take Me or Leave Me” in the 20th Anniversary Tour of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Maureen and Joanne’s relationship once felt like a triumph for bi-visibility (and interracial couples), their courtship is riddled with manipulation, gaslighting and cheating. Much like how Mark expresses his rebelliousness at the expense of others, Maureen disregards Joanne’s feelings and continuously crosses her boundaries with carefree antics. Maureen’s character also falls into the age-old “\u003ca href=\"https://thebodyisnotanapology.com/magazine/4-terrible-bisexuality-tropes-on-tv-gillian-b/\" target=\"_blank\" rel=\"noopener\">slutty bisexual\u003c/a>” trope. We hear about her sexual exploits in explicit detail when Joanne opens up to Mark about Maureen’s cheating in the duet “Tango Maureen.”\u003c/p>\n\u003cp>Despite the characters’ romantic rebelliousness, they never \u003cem>really\u003c/em> challenge the status quo. Instead, they partake in a shallow revolution that’s ultimately self-serving. As the ragtag crew of antiheroes crashes a local cafe, they push past the waiter, jump on tables and demand service without the expectation of paying or tipping.\u003c/p>\n\u003cp>Take, for instance, the anthemic “La Vie Bohème.” As the protagonists rattle off all the tenets of their countercultural lifestyle, you begin to realize that, like the hipsters of today, they’re consuming aspects of other cultures to make themselves more interesting:\u003c/p>\n\u003cblockquote>\u003cp>To hand-crafted beers\u003cbr>\nMade in local breweries\u003cbr>\nTo yoga, to yogurt, to rice and beans and cheese\u003cbr>\nTo leather, to dildos, to curry vindaloo\u003cbr>\nTo huevos rancheros and Maya Angelou\u003c/p>\u003c/blockquote>\n\u003cp>Followed by this troubling excerpt:\u003c/p>\n\u003cblockquote>\u003cp>… and Maureen Johnson, back from her spectacular one-night engagement at the 11th Street lot, will sing Native American tribal chants backwards through her vocoder, while accompanying herself on the electric cello—which she has never studied.\u003c/p>\u003c/blockquote>\n\u003cp>Hand-crafted beers, yoga and the appropriation of indigenous ceremonial songs sound more like a recipe for gentrification than something radical. But #LaVieBohème, right?\u003c/p>\n\u003cfigure id=\"attachment_13859847\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859847\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RENT14-0419-800.jpg\" alt=\"The Company of the 'RENT' 20th Anniversary Tour.\" width=\"800\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT14-0419-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT14-0419-800-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RENT14-0419-800-768x450.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Company of the ‘Rent’ 20th Anniversary Tour. \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a cultural phenomenon, \u003cem>Rent\u003c/em> put HIV-positive voices front and center and created nuanced roles for queer, black and brown artists on the Broadway stage. And for a generation who felt betrayed by their government, their bodies and the status quo, \u003cem>Rent\u003c/em> offered full-throated release in 1996.\u003c/p>\n\u003cp>Despite the pitfalls of the script, that legacy of radical inclusion carries through in the performances today. Mimi Marquez (Deri’Andra Tucker) electrified with her soulful rock’n’roll howls in “Out Tonight.” Angel Schunard (Javon King) astounded audiences with a jaw-dropping backflip to the house beat of “Today 4 You.”\u003c/p>\n\u003cp>While it’s undeniable that the original production helped communities feel seen while inciting empathy among the masses, \u003cem>Rent\u003c/em> now stops short as a superficial stick-it-to-the-man narrative for the mainstream to consume.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rent’ plays at SHN Golden Gate Theatre through June 23. \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=rent-2019&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13859688/in-2019-beloved-rent-characters-read-more-like-gentrifiers","authors":["11357"],"programs":["arts_140"],"categories":["arts_967"],"tags":["arts_2347","arts_1118","arts_596","arts_1184","arts_2216","arts_1072"],"featImg":"arts_13859876","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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