Free for all. All summer. Every summer.
Watch the announcement of Free Shakespeare in the Park on Facebook Live.
Directed by Oskar Eustis
May 23- June 18
The Public Theater’s Artistic Director Oskar Eustis directs Julius Caesar, Shakespeare’s play of politics and power, last seen in the Park 17 years ago. Rome’s leader, Julius Caesar, is a force unlike any the city has seen. Magnetic, populist, irreverent, he seems bent on absolute power. A small band of patriots, devoted to the country’s democratic traditions, must decide how to oppose him. Shakespeare’s political masterpiece has never felt more contemporary.
A MIDSUMMER NIGHT’S DREAM
Directed by Lear deBessonet
July 11- August 13
In July, the Delacorte Theater will transform into the most enchanted forest in all of theater in Shakespeare’s beloved comedy, A Midsummer Night’s Dream. When the merry sprite Puck meddles with a magical love potion, young lovers lost in the woods mysteriously find themselves infatuated with the wrong person in this hilarious, fairytale fantasia that proves the course of true love never did run smooth. Lear deBessonet, Founder of the groundbreaking Public Works program and Resident Director, brings her electric theatrical vision to the classic romance about the supernatural nature of love.
Free tickets to Shakespeare in the Park will be available on every day there is a public performance. Visit shakespeareinthepark.org for more info.
Lead support for Free Shakespeare in the Park provided by
Bank of America and The Jerome L. Greene Foundation.
Additional support provided by Bloomberg Philanthropies, Delta Air Lines, TodayTix, The Kimberly, The New York Times, Outfront Media, WNYC, ABC7, Theatermania, NYC Parks, New York City Department Of Cultural Affairs, The New York State Council On The Arts, and Art Works.
Special support provided by The New York Community Trust- The George T. Delacorte Fund for Performance at the Delacorte Theater in Central Park.
The Philip and Janice Levin Foundation provides support for The Public’s access and engagement programming. The LuEsther T. Mertz Charitable Trustprovides leadership support for The Public Theater’s year-round activities.
Photos by Joseph Moran and Tammy Shell
The Association of Performing Arts Presenters (APAP) will bring more than 3,600 artists and performing industry leaders from the worlds of dance, theater, music, opera, family programing and more to New York City Jan. 6-10. Preconference workshops and events, many of which are free and open to the public, take place Jan. 5-6. You will especially want to attend and cover plenary sessions, where major artists and leaders from arts, culture and other sectors will share their perspectives on conference themes and engage with the audience of local, national and global arts professionals. Please also spread the word early that plenaries are also live streamed.
APAP works to advance the global performing arts industry, and the annual conference offers one-on-one contact and shared experience and insights for members, the public, and the media. The event provides significant opportunities, economically and creatively, for the range of constituents comprising the performing arts presenting field. This year APAP|NYC will feature artists and arts leaders at the top of their fields; more than 1,000 world-class performance showcases; more than 370 exhibitors promoting their artists and their work in the EXPO Hall; more than 60 professional development sessions and intensives, some open to the public; the annual APAP awards luncheon, and a free classical music concert at Carnegie Hall.
The conference again provides a platform for artists, presenters, promoters, and other performing arts professionals to reflect and engage in discussions and solutions around pressing current issues such as cultural conflict and social justice—issues that have intensified since last January and that resonate throughout our communities in the U.S. and worldwide, fueling our collective need for innovation and creativity.
•The opening plenary Friday at 5:00 pm will include
welcome remarks from Mario Garcia Durham, President and CEO of APAP,
opening remarks from a nationally-known arts and cultural leader (to be confirmed),
followed by a panel discussion moderated by Robyn Archer, Deputy Chair of the Australia Council.
Panelists will include several dynamic thought leaders such as
Chicana activist Martha Gonzalez, who is a singer/percussionist with Quetzal, a bilingual (Spanish-English) Chicano rock band from East Los Angeles
and Jose Antonio Vargas, founder of Define American.
An additional speaker will join the above to explore how artists and cultural leaders, in collaboration with agent/managers, presenters and other co-producers have the potential to serve as catalysts for positive community engagement that leads to social change and social justice.
•At the 9:00 am featured session Saturday, “Changing the Flow: Creativity, Innovation and Disruption at Work,”
Steven Tepper, dean of the new Herberger Institute for Design and the Arts at ASU will lead a discussion
with digital media expert Michael Hawley and others to explore the creative capacities needed to advance culture, build community and address the most pressing challenges of today. (The institute at ASU is a think tank that brings high-powered creatives together to reconsider how we talk about the arts as a creative and innovative force.) The session is followed by breakout discussion groups.
•Sessions that tie to APAP year around programs, grants and resources, including:
oAPAP’s Building Bridges: Arts, Culture, and Identity grants program, aimed at building greater knowledge and awareness about Muslim societies and how to affect social change in these troubled times
oThe Cultural Exchange Laboratory (CXL), a new tool and resource to support the process of identifying, booking and touring international artists
oA session on how to use marketing research to build arts audiences, including hints on designing and applying market research activities to arts organizations (based on The Wallace Foundation’s Building Arts Audiences initiative)
oSharing of experiences by members of the first cohort of APAP Leadership Fellows who reach across generations, gender, job sectors and other ways performing arts professionals identify themselves in the presenting field
•The APAP|NYC “5 Minutes to SHINE!” competition Jan. 9 at 9:30 a.m., where artists, presenters, agents and other industry professionals share a compelling story or idea in an exciting pecha kucha format and the audience votes on one winner to present at the Annual APAP|NYC Awards Luncheon the same day
•New this year, each plenary will open with a “creative moment,” a brief performance or guided creative experience that provokes, inspires or otherwise sets the stage for the conversation that follows (e.g. spoken word artist Marc Bamuthi Joseph and violinist Daniel Bernard Roumain before Friday’s opening plenary; and Heidi Latsky’s piece, “On Display,” with up to 50 dancers with disabilities strategically placed across the entrance area to the Saturday plenary session.
•Each year the popular, fast-moving pecha kucha-style plenary Saturday at noon features five ultra-creative artists that talk about their source of inspiration, their career arc, and their place in these challenging times.
APAP|NYC 2017 is a monumental gathering of performers, agents, presenters, producers and more, with great stories to tell and mesmerizing visuals everywhere you look.
Plenary and Featured Speaker Highlights:
•Taylor Mac whose recent work, “A 24-Decade History of Popular Music,” speaks directly to today’s headlines around equality, equity, civility and our fundamental human rights; his recent 24-hour marathon performance was featured in The New York Times, and he was recently reviewed by The Guardian.
•Camille A. Brown, dancer, choreographer, and founder of Camille A. Brown & Dancers, which is recognized for its introspective approach to cultural themes through visceral movement and socio-political dialogues.
•Maysoon Zayid, Arab-American comedienne, writer and tap dancer from New Jersey; at her TED Talk she said “I got 99 problems…palsy is just one”
•Paola Prestini, plays the German lieder and composed the new production of the opera “Gilgamesh”
•Jonah Bokaer, choreographer and media artist whose latest collaboration with Daniel Arsham and Pharrell Williams, “Rules of the Game,” is in the midst of a global tour.
•Jawole Willa Jo Zollar, dancer, teacher and choreographer of modern dance, and founder of Urban Bush Women dance company
•Jose Antonio Vargas, who started the platform called “Defining American,” and explores the question, “What does it mean to be American?” He is a Filipino immigrant who is gay, and thus has been through most of the identity battles
•Aaron Dworkin, dean, School of Music, Theater and Dance; University of Michigan
•Steven Tepper, dean, Herberger Institute for Design and the Arts
2017 POCS Submissions
Quick Silver Theater Company’s
open (Blind) playwright submission process has begun.
The deadline for submissions is December 1st, 2016
For the second year in a row,
Quick Silver Theater Company has commited to the development of emerging playwrights of color.
Our Playwrights of Color Summit will offer three select playwrights a week long retreat in Geneva, NY. Playwrights will receive a stipend, room and board. A director and cast will be selected to work alongside each playwright.
Here is an opportunity to engage with like minded artists in an easeful environment. A script in hand reading of your work will be presented at the end of the week followed by a skillfully guided talk back open to the community of Geneva and your peers.
We look forward to hearing from you.
This amazing experience should not be missed.
The Audelco Awards are the Independent Black Theatre Awards equivalent to the TONY’S.
On Nov. 21, the 44th Annual Vivian Robinson AUDELCO Recognition Awards for Excellence in Black Theatre will be given in Neew York City, New York, at Symphony Space.
Vivian Robinson established AUDELCO (Audience Development Committee) as a non-profit membership organization in 1973. At the time, the AUDELCO awards were the only awards ceremony to celebrate the accomplishments of African Americans in the fields of theatre and dance. The principal mission of the AUDELCO Awards is to enhance a comprehension of the arts in African-American communities. The AUDELCO Awards also aim to generate new audiences for non-profit theatre companies and to ensure better public relations.
We had a chance to interview one of the RISING stars, actress Gabrielle C. Archer
Describe your latest play and your role:
This past Spring I played Ruth in Walk Hard directed by Imani Douglas and written by Abraham Hill, founder of the American Negro Theatre. Ruth is girlfriend to protagonist, Andy Whitman. Andy is a bright but stubborn shine boy turned boxer in Jim Crow New York. The battles inside the ring mirror those outside of it. I believe Ruth to be the moral compass of the play and for Andy. She tries to keep him focused but cool headed & reasonable. She believes power is in organizing. She is part of the nascent movement of unions budding in the late 30s.
I loved Ruth. She is a strong and powerful woman. A wise and tender soul with whom I nonetheless parted ways in the play’s finale. In my mind, I thought her final words were a bit of a sell out. She speaks of the struggle being that of poor people in general. True words that are a bit All Lives Matter to me. An actor mustn’t judge his character, though, but rather try his best to understand him. Those were my personal feelings, I kept them separate. At the end of the day she was her own kind of warrior and Andy’s rock.
I was really honored to be part of a team of much more experienced and talented actors in a little downtown theatre with a lot of repute with regards to show-casing challenging, subversive, engaging and political pieces. The Metropolitan Playhouse always hosts talk backs after the Sundaymatinees of every run. These talk-backs are enlightening. On our last talk back we had the delightful surprise of having playwright Mr Hill’s family there to exchange ideas and reactions. It’ll always be one of my proudest moment having them express great pleasure at our telling of the story. It was a fun and growing experience all in all.
You have done a lot of theatre work . Is the stage your preferred platform?
I’ve mainly done theatre, yes. I haven’t fully delved into the world of film. I have done a few indies but I do feel more comfortable on stage. By comfortable I by no means mean that I don’t get utterly nervous each time I do a play, but I like the continuity and chronology of stage work. Once you step on that stage there is no turning back -you have to be in every moment till the curtain goes down. Film is very intimate and requires different techniques I must hone. I plan on increasing my experience in that field.
You notched Shakespeare on your belt in CORIOLANUS.
Explain the attraction of Shakespeare for actors.
It’s the great frontier. He is a poet, a master of language and story-telling. Shakespearian language is intimidating but beautiful and fun. I’ve always loved language for language itself and anyone who does can appreciate the rhythm, music of Shakespeare’s tales.
Actors are always training. what are you studying now?
I hadn’t taken a class in far too long (it’s expensive and I figured let me get in there and learn by dong it and doing it with experienced, better actors to keep me on my toes). But acting is a muscle that must constantly be worked out in order not to atrophy. No excuses.
I got lucky and came upon Alice Spivak through an actor friend of mine. She has been in the industry for a long time and studied with the classic teachers. Her class is very enjoyable and challenging. She is tender and knowledgeable. I am at the moment juggling with 4( soon to be 5) characters ranging from Shakespeare to Chekhov to Neil Simon. It’s great fun being in a class of broad age range and an array of talent from advanced to professional.
How is it? do you have a preferred style or method? what and why?
Alice bases her teaching on the Stanislavsky technique but strays from it as well. She’s brilliant! Studying your craft is so important but I believe in using tools from all techniques and mixing it up for whatever works for you in a given circumstance.
The interview continues below…
The American Legacy
220 East Fourth Street ~ New York, New York 10009
Administration: (212) 995 8410 ~ Tickets: (800) 838 3006
Playing Next Season Tickets Company Location Mission History Links
AUDELCO VIV Award Nominee
“A major rediscovery….a cast that excels.”
“An electrifying revival”
– Victor Gluck,
Joshua David Scarlett and Peter Tedeschi
photo: Jacob J. Goldberg Photography
What’s worth the fight?
by Abram Hill
February 19 – March 20, 2016
A bright young man with quick fists is given the shot to be a champion boxer… if he is willing to accept the racist rules that govern America of the 1930’s.
A play from the co-founder of the
American Negro Theater.
Running Time: 2:00
SUNDAY TALKBACKS…following the matinees
February/March 2016 Sun Mon Tues
Weds Thurs Fri Sat 19
23 24 25
29 1 2 3
7 8 9
14 15 16
Gabrielle C. Archer
Craig Anthony Bannister*
Sean Michael Buckley*
Joshua David Scarlett
STAGE MANAGER William Vann Carlton*
LIGHTING Melody Beal
COSTUME Sidney Fortner
SOUND Bill Toles
ASSISTANT DIRECTOR LaVonda Elam
*These actors and stage manager appear courtesy of
Actors Equity Association.
Walk Hard is an AEA Approved Showcase
Get Tickets Walk Hard
There are no active dates for this event.
You are fluent in French and studied at the Sorbonne. What was that experience like?
I used my year abroad to go home for a year and live alone. I studied Literature, Psychology and a bit of Film at the Sorbonne and at Paris X Nanterre University (where my mother went). These schools are polar opposites. The Sorbonne is a prestigious and picturesque school in the heart of Paris whereas Nanterre is a large, more modern public university with little architectural charm on the outskirts of the city. Both are good and have historical value. I enjoyed going from one to the other and learned from each. I preferred Nanterre which had more warmth -in my experience- than the Sorbonne with its intimidating cold marble floors and quiet hallways. The classes there were challenging and mind-titillating. Nanterre was vibrant with more diverse, “on the fringe”, young minds.
Paris is just as contrasted and contradictory. You can get lost in the streets of Paris for hours on end… It is eternally beautiful but within it is a lot of sadness, dissatisfaction, anger and divide. It’s still one of the prettiest places I’ve ever seen. I saw a lot of ugly, but Paris has timeless charm, great food, culture and love of Philosophy*. (*that endless search for truth/knowledge)
You have also directed and recently started in production as well. Does that appeal to you? Why or why not?
I’d like to do more of both. Any production is good, hard team work. We’re all essential pieces of a puzzle. I’m interested in seeing all sides of things. Learning more about every aspect of my industry can only help me in my craft.
Producing is multitasking and problem solving. Developing those skills is interesting to me and will be useful.
Directing is multi-tasking but it’s more focused. You are painting a picture. As of now, I still have work to do in terms of seeing and creating a Vision. But I can do detail -I’m an actor- so, I’m more of an actor’s director. I know how to speak to my fellow actors in order to bring out what’s needed for the overall picture. There is a language we share, an energy and a deep understanding. I need more notches on my belt to really feel comfortable with the title of director. It was a scary and very fulfilling to manage a 12 person cast under pressure. My mentor at the time would just say, “You have to make a decision. It’s going up.”
That was a great learning experience for me and I can’t wait to get another opportunity to gain more confidence and skill in that realm.
Describe your training and background.
I’m born in Paris. Left there when I was 7 and came to New York. I went to the French Lycée, graduated with a Literature/Philosophy Baccalaureat. I then attended Amherst College (even kicked it with Lupita!). I then moved back to New York and kind of threw myself into it in a non orthodox way. I started with community theatre in Brooklyn, working with a church-based theatre troupe on a one act play called One Hour 2 Live. It told the story of a young man -a gang recruit- on death row visited by a pastor who wants to reconcile him with his devastating actions. The young man is also visited by his victims. Two of the three victims are acquaintances and I, the third, played a complete stranger. I represented a future cut short as well as the daughter he would have had. The young man is forced to delve into his past and the psychology behind what brought him to this point. It was a very powerful play which we performed throughout the boroughs and New Jersey at middle and high schools, churches, community and family centers etc. We’d have talk backs with the children (and often the boys would go off with the male actors) as well as with community leaders and mothers/family members affected by incarceration and the consequences of gang activity. We even performed at Rikers. (I had mixed feelings about that.) It was a very emotional and (sometimes) fulfilling experience.
This is people’s real lives- it’s tough. If we were able to reach just one kid in that crowd and inspire them to stay focused, know their worth then it was worth it.
I did that for four years and then worked an entire year on a play that would be my debut as a young professional actress (Agnes of God). It very abruptly and at the very last minute fell through and that was a painful (even a bit traumatizing) experience. But through it I met my friend and mentor, Leslie Dockery (a broadway vet, dancer, choreographer extraordinaire) and through her I found a whole community of mentors with 30 years of experience under their belt who have embraced me. I’m the baby in the group and have a ways to go. But this vet black theatre community seems to have taken me under their wing and I am blessed to have that support. My journey brought me to Imani Douglas, the Castillo Theatre (which is volunteer based with strong youth community involvement) and, finally, the Metropolitan Playhouse which is a prestigious little downtown theatre. Simultaneously, in indie film I have found a network of young, ambitious like-minded creators and story-tellers.
I hope to keep expanding my horizons and make proud all the people who have helped me along the way. I’ve been lucky to have them.
What does the Audelco nomination mean to you?
The AUDELCO (Audience Development Commitee, Inc.) Recognition Awards or the “Viv Awards” (a wink to founder Vivian Robinson) honors excellence in the black theatre at professional and non-for-profit levels. It is a pioneer organization, based out of Harlem, that has been around since the 70’s & has awarded many of the greats of the African-American theatre community (such as composer Eubie Blake, choreographer Debbie Allen and even Kerry Washington before Scandal). It’s like the black Tony Awards! This’ll be my second time going. The first time I went as co-director of a new play Leslie Dockery and I put up at Theatre for The New City in downtown Manhattan. She was up for Best Choreography and won! That was exciting. She’s been around for a while now and I’m lucky to call her big sister, mentor and friend.
I definitely felt Walk Hard deserved a nod or some recognition because the talent was top-notch and the story is inspiring and quite relevant to today. It was a happy and humbling surprise to find out we were nominated for Best Revival!
Keeps raising the bar for me which is always the goal and I get to be around and part of yet another piece of Black History.
You come from an illustrious family background. Explain.
Growing up I had the blessing of calling a living piece of history my grand-father or G-daddy -as my sister and I liked to call him. He was our very own piece of World, American and Black History!
My grand-father, Lee Andrew Archer was a Tuskeegee Airman. He was part of the 332nd Fighter Group and became the first black Ace (he shot down 5 enemy fighter aircraft). He flew the “Macon Belle” named after my beautiful grand-mother, Ina, born in Macon, Georgia. He later maintained a career in the US Airforce as a Lieutenant Colonel. After retiring from the military, he became a successful business man and mentor to other successful black business men. In 2004 he received the French Legion of Honor. That was a proud day for us as a family. I remember being there on the coast of Normandy and being thrilled at just how unique and special he was. In 2007 he received the Congressional Medal. At the end of the day, though, he was just our grand-daddy who provided us with a great family foundation and a lucky childhood. We knew how cool he was but naturally, in retrospect and as I get older, I regret not having asked more questions. I just hope to continue to make him proud and share his story and strong legacy. Y parents are also diplomats and writers.
Do you have a specific plan for the future?
I want to venture more into film and work on television eventually. I want to experience what the industry is like in Atlanta and then L.A. I’d love to do a French film. French cinema (especially the New Wave era) has always been inspiring to me.
Essentially, I want to continue expanding my horizons while working on inspiring projects and telling unique and/or important stories.
Right now I’m working on Miranda – a film that will bring awareness to domestic abuse. The talent is immense but the funds are limited. If anyone would like to help bring this project to fruition please go to www.gofundme.com/mirandamovie and you can check out director’s previous work at kentsuttton.com. Thanks for the support!
What was your most satisfying performance to you?
I really enjoyed playing “One Dropper” Emma in One Drop a piece by Andrea Fulton set in 1800s Louisiana. It’s based on her family history and tells of an African-American couple who chose to stay in their community and prosper rather than leave and pass. It spoke to me on a very deep level. I particularly liked how beautifully it communicated a part of Black History to children and all ages through original New Orleans music and classical story-telling form.
I think performing for the youth earlier in my career was the most fulfilling for me. Children are our most important and essential resource. To have them come talk to us after each show, just looking to connect, receive advice, inspiration, motivation, recognition, things we all need and deserve, was very rewarding. One Hour 2 Live was a tough play (written by a pastor in Brooklyn tired of counseling those affected by gang violence) but it had a cathartic effect on who needed it. I’ll never forget the one time a young woman cried out in the middle of the play and had to be escorted out. That was difficult, staying in character during that moment. I hope we didn’t hurt her heart but rather opened it because she felt heard, noticed and cared for. I’ll also always remember a little boy -one of many- standing up after a performance and vowing unprompted to choose his friends wisely and focus on being his best self. Hearing the youth speak -express themselves so intelligently- while surrounded by a caring community of mothers, parents and teachers was the most satisfying.
What would you like your legacy to be?
I want to stay true to myself – my complicated, imperfect self- tell stories from all walks of life (the good, the bad, the beautiful and the ugly) so we can stop judging each other and see our common humanity.
I’d like to make my grand-daddy proud. Keep telling important stories but also have fun.
I want to reach children and inspire them. I want to spread love, warmth, self-worth and respect for our elders, our history, our ancestry, what brought us all to this point as we look forward and live our biggest life.
I’m not literate enough in the history of Black Theatre to give much of an opinion except that I am so happy and proud that its legacy is being so wonderfully upheld. Black theaters such as the National Black Theatre, based in ever-changing Harlem, are still up and kicking and need our continued support. Brilliant talents like Danai Gurira who are telling stories never told on Broadway and opening eyes so eloquently are very motivating!
Playing Salome was fun. She is the ultimate femme fatale but she is also a child. The role was divided in two and I played her innocent side -which wasn’t quite as appealing to me. I nonetheless enjoyed delving into the Old World and using elevated almost Shakespearian language.
My advice to newcomers would be study, work and surround yourself with ambitious people. Find mentors to help guide you. Creating a strong reel and having a strong headshot is also essential.
Thank You, Ms. Archer!
The AUDELCO AWARDS will be presented November 21, 2016 in New York City
AUDELCO (Audience Development Committee, Inc.)
The AUDELCO (Audience Development Committee, Inc.) is an organization that acknowledges and honors Black Theatre and its artists in New York City. Established and incorporated in 1973 by the late Vivian Robinson, to stimulate interest in and support of performing arts in black communities.
AUDELCO Recognition Awards – The annual Vivian Robinson/AUDELCO Recognition, “The VIV”Awards are the only formally established awards presented to the black theatre community. Every third Monday in November the nominees are awarded in various categories.
Alan C. Edwards (Macbeth)
Nathan Hawkins/William Kenyon (Blood at the Root)
Tyler Micoleau (Familiar)
Austin R. Smith (The Royale)
Thom Weaver (The Total Bent)
Michael Carnahan (Skeleton Crew)
Maruti Evans (Dead and Breathing)
G.W. Mercier (Head of Passes)
Clint Ramos (Familiar)
Daniel Robinson (The First Noel)
Dede M. Ayite (The Royale)
Gabriel Berry (The Total Bent)
Rachel Dozier-Ezell (Macbeth)
Susan Hilferty (Familiar)
Toni-Leslie James (Head of Passes)
Obadiah Eaves/Sten Severson (The Total Bent)
Rob Kaplowitz (Skeleton Crew)
John McKenna (Macbeth)
Liz Sokolak (Blood at the Root)
Darron L. West (Familiar)
Carl Cofield (Macbeth)
Kenny Leon (Smart People)
Jonathan McCrory (Dead and Breathing)
Ruben Santiago-Hudson (Skeleton Crew)
Liesl Tommy (Eclipsed)
Steve H. Broadnax III (The First Noel)
Jeff Calhoun (Maurice Hines Tappin’ Thru Life)
Angie Kristic (Cherchez La Femme: A Musical Excuse)
Joanna Settle (The Total Bent)
Lydia Diamond (Smart People)
Colman Domingo (Dot)
Danai Gurira (Familiar)
Chisa Hutchinson (Dead and Breathing)
Dominique Morisseau (Skeleton Crew)
Marco Ramirez (The Royale)
Francois Battiste (Head of Passes)
Jason Dirden (Skeleton Crew)
Michael Potts (Mother Courage and Her Children)
Larry Powell (The Christians)
David Roberts (The Fall of the Kings)
Kim Sullivan (The Piano Lesson)
Ito Aghayere (Familiar)
Alana Arenas (Head of Passes)
Vinie Burrows (I Will Look Forward to This Later)
Montego Glover (The Royale)
Nikiya Mathis (Skeleton Crew)
Linda Powell (The Christians)
Myra Lucretia Taylor (Familiar)
OUTSTANDING PERFORMANCE IN A MUSICAL – FEMALE
Tina Fabrique (The First Noel)
Ashley Ware Jenkins (The First Noel)
Traci Michelle (Cherchez La Femme: A Musical Excuse)
OUTSTANDING PERFORMANCE IN A MUSICAL – MALE
Ato Blankson-Wood (The Total Bent)
Isaac Gay (Cherchez La Femme: A Musical Excuse)
Vondie Curtis Hall (The Total Bent)
Maurice Hines (Maurice Hines Tappin’ Thru Life)
CB Murray (Cherchez La Femme: A Musical Excuse)
Nathaniel Stampley (The First Noel)
Brian Harlan Brooks (The First Noel)
Maurice Hines (Maurice Hines Tappin’ Thru Life)
David Neumann (The Total Bent)
Tiffany Rea-Fisher (Macbeth)
Kyndra “Binkie” Reevey (Cherchez La Femme: A Musical Excuse)
OUTSTANDING ENSEMBLE PERFORMANCE
A Lovely Malfunction (Negro Ensemble Company)
Barbecue (The Public Theater)
but I cld only whisper (The Flea)
Dead and Breathing (National Black Theatre)
Eclipsed (The Public Theater)
Proof (Quick Silver Theatre/Classics in Color Theatre Co.)
Timeless: The Mystery of the Dark Water (Black Spectrum Theatre)
Trezana Beverley (Mabel Madness)
Staceyann Chin (Motherstruck!)
Cherie Danielle (The Diary of An Afro Goddess)
Tommie J. Moore (Dare to Be Black: The Jack Johnson Story)
Khalil Muhammad (Pryor Truth)
Reginald L. Wilson (Sugar Ray)
Mahershala Ali (Smart People)
Khris Davis (The Royale)
RJ Foster (Richard III)
Wendell B. Franklin (Skeleton Crew)
Joe Morton (Turn Me Loose)
Jahi Kassa Taquara (The Piano Lesson)
Lynda Gravatt (Skeleton Crew)
Marjorie Johnson (Dot)
Kecia Lewis (Mother Courage and Her Children)
Phylicia Rashad (Head of Passes)
Tessa Thompson (Smart People)
Tamara Tunie (Familiar)
In the Heights (Harlem Repertory Theatre)
In White America (New Federal Theatre)
Macbeth (Classical Theatre of Harlem)
Mother Courage and Her Children (Classic Stage Company)
Proof (Quick Silver Theatre/Classics in Color Theatre Co.)
The Piano Lesson (Gallery Players)
Walk Hard (Metropolitan Playhouse)
MUSICAL PRODUCTION OF THE YEAR
Cherchez La Femme: A Musical Excuse (La Mama)
Maurice Hines Tappin’ Thru Life (New World Stages)
The First Noel (Classical Theatre of Harlem)
The Total Bent (The Public Theater)
DRAMATIC PRODUCTION OF THE YEAR
Dead and Breathing (National Black Theatre)
Dot (Vineyard Theatre)
Familiar (Playwrights Horizons)
Skeleton Crew (Atlantic Theater Company)
Smart People (Second Stage Theatre).
The Royale (Lincoln Center Theater)
As a “Friend of AUDELCO,” you receive discounts to some of your favorite Off and Off-Off Broadway theatres when you attend theatre and dance productions.
AUDELCO, Inc. activities include:
Networking – Contacting and developing relationships with individuals, local groups, churches, and other organizations to introduce new audiences to non-profit performing arts.
AUDELCO Recognition Awards – The annual Vivian Robinson/AUDELCO Recognition, “The VIV”Awards are the only formally established awards presented to the black theatre community. Every third Monday in November the nominees are awarded in various categories.
Theatre for the Future:Young Audiences Series – Addresses the need for positive cultural experiences for children between the ages of 10-17. This series provides entertainment and cultural experience for the youth. This series provides entertainment and cultural enrichment in non-academic settings such as: outdoor activities during Harlem Week; Saturday matinees during Black Arts Festival; Holiday celebrations in December, and performances during Black History Month.
Black Theatre Archives – A collection of books, tapes, original scripts, costumes and set designs, photographs, playbills and extensive clippings on current theatre groups and activities.
Publications-“INTERMISSION”, AUDELCO‘s newsletter is published quarterly to stimulate interest in the performing arts. The “OVERTURE”, a black theatre magazine that is published to document exciting work done by Black theatre artists.
Seminars, Lectures, and Forums- Addresses the general awareness about the contributions of Blacks in the cultural and socio-economic environment.
PROTOTYPE is the premier festival of opera-theatre and music-theatre. January 5-15, 2017
After just four years on the scene, PROTOTYPE: Opera/Theatre/Now has been deemed “the go-to spot for brilliantly produced new indie chamber opera” by The Wall Street Journal, and The New York Times called the 2016 festival an “explosion of boundary-defying chamber opera.”
Now blazing into its fifth season, PROTOTYPE returns January 5-15, 2017. Beth Morrison Projects and HERE have come together to bring you a striking celebration of opera and a stellar array of artists, presenting new works by Matt Marks & Paul Peers; Missy Mazzoli & Royce Vavrek; David Lang & Mark Dion; M Lamar & Hunter Hunt-Hendrix; Sahba Aminikia, Jeff Beal, Mary Kouyoumdjian, Shara Nova, Toshi Reagon, DJ Spooky, & Brooklyn Youth Chorus; Sarah Small; Cerise Jacobs & Julian Wachner – at HERE and our partner presenting venues – NYU Skirball Center for the Performing Arts, BRIC Arts | Media House, National Sawdust, and French Institute Alliance Française (FIAF).
https://player.vimeo.com/video/188010094?&wmode=transparentwatch the prototype 2017 trailer
ARTS – #APAP #NYC — January In NYC links 12 major performing arts festivals and conferencess around APAP|NYC 2017 1/3-22/17
45,000 Performing Arts Professionals and Enthusiasts Await the Most Comprehensive Celebration of the Performing Arts Around the Globe
January In NYC links 12 major performing arts festivals and conferencess around APAP|NYC 2017
November 3, 2016– Every January in New York City, more than 45,000 industry professionals and enthusiasts come together to experience the most comprehensive celebration of the performing arts around the globe. This January 3-22, a dozen events organized by leading arts organizations will spotlight the best and newest in theater, dance, opera and music. With more than 1,500 world-class showcases and full-length performances, concerts and public programs, conferences, keynote speakers, professional development and networking opportunities, the partnership of public festivals and industry events, January In NYC demonstrates how rich, vibrant, vast and diverse the performing arts are.
“There is an electricity in the air the moment all of these performing arts professionals and festival-goers descend upon the streets, clubs, performance spaces and conference hotels of New York during the first few weeks of January,” said Mario Garcia Durham, president and CEO of the Association of Performing Arts Presenters (APAP).
EVENTS FOR 2017 include conferences, festivals and concerts—many open to the public. Details are available at JanuaryInNYC.org and individual event websites:
American Dance Platform, Jan. 3-8, Joyce.org
Performance Space 122’s COIL Festival, Jan. 3-22, ps122.org/coil
The Public Theater’s Under the Radar Festival (UTR), Jan. 4-15, undertheradarfestival.com
Jazz Connect Conference, Jan. 5-6, jazz-connect.com
Wavelengths: APAP World Music Preconference, Jan. 5-6, APAPNYC.org
NYC Winter Jazzfest, Jan. 5-10, winterjazzfest.com
American Realness, Jan. 5-15, americanrealness.com
PROTOTYPE: Opera/Theatre/Now, Jan. 5-15, prototypefestival.org
APAP|NYC 2017, Jan. 6-10 and Preconference, Jan 5-6, APAPNYC.org
globalFEST, Jan. 8, globalfest.org
ISPA’s 99th Congress, Jan. 10-12, ispa.org
Chamber Music America (CMA), Jan. 12-15, chamber-music.org
January In NYC grew organically as live arts festivals and professional events were scheduled around the annual Association of Performing Arts Presenters conference (APAP|NYC), which will celebrate 60 years in 2017. Organizers of events built onto the concentration of artists and presenters already traveling to New York. In January 2014, nine such organizations formed a deliberate collaboration to more effectively and efficiently serve the performing arts community. A dozen groups now comprise the partnership.
The Cole Foundation, the only private foundation in Montreal with an intercultural theatre program, announces this year’s winners including First Nations theatre companies, theatre for young audiences, and production, commissioning, and translations grants, to promote dialogue between diverse cultures on stage. New works this year explore the effects of radicalization, sex-selective abortion, racial profiling, feminist dialogue between Christians and Muslims, and little known circumpolar communities, among other topics. Full press release attached and below, including quotes from theatre companies.
Intercultural Conversations – Conversations interculturelles
Encouraging theatrical dialogue between the various cultures in Montreal
Twenty local companies awarded indispensable grants for their upcoming seasons
The Cole Foundation is pleased to announce the latest grant winners for the Intercultural Conversations-Conversations Interculturelles (IC-CI) program, established to encourage greater understanding of Montreal’s cultural mosaic by having audiences enjoy professional plays showing diverse cultures on stage and seeing their stories presented. Barry Cole, president and chairman of the Cole Foundation, explains: “Our belief is that these financial awards animate change of theatre practice to include intercultural conversation as part of mainstream theatrical society.” There are three types of intercultural dialogue considered: plays with more than one cultural community in dialogue; plays with only one cultural community- in this case the dialogue is with the audience; and plays that show the uniqueness of the French or English Quebec communities translated into the other language.
It’s heartening that intercultural dialogue is a hot topic. Of note is the ongoing ‘black face’ discussion sparked by Théâtre Rideau Vert, along with conferences on racism (Centre des Auteurs Dramatiques) and diversity (Conseil du theatre Québecois). Awareness and momentum continues with sizeable, established theatre companies submitting requests, including Centaur Theatre and Duceppe, promoting the cause on a considerable scale. As well, there are ever-increasing numbers of new applicant companies and those that specialize in theatre for young audiences.
This year’s awarded companies
As theatre holds a mirror to society, the IC-CI granting program has reflected the varying cultural landscape over the years, marking our artistically sensitive evolution. New works this year explore the effects of radicalization, sex-selective abortion, racial profiling, feminist dialogue between Christians and Muslims, and little known circumpolar communities, among other topics. Lauded returning applicants strengthen the message: playwright Sarah Berthiaume continues to offer hard-hitting, poignant stories, Annabel Soutar addresses headlines we can’t ignore and Marcus Youssef engages and enlightens children. Cole is especially encouraged seeing requests from theatres for young audiences, “This kind of support has lasting benefits, impressing important values on children and offering productions that return to schools for multiple years.” He also appreciates following the arc of an important, intercultural piece, “The Foundation supported the commission of Porte Parole’s play about Fredy Villanueva and I’m looking forward to see the resulting production.”
COMMISSIONING grants include: Black Theatre Workshop– A Tale of Two Islands by Christine Rodrigues; Geordie Productions– Radical by Marcus Youssef; Mise au Jeu– La pour rester, collective creation; Teesri Duniya Theatre– Missing Girl by Rahul Varma and Théâtre Bluff– Antioche by Sarah Berthiaume.
PRODUCTION grant awards go to: L’Acteur en Marche– Karma by Mohsen El Gharbi; Black Theatre Workshop- Angelique by Lorena Gale, and Bluenose by Emil Sher; Centaur Theatre– You Will Remember Me by François Archambault; Duceppe– Race by David Mamet; Geordie Productions– Jabber by Marcus Youssef; Imago Theatre– Donna by Stefano Massini (also translation grant); Mise au Jeu– Féministe et Croyante by Alice Pascual; Nouveau Théâtre– Ai-je du sang de dictateur? by Didier Lucien; Porte Parole– Fredy by Annabel Soutar; Productions Menuentakuan– Muliats, collective creation; Productions Onishka– Tsekan, collective creation; Talisman Theatre– Yukonstyle by Sarah Berthiaume; Théâtre de l’Opsis– J’appelle mes frères by Jonas Hassen Khemiri; Théâtre Incliné– Nordicité/Walking on the Circle by José Babin; Théâtre I.N.K.– File d’attente by Marilyn Perreault (also commissioning grant); Théâtre La Chapelle– The Agokwe Collective by Waawaate Fobister; Théâtre Motus– Rêves by Izumi Ashizawa & Marco Collin (also commissioning grant) and Volte 21– Les Électres des Amériques Les Phares de la Mémoire by Hanna Abd El Nour.
Wide range of theatre companies concur on the need for intercultural dialogue
For Théâtre Motus’ Marie-France Bruyère, “This important contribution will enable us to achieve an intercultural project that would not have otherwise happened, involving artists from different origins as well as children from here and the Innu community of Mashteuiatsh.” For L’Acteur en Marche’s Mohsen El Gharbi, the Cole Foundation contribution is crucial, “This grant will serve as leverage to obtain the rest of the necessary funding. It shows that we have a common concern for dialogue regardless of our origins and the need to fight the demonization of ‘the other’. The Foundation has significantly strengthened Teesri Duniya Theatre’s mission, according to Artistic Director Rahul Varma, “There won’t be intercultural conversation if there isn’t intercultural creation. Here, support goes to the source–the playwright; we can now create original work that diversifies our literary field, enriches our cultural fabric and fosters critical understanding.” For Sarah Chouinard-Poirier from Volte 21, the grant program encourages other partners to invest in daring theatre as necessary for cultural enrichment within a healthy and egalitarian society, “By promoting diversity and providing a forum for artists from various disciplines, generations and cultural backgrounds, the Cole Foundation makes us believe that it is still possible to create art where we can put social issues at the forefront.” Geordie Productions’ Artistic Director Dean Fleming accomplished a successful American showcase of their award-winning Jabber as only one of twelve invited international companies. Fleming adds, “On top of this great news, we are excited to continue our ongoing relationship with playwright Marcus Youssef as he probes the world of an isolated teen’s obsession with a radical group.” The Haitian community is the subject of the next show at Nouveau Théâtre Expérimental according to GM Isabelle Gingras, “We continue our mandate to explore local cultural communities and ensuing healthy and inclusive discussion.” Michel Dumont, artistic director for Duceppe, was able to offer more than a hundred free tickets to youth from different cultural communities, “This is an opportunity to develop audiences; ensuring theatre remains a place of meeting and exchange.” Joachim Tanguay from Théâtre Bluff welcomes the invaluable support of the Foundation to commission Sarah Berthiaume’s new text inspired by a Radio-Canada report on Cegep youth who joined the Syrian Jihad. “Here, the story of a Muslim woman and her disillusioned Quebec-born daughter explores with great sensitivity the real causes of indoctrination and perceptions of Western values.”
Cole by the numbers
The Cole Foundation is the only private foundation in Montreal with an intercultural theatre program, offering companies up to $25,000 for production grants with the aim to modify public opinion. There is no set limit on the number of companies who can receive funding. Recent grants, totalling a record $334,000 presented to the highest number of applicants since the program’s creation, went to theatre companies for their 2016-2018 seasons. For this year’s competition, the Foundation received 40 applications from 35 companies – 23 French and 12 English, an 11% increase compared to last year. These figures include 3 First Nations productions; 2 in French and 1 in English. Thirty-four applications were for production grants, 10 requests for commissioning money and 1 for translation. Since its inception, the Foundation has contributed to the costs of commissioning 34 plays, the translation of 32 plays, production costs of 90 plays, plus various workshops and outreach events. A panel of bilingual Montreal theatre professionals adjudicate the applications.
Grants for the next competition relate to shows starting March 1 for the 2017-18 and 2018-19 theatre seasons. The deadline for the next competition of the award is Sept. 30, 2016. Theatre companies interested in applying for a grant will be able to download the necessary application forms from the Cole Foundation’s web site at: www.colefoundation.ca/community/competition-forms
American Realness returns to Abrons Arts Center January 7-17, 2016 for its seventh consecutive season! The festival utilizes all three theater and gallery spaces at Abrons and includes off-site engagements presented by Sunday Sessions at MoMA PS1, and Gibney Dance Center to construct a composition of dance, theater, music theater, performance and hybrid performative works featuring two world premieres, six U.S. premieres, three New York premieres, six encore engagements. TICKETS ON SALE NOW!