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Glenn Davis, Phillip James Brannon, and K. “If I were being more charitable (which I also can be), I would say that as the world has begun its change toward recognizing equality for LGBTQ people (inasmuch as it can), more room is being made for stories about marginalized groups, but, even in that, it’s only happened because more black gay men have been pushing to get their stories seen and heard.” “If I were being cynical (which I can be), I might say that may be due to what my friend and fellow musical writer, EllaRose Chary calls ‘the trickle down equality of white gay men,’“ says bookwriter and composer-lyricist Michael R. Other writers who have joined the fray like Aurin Squire, Travis Tate or Rick Watkins, deal with the paradoxes of inclusion and the political processes of what it means to be a gay person of color. In Marcus Or, the Secret of Sweet, the finale of McCraney’s three-part play, a 16-year-old boy at war with his sexuality and living in the projects on the Louisiana bayou is forced to square off against a strong-willed community. Tarrell Alvin McCraney, 35, emerged as a significant voice when his award-winning dramas, Wig Out! and The Brother/Sister Trilogy, both premiered to rave reviews in 20, respectively. It won a GLAAD Award and a Lortel, establishing the actor as a playwright.Ĭolman Domingo in A Boy and His Soul Carol Rosegg
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The one-man show recounts Domingo’s childhood and coming out in 1970s Philadelphia amid the rise of disco. Leading the charge in bringing these characters to the stage alongside Porter is Colman Domingo ( Scottsboro Boys, Passing Strange), who wrote an intimate coming-of-age drama A Boy and His Soul. “It took over 15 years for my Pentecostal mother to come around to acceptance, but she did-and we, on the other end of the journey, must be steadfast, immovable and patient how we demand our place at the table.” “The only thing constant in life is change, and change takes time,” Porter continues. Porter’s semi-autobiographical coming-of-age play with music chronicled his experiences growing up as a gay black Christian man in 1980s Pittsburgh, PA and received laurels. Epatha Merkerson, Primary Stages helmed While I Yet Live in 2014. With a cast that included Lillias White and S. Building his confidence as a writer, his first play was fast-tracked after the entertainer took home Broadway’s top prize. It’s our turn,” says actor and playwright Billy Porter via e-mail, in between rehearsals for Shuffle Along.įrustrated with not seeing characters that reflect his own upbringing, Porter, who earned the Tony Award for his portrayal of the show-stopping drag artist Lola in the Broadway hit musical Kinky Boots, began to pen his own material. “I believe it’s one of the last frontiers in the landscape of commercial storytelling. While many note the need for further progress, a slight-but-present trend, nonetheless, has found its way to the theatrical stage this season: For the first time, theatre-makers unapologetically put the gay black man’s experience in the spotlight. Forest Whitaker will revive Eugene O’Neill’s Hughie, marking the first African-American to play the titular part on Broadway. On and off the Great White Way, theatregoers have experienced the most diverse season in years with productions like Allegiance, Hamilton, Eclipsed, Skeleton Crew, Pageant: The Musical, Gloria, On Your Feet! and revivals of The Color Purple and The Gin Game, as well as a star-studded reimagining of the much-anticipated Shuffle Along. On the small screen, however, networks made a greater push for racial diversity in television with shows like Black-ish, Fresh Off The Boat, Empire, Jane the Virgin, Cristela and Telenovela receiving glowing reviews. At the Academy Awards this year, all of the nominees in the 20 acting categories are white, and the outrage has ignited a dialogue on representation and equal opportunity in showbiz.