Podcasts about Bubbling Brown Sugar

This is a special encore episode of Broadway Nation. 1970s Broadway experienced another blast from the past with the return of the Black Musical. More than a dozen hit black musicals opened during the decade, and three of them won the Tony Award for BEST MUSICAL. About half of these were new, original musical plays – mostly adaptations of popular plays or novels. All of them employed a combination of rhythm & blues, pop, rock, jazz and traditional Broadway style music to help tell their stories.  The other half were musical revues that showcased the classic songs of the great black songwriters of the 1920s, 30s and 40s. These shows represented a significant black wing of the ongoing Nostalgia Craze. Please join me as I explore the musical plays PURLIE, RAISIN, and THE WIZ,; the gospel musicals DON'T BOTHER ME I CAN'T COPE, AND YOUR ARMS TOO SHORT TO BOX WITH GOD.; and the songbook revues BUBBLING BROWN SUGAR, AIN'T MISBEHAVIN', EUBIE!, SOPHISTICATED LADIES, and BLACK AND BLUE.  Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as our newest member Cheryl Hodges-Selden whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Art has long been a lever for working class solidarity and social justice. It's also a collaborative form of labor that props up some workers and devalues others. This week, we're taking a long, hard look at two works of art: Rodrigo Valenzuela: New Works for a Post Worker's World, an exhibition on view at BRIC House through December 23rd, and 7 MINUTES, a play produced by Waterwell that premiered at HERE Arts Center last spring. • Brooklyn, USA is produced by Emily Boghossian, Shirin Barghi, Charlie Hoxie, Khyriel Palmer, and Mayumi Sato. If you have something to say and want us to share it on the show, here's how you can send us a message: https://bit.ly/2Z3pfaW• Thank you to Justin Bryant, Elizabeth Ferrer, Marc Enette, Waterwell, Lee Sunday Evans, Arian Moayed, Andrew Tilson, and Matthew Munroe aka Superlative Sain. • LINKSBorn in 1982, Santiago, Chile; based in Los Angeles, CA Rodrigo Valenzuela has presented solo exhibitions at the New Museum and Asya Geisberg Gallery, both NY; Light Work, Syracuse, NY; University of South Florida, Tampa, FL; Santa Cruz Museum of Art and History, CA; Orange County Museum of Art, Santa Ana, CA; Museum of Art and History, Lancaster, CA; Luis de Jesus, Los Angeles, CA; Jordan Schnitzer Museum of Art, Eugene, OR; and the Portland Art Museum and UPFOR, both Portland, OR. He has participated in group exhibitions at The Kitchen, The Drawing Center, Wave Hill, and CUE Art Foundation, all NY; Museum of Contemporary Art North Miami, FL; Bemis Center for Contemporary Arts, Omaha, NE; Frye Art Museum, Seattle, WA; and The Museum of Fine Arts, Houston, TX, among others. He has also exhibited his work in solo shows internationally at Arróniz Arte Contemporáneo, Mexico City; Peana Projects, Monterrey, NL, Mexico; Galería Patricia Ready and Museo de Arte Contemporàneo, Universidad de Chile, Santiago, Chile; and Galerie Lisa Kandlhofer, Vienna, Austria. Valenzuela has participated in residencies at Dora Maar, Fountainhead, Light Work, MacDowell, Glassell School of Art, Bemis Center for Contemporary Arts, Kala Art Institute, Vermont Studio Center, Center for Photography at Woodstock, and the Skowhegan School of Painting and Sculpture. He is the recipient of the 2021 John Simon Guggenheim Memorial Foundation Fellowship in Photography, the Smithsonian Artist Research Fellowship, and the Joan Mitchell Fellowship. His work is included in numerous public and private collections, including those of the Whitney Museum of American Art, J. Paul Getty Museum, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, The Nelson-Atkins Museum of Art, Frye Art Museum, Tacoma Art Museum, and The Center for Photography at Woodstock. He is an Associate Professor and Head of the Photography Department at UCLA. Valenzuela received his BFA in Art History and Photography from the University of Chile, his BA in Philosophy from Evergreen State College, and his MFA in Photo/Media from the University of Washington.Ebony Marshall-Oliver is an actress, singer, and storyteller. She began singing in church as a little girl. After being cast in her first musical- Bubbling Brown Sugar- in her mid twenties, she decided that acting would be her career. She enrolled in the Integrated Program at AMDA NY. Her first professional job after graduating was Seussical the Musical with TheatreWorksUSA. With this role, she became a member of Actors Equity Association. Broadway credits include Ain't No Mo' and Chicken and Biscuits. Off Broadway theaters she's worked at are Waterwell, Clubbed Thumb, The Public Theater, to name a few. She can be seen on season 2 of The Ms. Pat Show (BET+) and season 3 of Evil (Paramount+).Mei Ann Teo (they/she) is a queer immigrant from Singapore making theatre & film at the intersection of artistic/civic/contemplative practice. Their critically-acclaimed work has been seen at The Bushwick Starr, Waterwell, The Shed, Shakespeare's Globe, Woolly Mammoth, Theaterworks Hartford, Belgium's Festival de Liege, the Edinburgh Fringe, Beijing Int'l Festival, among others. Awards include LPTW Josephine Abady award and the inaugural Lily Fan Director Lilly Awards. They are an Associate Artistic Director and Director of New Work at Oregon Shakespeare Festival.Sarah Hughes has played many roles in her short time in the labor movement, including steward, officer, organizer, and workshop facilitator. She has worked for the National Education Association (NEA), the Professional Staff Congress at the City University of New York (AFT), and university labor studies programs, including CUNY's NY Union Semester. She has also taught a variety of workshops to city workers, electricians, women workers, and others. She holds a masters in labor studies from UMass Amherst. Prior to joining the Labor Notes staff in 2021, Sarah had been a long time fan, subscriber, volunteer trainer and donor. She attended her first Labor Notes conference in 2008, and is excited for many more. She lives in Flatbush with her labor lawyer husband and their toddler, who also loves picket lines. Waterwell is a group of artists, educators and producers dedicated to telling engrossing stories in unexpected ways that deliberately wrestle with complex civic questions. Founded by Andrew Tilson, the Workers Unite Film Festival, now in its 11th season, is a celebration of Global Labor Solidarity.  The Festival aims to showcase student and professional films from the United States and around the world which publicize and highlight the struggles, successes and daily lives of all workers in their efforts to unite and organize for better living conditions and social justice.Superlative, meaning the best of, and Sain meaning to bless, is a multi-talented creative, born in the UK (United Kingdom, England) and raised in Hollis Queens, New York. Born Matthew Munroe, Sain always connected with music by singing with his mother, a vocalist in a church choir who grew up singing. As a child, art was always a passion of Sain's life. Art was always a staple in his life, from drawing full-length comic books to designing logos. Picking up the art of rapping in his early college years, Sain continued with his love of the arts and always wanted to bring his friends with Him wherever he went. Co-creating the creative collective group OGWN with long-time friend Diverze Koncept, he began expanding his ever-growing catalog simply because he loved making music. While pursuing music, he also manages his visual company MMunroeMedia, directing, filming, and editing music videos for other artists, capturing the moment and enhancing the vision with graphics and photography. Superlative Sain takes the term "Artist" to an entirely new level by designing his merch/clothing line, "Be|SUPERLATIVE," Check out this talented artist and be a part of his Rise.• MUSIC and CLIPSThis episode featured clips from “Why Work?” (1996) by Bill Moyers.• TRANSCRIPT: ~coming soon~• Follow us on Twitter and Instagram @BRICTV Visit us online at bricartsmedia.org/Brooklyn-USA

Broadway Publicist and Tony Award Honoree Irene Gandy Takes Us Behind the Curtains of The Great White Way, along with Emilio Sosa, the newly appointed Chair of the American Theater Wing. Emilio is also a tony-nominated costume and fashion designer. The recent Tony Awards gave us all hope and a strong signal that Broadway is coming back after taking a hard hit by the COVID-19 pandemic. And we will see more diversity as actors and producers gave speeches about their yearning for more inclusive stories on Broadway stages. In this interview, these two Broadway leadership stars share a behind the scenes look at one of the best places on earth! Start buying tickets and support the theater now! Irene Gandy is the only Black female press agent member of ATPAM (Association of Theatrical Press Agents and Managers) for over 50 years. Working with Producer Jeffrey Richards for over three decades, she is a Tony Award-winning Broadway producer for The Gershwins' Porgy and Bess, and was a producer for Lady Day at Emerson's Bar and Grill starring Audra MacDonald. She was also co-producer with Voza Rivers of the National tour of South African musical Sarafina. In 2008, she became the first female press agent to be immortalized with a Sardi's caricature. A fashionista known for her furs, in 2015 she launched a signature collection featured in Vogue magazine and will debut a Lady Irene Fur line in 2022.  Gandy's recent productions include The Great Society, American Son, China Doll, Fiddler on the Roof, and You Can't Take It With You. She began her career in 1968 as a publicist with Douglas Turner Ward and Robert Hooks' Negro Ensemble Company. Since then, she has worked on over 100 Broadway shows including August: Osage County, Glengarry Glen Ross, Radio Golf, Bubbling Brown Sugar, Smokey Joe's Cafe, Lena Horne: The Lady and her Music, and The Wiz. About Emilio Sosa: Born in the Dominican Republic and raised in New York City, Emilio is one of Broadway's most unique talents. He began his theatre career at Grace Costumes, starting as a shopper, and eventually becoming its Creative Director. He credits this time as the foundation for his career. Emilio went on to tour the world with Celine Dion, The Alvin Ailey Dance Company, and the Lincoln Center Jazz Orchestra with Wynton Marsalis. Emilio made a name for himself styling music videos for Hip Hop pioneers, Salt-N- Pepa, MC Lyte, and Kid & Play to name a few. He has also designed for music icons Diana Ross, Mariah Carey and Gloria Estefan. Catching the eye of director Spike Lee, Emilio became his in-house stylist, working on national and international ad campaigns, before setting his sight on Broadway, where he was mentored by director George C. Wolfe, for whom he designed his first Broadway show, TOPDOG / UNDERDOG. His other Broadway credits include, ON YOUR FEET! The Emilio and Gloria Estefan Story, MOTOWN: The Musical, PORGY AND BESS (TONY Award nom) and LADY DAY at EMERSON'S BAR AND GRILL. He shares the unique distinction of being the first designer of color to design The Radio City Music Hall Spring Spectacular and a new permanent number for the legendary Christmas Show, both starring The Rockettes. He has received both Tony Award and Drama Desk Award nominations and has been the recipient a Lucille Lortell Award, NAACP Theatre Awards, and LA Ovation Award. Emilio's talent was also evident on season seven of Project Runway and Project Runway All Stars, where he showed his final collection on all models of color, a first for the popular franchise. A proud Trustee of the American Theatre Wing, Emilio shares his vast theatre knowledge with communities rarely represented, by sponsoring theatre trips, workshops and talk backs. “I believe theatre has the ability to build the bridges needed for all of us to better understand ourselves and the world we live in.” Learn more about your ad choices. Visit megaphone.fm/adchoices

For Video Edition, Please Click and Subsribe Here:  https://youtu.be/1f1acrRdgIU Vivian Reed Credits include: ‘Tartuffe,’‘Damn Yankees,’ ‘Show Boat,’ ‘Marie Christine,’‘Sophisticated Ladies,’ ‘Blues In The Night,’‘Tintypes,’‘Roar of the Greasepaint, Smell of the Crowd,’ ‘Bubbling Brown Sugar,’ ‘High Rollers,’ ‘Hallelujah Baby,’‘More than a Song,’ ‘One For My Baby,’ ‘Countess of Storyville,’ ‘Blues for an Alabama Sky,’ ‘Crumbs from the Table of Joy,’ ‘Cookin’ at the Cookery,’ ‘The Second Tosca,’ ‘Pork Pie,’and ‘Invisible Life.’ Awards include two TONY Award Nominations, Drama Desk, Mabel Mercer, NAACP, Dance Educators of America and Outer Critics Circle. Also, Vivian has created 4 one-woman shows: An Evening with Vivian Reed, Standards and More, Vivian Reed Sings Lena Horne and Little Bit of Soul, Little Bit of Pop. She has performed in major theaters and clubs in the US as well as Europe. www.vivianreed.com

The difference between producing and investing with Broadway press agent and producer Irene Gandy.   We discuss what a Broadway producer is and does, and find out the difference between a lead producer, associate producer, co-producer, and investor.   Some notable accomplishments of Irene’s career are that she is the only Black female member of the Association of Theatrical Press Agents and Managers on Broadway. She is a Tony-Award winning producer. She produced Lady Day At Emerson Bar and Grill starring Audra MacDonald. In 2008, she became the first female press agent to get a Sardis caricature. And on top of this all, she launched the Irene Gandy Fur Collection which was featured in Vogue Magazine.   At the bottom of this notes section is the FULL bio.   Irene's Instagram @iam_irenegandy: https://www.instagram.com/iam_irenegandy/   Irene's Sardi's caricature: https://www.broadway.com/photos/publicist-extraordinaire-irene-gandy-gets-her-very-own-sardis-caricature/   Jeffrey Richards - Broadway Producer Irene works with: https://www.jeffreyrichardsassociates.com/   Mira Gandy - Artist (and Irene's daughter): https://www.miragandyart.com/   Romare Bearden - Artist Irene likes: https://en.wikipedia.org/wiki/Romare_Bearden   Scott Rudin - Broadway Producer: https://en.wikipedia.org/wiki/Scott_Rudin   Broadway's Best Shows - produced by Jeffrey Richard: https://www.broadwaysbestshows.com/   Frank DiLella - NYC Theatre Journalist - Friend of Irene's: http://www.frankdilella.com/about-frank/   Mirrors - A Play: https://www.nytw.org/show/mirrors/   ...   Interview by Ethan Steimel   Become a patron at: www.patreon.com/artisticfinance   www.artisticfinance.com www.patreon.com/artisticfinance instagram.com/artisticfinance twitter.com/ethansteimel facebook.com/artisticfinance youtube.com/artisticfinance   Irene Gandy is the only Black female member of ATPAM (Association of Theatrical Press Agents and Managers) on Broadway. She is a Tony-Award winning producer on Broadway for The Gershwin’s' Porgy and Bess and was a producer for Lady Day At Emerson Bar and Grill starring Audra MacDonald. She was also co -producer with Voza Rivers of the National tour of the South-African musical  Serafina . In 2008, she became the first female press agent to be immortalized with a Sardis caricature. Gandy recently launched the Irene Gandy Fur Collection designed by Mr. Pete and was featured in the 2015 August issue of Vogue Magazine.  "A Day in the Life Irene Gandy" a documentary is being produced  centered around her life being the 1st  African-American woman Press Agent and Producer on Broadway for over 50 years .     Gandy’s recent productions include The Great Society, starring Brian Cox,  American Son starring Kerry Washington China Doll starring Al Pacino, Fiddler on the Roof ,You Can't Take It With You, starring James Earl Jones and  Sylvia starring Matthew Broderick.  Gandy began her career in 1968 as a publicist with Douglas Turner Ward and Robert Hooks’ Negro Ensemble Company. Since then, she has worked on over 100 Broadway shows including ,  August Osage County starring Phylicia Rashad ,Glengarry Glen Ross, Radio Golf, Bubbling Brown Sugar, Smokey Joe’s Care, Lena Horne: The Lady and her Music, Patti LaBelle on Broadway, The Wiz. In addition to her work in theatre, she was Associate Director of Special Markets for CBS Records, working with such artists as Earth, Wind and Fire, The Jacksons, Patti Labelle, The Isley Brothers, and many others. Gandy was the Press Consultant for the National Black Arts Festival in Atlanta and the 30th Anniversary of Harlem Week.  Gandy is the recipient of the 1997 National Action Network’s “Woman of Excellence Award” the 2007 Vanguard Award from Black to Broadway Productions, the 2004 Black Public Relations Society Award, 2013 “Inspire in New York” Award, 2015 Pioneer Award for BLACK PRIDE NYC and the 2015 Café Mocha “Salute Her” “Media Legend Award.” In 2017,  She was  the received  the following Awards  "Project 1 Voice Lifetime Achievement"  for outstanding achievements and vision to artistic excellence in the American Theater;  "HARLEM WEEK Vivian Robinson Arts and Culture;  and "Life Changers" presented by WNBA players Teresa Weatherspoon and Rita Haywood for inspiring, transforming, and empowering others.  In 2018  she  was honored with Vivian Robinson/AUDELCO  "Pioneer Award" for Recognition Awards for Excellence in Black Theatre. In 2019  she was honored with the NAACP-LGBQT David Weaver Prize for Excellence in the Arts. 2020 Gandy was inducted into New York Public Lincoln Center Performing Arts Library as part of The League of Professional Theatre Women’s Oral History Project. Currently serves on the boards  of  City College for the Arts, HARLEM WEEK and  is the mother of renowned artist Mira Gandy who created The Gandy Art House (designed to provide creative opportunities for Youth, Family and the LGBTQ community) as a tribute to her family and legacy.    

Over the last three episodes I charted the rise of the Rock Musical – from HAIR to EVITA, - as well as the very unlikely “Nostalgia Craze” that swept Broadway and America during the 1970’s. 1970s Broadway experienced another blast from the past with the return of the Black Musical. More than a dozen hit black musicals opened during the decade, and three of them won the Tony Award for BEST MUSICAL. About half of these were new, original musical plays – mostly adaptations of popular plays or novels. All of them employed a combination of rhythm & blues, pop, rock, jazz and traditional Broadway style music to help tell their stories.  The other half were musical revues that showcased the classic songs of the great black songwriters of the 1920s, 30s and 40s. These shows represented a significant black wing of the ongoing Nostalgia Craze. Please join me as I explore the musical plays PURLIE, RAISIN, and THE WIZ,; the gospel musicals DON’T BOTHER ME I CAN’T COPE, AND YOUR ARMS TOO SHORT TO BOX WITH GOD.; and the songbook revues BUBBLING BROWN SUGAR, AIN’T MISBEHAVIN’, EUBIE!, SOPHISTICATED LADIES, and BLACK AND BLUE.  Learn more about your ad choices. Visit megaphone.fm/adchoices

The 30th Annual Tony Awards were held at the Shubert Theatre, current home of A Chorus Line. As opposed to the usual June ceremonies we are used to, the ceremony took place in April 18, 1976 and broadcast by ABC television. The show featured six hosts, including Richard Burton and Jane Fonda It should be noted that while revivals of My Fair Lady and Hello, Dolly! (featuring Pearl Bailey) ran this season, there was no category for Best Revival or Best Revival of a Musical. Heading into the April ceremony, the original productions of A Chorus Line and Chicago were virtually tied for nominations, with 12 and 11 respectively. Also nominated for Best Musical were Stephen Sondheim's Pacific Overtures and a revue called Bubbling Brown Sugar. But the night went to A Chorus Line, winning 9 Awards, The awards for Set and Costume Designer going to Pacific Overtures and Chicago going home empty handed.

The 30th Annual Tony Awards were held at the Shubert Theatre, current home of A Chorus Line. As opposed to the usual June ceremonies we are used to, the ceremony took place in April 18, 1976 and broadcast by ABC television. The show featured six hosts, including Richard Burton and Jane Fonda It should be noted that while revivals of My Fair Lady and Hello, Dolly! (featuring Pearl Bailey) ran this season, there was no category for Best Revival or Best Revival of a Musical. Heading into the April ceremony, the original productions of A Chorus Line and Chicago were virtually tied for nominations, with 12 and 11 respectively. Also nominated for Best Musical were Stephen Sondheim’s Pacific Overtures and a revue called Bubbling Brown Sugar. But the night went to A Chorus Line, winning 9 Awards, The awards for Set and Costume Designer going to Pacific Overtures and Chicago going home empty handed. Learn more about your ad choices. Visit megaphone.fm/adchoices

The 30th Annual Tony Awards were held at the Shubert Theatre, current home of A Chorus Line. As opposed to the usual June ceremonies we are used to, the ceremony took place in April 18, 1976 and broadcast by ABC television. The show featured six hosts, including Richard Burton and Jane Fonda It should be noted that while revivals of My Fair Lady and Hello, Dolly! (featuring Pearl Bailey) ran this season, there was no category for Best Revival or Best Revival of a Musical. Heading into the April ceremony, the original productions of A Chorus Line and Chicago were virtually tied for nominations, with 12 and 11 respectively. Also nominated for Best Musical were Stephen Sondheim’s Pacific Overtures and a revue called Bubbling Brown Sugar. But the night went to A Chorus Line, winning 9 Awards, The awards for Set and Costume Designer going to Pacific Overtures and Chicago going home empty handed. Learn more about your ad choices. Visit megaphone.fm/adchoices

The 30th Annual Tony Awards were held at the Shubert Theatre, current home of A Chorus Line. As opposed to the usual June ceremonies we are used to, the ceremony took place in April 18, 1976 and broadcast by ABC television. The show featured six hosts, including Richard Burton and Jane Fonda It should be noted that while revivals of My Fair Lady and Hello, Dolly! (featuring Pearl Bailey) ran this season, there was no category for Best Revival or Best Revival of a Musical. Heading into the April ceremony, the original productions of A Chorus Line and Chicago were virtually tied for nominations, with 12 and 11 respectively. Also nominated for Best Musical were Stephen Sondheim's Pacific Overtures and a revue called Bubbling Brown Sugar. But the night went to A Chorus Line, winning 9 Awards, The awards for Set and Costume Designer going to Pacific Overtures and Chicago going home empty handed.

Host Deardra Shuler talks with 2 time Tony Award nominated Vivian Reed who also includes among her awards the NAACP Award, Drama Desk Award, Theatre World Award, Mabel Mercer Award, et al. She has appeared on TV variety and talk shows both nationally and internationally including The Tonight Show, The Today Show and the ABC-TV daytime drama, ‘One Life to Live.’ She has shared the bill with notable performers as Pattie Labelle, Brian Stokes Mitchell, Audra McDonald, Elaine Stritch, Alan King, Sammy Davis Jr., Quincy Jones. She appeared in Don't Bother Me I can't Cope, Bubbling Brown Sugar.  Received acclaim in major productions of ‘Sophisticated Ladies,’ ‘Roar of the Greasepaint, Smell of the Crowd,’ ‘Blues in the Night,’ ‘High Rollers,’ ‘Show Boat’ in which she portrayed the role of ‘Queenie’ and ‘Tintypes.’ Her recent plays include ‘Tartuffe,’ ‘Blues for an Alabama Sky,’ et al.  Ms Reed is a celebrity vocal teacher at Marymount Manhattan college in NYC

Emmelyne Kemp was born in Chicago. She is a pianist, vocalist, bandleader, Broadway composer, actress, lecturer, and an American music researcher. She is a protégé of Eubie Blake. She is best known as a Broadway composer and actor for Bubbling Brown Sugar.  Eubie Blake chose her to record his music on his EBM label. She performed her original songs on THE GUIDING LIGHT and CAPTAIN KANGAROO, appeared on ENTERTAINMENT TONIGHT and OH BOY, BABIES! on NBC. In Woody Allen's film, SWEET AND LOWDOWN, Emme is shown in jam session scenes with Sean Penn. She has appeared in Dick Hyman's Jazz in July series at the 92nd Street Y, the Schomberg Center's Women in Jazz Festival, and received an Audelco Pioneer Award for her theatre contributions. This former piano prodigy, three-year military woman and international artist was commissioned through the Chicago Defender to create her Echoes Out of Time theatre piece, received a National Endowment for the Arts award as well as awards from IWJ and the NAB&P Women. An American music researcher, Ms. Kemp studied at Northwestern University, Berklee College of Music and New York University. She played at Carnegie Hall with the NYU Jazz Ensemble under Jimmy Giuffre and has appeared on numerous college campuses and at festivals. Emme's lectures and writings form a significant overview of popular culture. "...one of the most accomplished female multitalented artists in the business." - BALTIMORE SUN http://wijsf.org Emme Kemp  

IRENE GANDY is the only Black female member of ATPAM (Association of Theatrical Press Agents and Managers) on Broadway. She has been a press agent works with Jeffrey Richards Associates. She is a Tony-Award winning producer on Broadway for The Gershwin’s' Porgy and Bess and was a producer for Lady Day At Emerson Bar and Grill starring Audra MacDonald. She was also co -producer with Voza Rivers of the National tour of the South-African musical Serafina. She currently serves on the board of City College for the Arts, HARLEM WEEK and The New Heritage Theatre. In 2008, she became the first female press agent to be immortalized with a Sardis caricature. Gandy recently launched the Irene Gandy Fur Collection designed by Mr. Pete and was featured in the 2015 August issue of Vogue Magazine. "A Day in the Life Irene Gandy" a documentary is being produced that will center around her life being the 1st African-American women Press Agent and Producer on Broadway for over 50 years.  She was recently inducted into New York Public Library Lincoln Center Performing Arts Library. Gandy’s recent productions include American Son starring Kerry Washington China Doll starring Al Pacino, Fiddler on the Roof ,You Can't Take It With You, starring James Earl Jones and Sylvia starring Matthew Broderick. Gandy began her career in 1968 as a publicist with Douglas Turner Ward and Robert Hooks’ Negro Ensemble Company. Since then, she has worked on over 100 Broadway shows including , Glengarry Glen Ross, Radio Golf, Bubbling Brown Sugar, Smokey Joe’s Care, Lena Horne: The Lady and her Music, Patti LaBelle on Broadway, The Wiz. In addition to her work in theatre, she was Associate Director of Special Markets for CBS Records, working with such artists as Earth, Wind and Fire, The Jacksons, Patti Labelle, The Isley Brothers, and many others. Gandy was the Press Consultant for the National Black Arts Festival in Atlanta and the 30th Anniversary of Harlem Week. She currently serves on the board of City College for the Arts, HARLEM WEEK and The New Heritage Theatre. In 2008, she became the first female press agent to be immortalized with a Sardis caricature. Gandy recently launched the Irene Gandy Fur Collection designed by Mr. Pete and was featured in the 2015 August issue of Vogue Magazine. "A Day in the Life Irene Gandy" a documentary is being produced that will center around her life being the 1st African-American women Press Agent and Producer on Broadway for over years.   And this week’s #SongwriterOfTheWeek is Michael Sobie! If you enjoyed the outro song in this episode, go on over to www.michaelsobie.com or check him out on Facebook. Enjoy and thank you for coming back to our new season! Keep up with me @KenDavenportBway on Instagram. Check out my blog for daily content: www.theproducersperspective.com This episode was produced by Mary Dina. Learn more about your ad choices. Visit megaphone.fm/adchoices

Deardra Shuler's guest is the legendary Emme Kemp. Kemp was a child prodigy who grew up with the gospel and blues of Chicago.  The protege of Eubie Blake, she recorded with the ragtime piano man.  She performed a jazz concert at Carnegie Hall. Played at Josephine Baker's Welcome Back Party after Ms Baker's 1972 appearance at Carnegie Hall, the Waldorf, venues in Japan and her beloved Harlem. And in Monte Carlo before Princess Grace.  Most recently she delighted listeners at the Jackie Robinson Recreation Center in Manhattan for Black History month. When Ms Kemp lived in California she coached under the eminent pianist Egon Petri. Her Jazz anthology is classic to modern. Emme appeared in Woody Allen's movie "Sweet & Lowdown, starring Sean Penn," on college campuses, gave her overview on popular culture through her lectures, poetry and writings, paid tribute to the music of Harold Arlen, Gershwin and Ellington on her album "Try a Little Tenderness," composed the original song Bubbling Brown Sugar for Broadway and has played piano for and acted in the productions, Don't Bother Me I Can't Cope, Bubbling Brown Sugar and Lorraine Hansberry's musical "Raisin.  Her deep spirituality has given Ms Kemp a compassion that is the lifespring of her music.   (Group photo by Janet Solesky); Film clip credit: Angela Viscido, Eclectrix, Inc.  https://vimeo.com/395278798  

Stephanie Hughley leans into her life’s journey by letting her talent guide her. She started as a dancer and evolved into a Broadway producer. Shows like For Colored Girls and Bubbling Brown Sugar are some of the shows she worked on in her career. Her experience in the arts is sure to motivate aspiring artists of any age.

In which the Musical Man and Sweet Georgia Brown take the “A” train to visit Honeysuckle Rose. Donate today via Patreon: patreon.com/musicalmanpod / Twitter: @musicalmanpod / Podbean: musicalmanpod.podbean.com / Email: musicalmanpod@gmail.com

Two Tony Award nominations. Drama Desk Award Winner. Obie Award Winner. Recognition from the NAACP, Dance Education of America, Outer Critics Circle Awards, and Mr. Blackwell's Best Dressed List. These are some of the many recognitions bestowed upon one of the world's most celebrated artists of cabaret: Vivian Reed. Vivian dropped by Shetler Studios to discuss her Broadway appearances in That's Entertainment, Bubbling Brown Sugar, The Me Nobody Knows, Marie Christine, and so many others. Plus, Vivian reveals the secrets to her teaching technique that will make all of you re-examine the essence of an effective performance. Vivian pulls back the curtain on her career to discuss how she became a renaissance woman of the arts, what it was like taking Broadway by storm, and why she believes in the power of teaching! Also, Vivian shines the spotlight on Rosetta LeNoire, Lena Horne, and Charles "Honi" Coles! Two Tony Award nominations. Drama Desk Award Winner. Obie Award Winner. Recognition from the NAACP, Dance Education of America, Outer Critics Circle Awards, and Mr. Blackwell's Best Dressed List. These are some of the many recognitions bestowed upon one of the world's most celebrated artists of cabaret: Vivian Reed. Vivian dropped by Shetler Studios to discuss her Broadway appearances in That's Entertainment, Bubbling Brown Sugar, The Me Nobody Knows, Marie Christine, and so many others. Plus, Vivian reveals the secrets to her teaching technique that will make all of you re-examine the essence of an effective performance. Vivian pulls back the curtain on her career to discuss how she became a renaissance woman of the arts, what it was like taking Broadway by storm, and why she believes in the power of teaching! Also, Vivian shines the spotlight on Rosetta LeNoire, Lena Horne, and Charles "Honi" Coles! Tickets for Vivian's show at GreenRoom42 can be found here: https://bit.ly/2QQpi2i Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4

Milling About visits a special sneak preview of American Dance Machine where 22 dancers perform classic Broadway dance numbers reimagined by some of the dance world's best choreographers. Host Robin Milling speaks with dancer/singer Lori Ann Ferreri (On The Town, Wicked) who says she felt guided by her mentor, A Chorus Line's Donna McKechnie for her rendition of Music & The Mirror. Tyler Hanes (On The Town, A Chorus Line, Sweet Charity) who performs Tommy Tune's We'll Take A Glass from Grand Hotel, and duets with his favorite New York City Ballet soloist Gina Pazcoguin, says working on the New York stage is a dream come true. Director Wayne Cilento (Wicked, Sweet Charity revival, The Who's Tommy) who played Mike in A Chorus Line, reunites with the legendary Cassie, Donna McKechnie. They share what it's like coming full circle as dancers to behind-the-scenes, working with Artistic Director Nikki Feirt Atkins to bring a fresh approach to a dance theatrical experience. American Dance Machine premiering December 21 at The Joyce Theater in New York City, features works from A Chorus Line, Bubbling Brown Sugar, Singin' In The Rain, West Side Story, and The Who's Tommy; to name a few.

Tune in Monday at 9:00 PM ET as Stacey B. of H. Blu's Word interviews the Diana Ross lead in Motown the Musical US, Allison Semmes. Chicago Native Allison Semmes is the embodiment of grace and glamour. Her entire presence and aura is reminiscent of the class and demeanor that exuded from the iconic songtresses like Lena Horne, Josephine Baker and Diana Ross.  To see Allison bring Diana Ross to life night after night in the Hit Broadway Musical - Motown the Musical is almost like watching the real Diana Ross come alive right before your eyes. From the moment Allison steps on stage she becomes the embodiment of one of the greatest female singers of our time - Diana Ross.  The dynamic singer/actress’ notable Broadway credits have also included the cultural smash hit show, The Book of Mormon. Allison's national touring credit also included the Award-winning musical The Color Purple. Semmes regional credits included Dreamgirls, Bubbling Brown Sugar, The Wiz, and Candide. She holds a Masters of Music degree from NYU Steinhardt. For more information go to allisonsemmes.com or @ladysemmes on Twitter. Tour Schedule for Motown the Musical US

When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson’s works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.)  A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad.  I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father’s legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson’s touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father’s life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis’s life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis’s experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron. Learn more about your ad choices. Visit megaphone.fm/adchoices

When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson’s works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.)  A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad.  I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father’s legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson’s touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father’s life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis’s life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis’s experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron. Learn more about your ad choices. Visit megaphone.fm/adchoices

When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson's works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.)  A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad.  I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father's legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson's touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father's life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis's life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis's experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson’s works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.)  A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad.  I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father’s legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson’s touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father’s life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis’s life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis’s experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron. Learn more about your ad choices. Visit megaphone.fm/adchoices