Features

The Ru Report #133

Give My Regards…Making Impact
Black theater pioneer Woodie King, Jr. is a rebel rouser.

The award-winning founder and producing director of New York City's New Federal Theater has presented more than 175 productions within the venue's near 34-year history. From On Broadway to Off-Off-Off Broadway, Mr. King--with all of his vision and masterful artistry--has become a legend in his own right.

In addition to the New Federal Theater, the Baldwin Springs, Ala. native also founded the National Black Touring Circuit (NBTC) in 1976. The NBTC presents and tours to colleges, regional theatre and festivals in the United States and abroad. As a director, he has directed a number of regional theatres across the country including: Cross Roads Theatre, American Place Theatre, the Alliance Theatre, Cleveland Playhouse, Pittsburgh Public Theatre, Cincinnati Playhouse, Northlight Theatre, Indiana Repertory and the New York Shakespeare Theatre and Broadway Theatre Ensemble.

With an Honorary Doctorate in Humane Letters from Wayne State University and a Doctorate of Fine Arts from The College of Wooster, Mr. King is a name to be reckoned with in the theater arts community.

Ask the likes of Denzel Washington, August Wilson, Ruby Dee, Melvin Van Peebles, Jackee Harry, Amiri Baraka, Morgan Freeman and Ntozake Shange, who are just a hand-full of the bold-faced names who have had the privilege to work with him throughout his illustrious career.

Even the legendary Ossie Davis has sung his praises: "Woodie sees it all, knows it all, and loves it all--I doubt if anybody can explain what it is, and what it is not, better than he can."

Mr. King's latest book, The Impact Of Race: Theater and Culture, (Applause Theater & Cinema Books) is a thought-provoking and captivating look at the inner workings of The Great White Way and the theater world, at large. With a ferocious tenacity and a powerful, poignant and moving prose, he lays the law on the line, as it pertains to the struggles and accomplishments of modern-time Black Theater.

To kick off our month-long "Give My Regards…" theater arts series, The Ru Report decided to wax poetic with Mr. King about the explosive text-book tome and the topics he dares to tackle.

In the book, you wrote about how artists and performing artists are feared by Top 100 Black businesses. Please elaborate.

Artists are feared by Black businessmen because art is a mystery; most people fear the unknown. Artists are guilty of not letting the average person in on exactly how one creates one's arts. For example, actors study for years in scene study classes, movement classes, voice and diction classes to be able do what they do. However, at most performances we see only the results of all of that studying. Black businessmen should be let in on how one makes the journey to that performance.

Although it's suspected that the New York Times held much power in the theater world, we had no idea that it was so overt as it is in the book. It was eye opening.

The New York Times is all powerful unless one can afford a star of P. Diddy's caliber. If you pick up the Sunday New York Times and go to the Arts & Leisure section you will see who the paper really loves. One full page cost $78,000. The white critics usually really hate anything Black.

What made you tackle the topics of the impact of race with this book?

I tackled the impact of race because our theatre world reeks of racism, classicism, and sexism. The more I work in this business I also note how racism also impacts on the American Culture; that is why I talked about producing in Japan, Ghana, and Liberia.

This book is essential reading to all theater-goers, industry insiders and performers. Who is your desired reader?

My desired readers are Black Folk who go to any kind of cultural event, like theatre, dance, music, hip-hop, R&B concerts, etc. And, yes, industry insiders and theater goers as well as performers, too.

Can you share some of your fond memories of your early days?

In the early days artists were passionate about the art. We had a "ism" It might have been Nationalism; it might have been communism, it might have been something called "the African Continuum" or simply Black Power. I remember back in Detroit, David Rambeau and I rented an old bar and made it into a 75-seat theatre with an art gallery as the lobby. We got ten friends to put up $100 each. In New York when I started New Federal Theatre in some seasons we did as many as 8 productions per year. Brilliant artists like Shauneille Perry, Jackee Harry, Denzel Washington, Morgan Freeman, Samuel L. Jackson, Laurence Fishburne, Dick Anthony Williams, Lynn Whitfield, Ed Bullins, Ron Milner and Ben Caldwell were all a part of the magic we created.

What has changed the most about the theater world?

I think the theatre world changed as the new technology came into existence. The new technology focused primarily on gathering and distributing information. White media will not distribute information about Blacks unless it's negative information. Thank God for e-mail and dot.com and Brothers like you who somehow find new ways to get the "word" to the people.

And what has pretty much stayed the same?

It's very difficult to say what has remained the same. Yet, the impact of race seems much more obvious today than in the past.

What's your future goals for the New Federal Theater?

The future goals of the New Federal Theatre is really to keep on producing so that our Black artists can integrate into the mainstream of American theatre. I love introducing new artists.

You're considered an authority in the theater world. What do you make of these gospel musicals that travel from city to city, week by week?

The gospel musicals that travel from city to city let us know that there is an audience out there; that's the audience that has been ignored by mainstream theaters. These Black people are not really wanted in the white theaters--white theatre do not even try to get them to come into the space unless a white producer is producing a "Black play". But in most cases these show are actually produced by white producers also known as local promoters; you will never see their name anywhere. Usually, they are David Rubin, Nick La Trento, Jeff Sharp, Alan Lichtenstein, and the like. They will give the Black guy you think is producing a fee for his show, the local promoter keeps the lion's share [of the revenues]. Are these plays art? I don¹t think a lot of care goes into the creation of these shows but Black audiences love them. I don't think you will see revivals of these shows in your local Black theaters.

You stated that the New York Times was powerful in the livelihood of the theater world. What role does Black media play, if any?

If we had no Black media Black theatre would be in big trouble. Black media is Black theatre's only way to reach Black people.

Mr. King's latest work of art is a new realistic play titled "Waitin' 2 End Hell," by William Parker, about deteriorating Black middle class family relationships, opens off-Broadway at the 47th St. Playhouse on May 27 in New York City. (212) 394-1293.

Showtime
Much has been written about the eagerly anticipated return of the 1960 classic musical "Little Shop of Horrors," which is currently playing at the Virginia Theater on Broadway. Although much scuttlebutt ensued when abrupt all-star cast changes were made right before the show hit the Big Apple, nothing could stand in the way of the humorous, heart-touching story, the powerhouse vocal bravado and that monster of a plant. Starring Hunter Foster as Seymour, Kerry Butler as Audrey, Rob Bartlett as Mushnik and Douglas Sills as Orin Scrivello, "Little Shop Of Horrors" features book and lyrics by the late Howard Ashman and music by Alan Menken (The Little Mermaid, Beauty and the Beast, Aladdin) and includes such well-known musical numbers as "Somewhere That's Green," "Suddenly Seymour" and the title song. Michael-Leon Wooley as the Voice of Audrey II, Carla J. Hargrove as Ronnette, Trisha Jeffrey as Crystal and DeQuina Moore as Chiffon round out the casting and fills the bottom out with their soulful harmonizing. If you're a fan of the zany updated movie version like I am, you'll love this revival. And you will literally jump out of your seat at the site of the plant (designed by The Jim Henson Workshop and Martin P. Robinson) jumping out into the audience. Talk about crowd participation. It was s surprising highlight of the night. According to a spokesperson for the production, the show is slated for an open run. The Tony Awards will be announced early next week. We'll see how "Little Shop…" will fare.

Stages
At the fabulous and grand opening night for the hearty new Broadway musical, "Caroline, Or Change," this past Sunday, The Public Theater's soon to be former head honcho, George C. Wolfe, confirmed to me that he has been approached to direct an upcoming Broadway revival of "Dreamgirls." The nifty theatrical wizard wouldn't say if he would do it or not. Seemed excited though. Screamed something about a time for "change." Would be a shoe-in for a restaging of the legendary musical.

The Tony Award-winning Elton John/Tim Rice musical "AIDA" will shutter on September 5, after playing close to 2,000 performances…and going through about 2,000 Aidas. No. I'm just kidding. It's only been five! Drum-roll please: Heather Headley, Simone, Toni Braxton, Michelle Williams and Deborah Cox, who is currently playing the lead until, well September 5.

Seems as though "The Apprentice" stars Omarosa Manigault-Stallworth, Kwame Jackson and Bill Rancic aren't the only former contestants who have a "trump" card to play after the hit NBC reality show. "Wild Man" Sam Solovey has been tapped to play himself in the popular off-Broadway show "Tony n' Tina's Wedding" starting May 18 through May 22. And we all thought these people wanted to run Fortune 500 companies; not become media darlings and stage and screen celebrities. Guess they really are apprentices of the media-savvy tycoon also known as The Donald. Hmmm.

Honorable Mention
The Black Public Relations Society Of Greater New York will present "A Salute Honoring Pioneering Women In Theater" on May 17 at the Park Avenue South offices of public relations powerhouse Burson & Marsteller. The classy Donna Walker-Kuhne, President of Walker International Communications, and the statuesque and savvy Marcia Pendelton, Founder of Walk Tall Girl Productions, will be honored, amongst others. Collectively and individually, these two phenomenal women have made strides, carved niches and help contribute to the "Browning of Broadway" via effective audience development and theatrical marketing initiatives to bring people of color out to the Great White Way. Their diligent work with George C. Wolfe-produced and directed works speak for itself. My hat goes off to them. For more information, contact (516) 377 6146.

The devil tried to stop me. He tried to block me. But I got away. I got the key!

Next Week
The Ru Report continues our "Give My Regards…" month-long series celebrating the theatrical arts. Stay tuned.

Message Karu F Daniels or email him directly at therureport@aol.com

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