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A Madea Christmas (musical play) Madea Gets a Job; Madea Goes to Jail (play) Madea's Big Happy Family; Madea's Class Reunion; Madea's Family Reunion (play) Marilyn and Ella; The Marriage Counselor; Meet the Browns (play) The Mighty Gents; The Mountaintop; A Movie Star Has To Star in Black and White
When W. E. B. Du Bois saw a production of the Negro Players performing Ridgely Torrence's Three Plays for a Negro Theater in 1917, it influenced him to write, "The present spiritual production in the souls of Black folk is going to give American stage a drama that will lift it above silly songs and leg shows."
Shaffer described the opening night of Black Comedy the performance as "a veritable detonation of human glee", and wrote of an audience member sobbing with laughter and calling out in pain. [1] The reviews were generally good. The Times said of the piece, "It may not be a milestone in the development of English drama, but it is a very funny ...
A new free outdoor exhibit at Smith Memorial Playground and Playhouse in Philadelphia provides an opportunity for young people to learn about Black leaders who have shaped the city's past and present.
As the Schomburg Center for Research in Black Culture marks its 100th year in the neighborhood, community reporter Jessi Mitchell shows us how a new generation of librarians is preserving history ...
Cook's Clorindy, or The Origin of the Cake Walk, an hour-long sketch that was the first all-black show to play in a prestigious Broadway house, Casino Theatre's Roof Garden. Cole's A Trip to Coontown was the first full-length New York musical comedy written, directed and performed exclusively by blacks. The approach of the two composers were ...
This year's Black History Month has the theme "African Americans and Labor." The ASALH shares that this theme "focuses on the various and profound ways that work and working of all kinds—free ...
Ma Rainey's Black Bottom is a 1982 play – one of the ten-play Century Cycle by August Wilson – that chronicles the 20th-century African-American experience. The play is set in a recording studio in 1920s Chicago, and deals with issues of race, art, religion, and the historic exploitation of black recording artists by white producers.