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This collection explores an array of themes connected to Black American life. Many of the included works contain elements of social criticism and messages of anti-racism. All but one were written in the early 1970s a "a socially and politically dynamic moment in the nation's history and a renaissance decade for black theater."
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
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.
A Soldier's Play by Charles Fuller is the story of the murder of a black soldier on a Southern army base during World War II, and the subsequent investigation by a black army captain. It examines black pride and black self-hatred, and won both the Pulitzer Prize and the New York Drama Critics Circle Best Play awards.
The creators of the astronomical point in history are The Dixie Duo, Noble Sissle and Eubie Blake, who met at a party in Baltimore, Maryland in 1915. Their career was brief but successful. "Shuffle Along was a milestone in the development of the black musical, and it became the model by which all black musicals were judged until well into the ...
The stage play was adapted into a motion picture by Lions Gate Entertainment and BET Pictures, and opened on February 25, 2005. The film version of Diary of a Mad Black Woman stars Kimberly Elise , Steve Harris , Shemar Moore , Cicely Tyson and Tyler Perry .
This allowed serious black actors transcend the stereotyped and comedic roles, which they were normally expected to play. The Lafayette Players began performing for almost exclusively Black audiences. The plays they would perform were shows that were popular in the white theater repertory as well as the classics.
Hansberry noted that her play introduced details of black life to the overwhelmingly white Broadway audiences, while director Richards observed that it was the first play to which large numbers of black people were drawn. [7] Frank Rich, writing in The New York Times in 1983, stated that A Raisin in the Sun "changed American theater forever". [10]