Arts & Entertainment

Theater pages 15, 17 | Film/TV page 16 | Jazz page 21

Pg. 18 Your Stars

Broadway is back with ‘Pass Over’

Namir Smallwood and Jon Michael Hill Jon Michael Hill in “Pass Over” on Broadway

(Joan Marcus photos)

By LINDA ARMSTRONG

Special to the AmNews

“Pass Over” hits a couple of milestones: Not only is it the first Broadway production to be staged since the pandemic’s shutdown, it is one of seven plays created by Black writers to be staged this season.

Black female playwright Antoinette Chinonye Nwandu’s Broadway debut will set her in the annals of theater history. This scorching, visceral drama demonstrates her empathy for the plight of Black men in the United States of America. Nwandu has a sense of their feeling targeted by the police, and their sense of hopelessness and redundancy in their everyday lives. This feeling of being powerless and being made to feel inadequate for just being who you are—a human being with the basic needs of shelter, food, feeling safe and seen—and what happens to Black men when those basic needs are taken away. Nwandu bravely and thoroughly covers the issue of the brotherhood that Black men feel for one another and how they will continuously use the “N” word in everyday speech, but use it with a meaning of affection, dedication and friendship. She also recognizes the constant state of fear and trauma that Black men, who have known friends and family killed by the police, experience on a daily basis.

Nwandu gives the audience a captivating story of true friendship and two men in pain, the pain of personal family loss caused by police brutality; the pain of feeling trapped and unable to simply leave a ghetto street corner, instead feeling that there is no recourse but to stay and endure racist police harassment. Their crime is being Black and alive, and that is not something they can or want to change—nor should they have to. Nwandu stunningly gives us two men, Moses and Kitch, who live on a ghetto street corner and every day talk trash about what they would want to happen in their lives. They dream of a Promised Land, but also concede that it is not meant for Black men.

Setting the scene in the future and the past, as far back as 1440, Nwandu allows her two characters to talk about all the cruelties that Black people have suffered, like being slaves on the plantation to living and dying in ghettos, murdered by police on a regular basis. Murders that happen so often, to so many of their friends and family, that they recall each person’s name and feel the sadness of each murder. Moses’ character refers to Moses in the Bible who led the Jews out of Egypt, but this modern-day Moses realizes very acutely that he does not have the ability to lead anyone anywhere; he can’t even help himself. Moses and Kitch exemplify the indomitable spirit of the Black man. Although their lives are repetitive and depressing, they still try to dream. They still try to hope and share the things they would want in the Promised Land. They also find a way to share humorous exchanges, despite the desperation of their situation. There is a lot of profanity exchanged, but it’s real talk. As they talk of their deeply rooted feelings of despair and degradation, especially at the hands of white police officers, it is not surprising that when a white man comes on their corner they are leery. This man, who called himself Master, appears to be lost and is carrying a basket of food for his ill mother (a wolf in sheep’s clothing). He comes across as not meaning to cause

Amazon Studios’ new film, “Cinderella,” is the latest retelling of the Charles Perrault classic and, this time, screenwriter and director Kay Cannon gives the old classic a new spin. In this over-the-top unreality, characters break into song with all the prowess of a Broadway musical number as easily as most of us take a breath.

Despite this post-feminist environment, Cinderella is still waiting for her “prince” and crying over not being invited to the fancy party. Cannon has many inspired, creative moments and her redesign works.

Ella (Camila Cabello) is living the sad, tiring life of a servant after the death of her father. This sad situation leaves her with the duties of caring for her cruel stepmother (his second wife) Vivian (Idina Menzel). To make Ella’s life even more of a challenge, she has obnoxious stepsisters Malvolia (Maddie Baillio) and Narissa (Charlotte Spencer) breathing down her neck.

Little Ella dreams of breaking out of her dismal, sad home in the basement and stepping boldly into a churning, whirling world, showing the world her fashion designs.

But the world isn’t ready for an independent, creative, career-minded woman, so Ella tucks her dream of being a fashion designer deep inside her heart, just singing and venting her burning desires.

Now to the handsome prince, Prince Robert (Nicholas Galitzine), who is stuck in a life of ritual with his stuffy father King Rowen (Pierce Brosnan), and his very kind mother, Queen Beatrice (Minnie Driver). Parents will be parents, and they are demanding that he find a suitable bride before he takes the throne. Let’s be real, the Prince isn’t feeling it, and he would rather kick it with his friends than sit on the throne. His über intelligent sister, Princess Gwen (Tallulah Greive) is better equipped to lead a successful kingdom, but she’s dealing with unabashed male chauvinism. The prince says yes to the grand ball with invitations sent to the entire kingdom, giving him a wide selection to find his perfect match. But even before the party, he meets Ella, his true love, first discovering her at the announcement ceremony and then later, in disguise, bumping into her at the marketplace, buying an evening gown from her.

Before you think this version of “Cinderella” is without a fairy godmother, think again, Ms. Ella has the fabulous fairy godmother Fab G (Billy Porter) who is more than happy to work the magic and worth through the drama of her life.

Kudos to Cannon who brings forth our heroine’s internal and external motivations. This helps drive the story forward and paints a modern sheen on the antiquated classic.

In this modern retelling, Ella and the prince (theoretically) can start their life together while both attain their respective career ambitions. The issues surrounding class and wealth disparity are very much still a part of the story, with a rousing musical number (“Dream Girl”) that explores the issues. It’s a showstopper that casts a new light on an old character. Some might argue the movie’s pacing is inconsistent and that character development is weak, but you have to remember, we all know these characters from the hundreds of retellings. It’s not that deep. Evil isn’t that complicated. Plus, it’s super easy to relate to Ella’s desire to fight for her peace and move into loving life.

The musical numbers are crafted like music videos, with quick, sharp cuts that keep that bubbly feeling. The wardrobe is lush and Ella’s magical ball gown is stunning and made for a future princess.

All in all, most of the casting is perfect but it’s Porter that steals the show. This gifted soul just does not disappoint when the spotlight is turned towards him. He’s vivacious. He’s vibrant. He’s exactly the supernatural help that I would wish to have. Plus, Porter has the “it” factor and his undeniable charisma sparkles like Broadway’s light.

Esperanza Spalding to release new album, ‘Songwrights Apothecary Lab’

By JORDANNAH ELIZABETH

Special to the AmNews

It has been announced that musical virtuoso Esperanza Spalding will release a new album. The 13-track collection of new music, “Songwrights Apothecary Lab” is due out Sept. 24 via her label, Concord.

The new album is unique in that it is an album suited after the discipline of music therapy. “Described as half songwriting workshop, half guided research practice, The Songwrights Apothecary Lab brings musicians and practitioners of different disciplines, such as music therapy, neuroscience, Black American music, Sufism, and South Indian Carnatic music, together in the spirit of radical healing,” Vogue writes.

The exploratory nature of this album has allowed Spalding to create a collective network of musicians and artists to ferent effect on the album’s listeners and pose the question, “What do you need a song for?” They have released a song “Formwela 10” which represents “grieving the consequences of, becoming more alert to, and dissolving one’s own romantic-entitlement tendencies.” Pitchfork reports, “The first half of ‘Songwrights Apothecary Lab’ was recorded in Oregon, featuring contributions from Wayne Shorter, Phoelix, Raphael Saadiq, Justin Tyson, Ganavya Doraiswamy, and Corey King. The second half was captured during a 10-day period of live sets in New York back in June. Those recordings feature drummer Francisco Mela, pianist Leo Genovese, guitarist Matthew Stevens, and saxophonist Aaron Burnett.”

Spalding has been a consistent staple in the jazz and contemporary music world, offering nothing but intelligent high-concept and high quality music. With this music, she has been able to combine neuroscience, music therapy, psychology, and ethnomusicology to engage music lovers in ways and practices that they may never be exposed to otherwise. Listeners will be able to engage, interact and learn from the music.

“It grew out of a few years of just reading, learning, and reckoning with how much trauma was going unaddressed in my life, in my community, and in my family,” Spalding told Vogue. “I was reflecting on so many slow-burning crises and acute crises that I [believe] erupted because we didn’t have a paradigm for responding to trauma and the woundings of the psyche and the spirit.”

(concordjazz.com photo)

By LINDA ARMSTRONG

Special to the AmNews

It was devastating news to hear that actress, composer, lyricist, playwright and musician Micki Grant had transitioned on Saturday, Aug. 21 at Mount Sinai Morningside Hospital, at the age of 92. I feel so blessed to have gotten to interview Grant about her groundbreaking musical, “Don’t Bother Me, I Can’t Cope,” in 2018. (An interview that ran in the AmNews on July 19, 2018 and was subsequently followed up by my review of a special presentation of this production done as part of Encores! Off-Center series at New York City Center for one weekend only July 25-29.) During the performance, the audience—many of whom had experienced her musical when it was first presented in 1972—went wild, singing and dancing to the 23 songs that were included. Grant was the first woman to write the book, music and lyrics for a Broadway musical and it was a musical that proved to stand the test of time, when it was brought back in 2018.

The points of the musical were still relevant as it looked at many aspects affecting Black life including living in the ghetto, tenements, slumlords, the Black Power movement, feminism and student protests. Grant managed to bring all of these topics to the forefront using a variety of musical genres including jazz, blues, gospel, calypso and soul music. She was always quick to point out that this musical was the baby of both her and the late Vinnette Carroll, who directed the original production in 1972. The New York City Center production was directed by Savion Glover. The 1972 musical was nominated for four Tony Awards—best musical, best original score, best book and best direction. It won a Grammy for best musical theater album, establishing Grant as the first female composer to win in that category. Grant won a Drama Desk Award for Outstanding Performance and Most Promising Lyricist, the Obie Award for Music and Lyrics, along with an Outer Critics Circle Award for Best Musical.

Talking about the musical in our 2018 interview, Grant humbly stated, “When you do right, you do right for posterity…I think it’s a privilege to ac-

knowledge from where I come.” Grant had other Broadway musicals to her credit. She worked with Carroll on “Your Arms Too Short to Box With God,” writing some of the songs to Carroll’s book. She also wrote songs for the musical “Working.” All total she was involved in 17 theatrical productions, including “It’s So Nice to Be Civilized,” J.E. Frankin’s “Prodigal Sister,” “Eubie!” and “Sweet & Hot: The Songs of Harold Arlen.” Although many people knew Grant for her musical work, an entirely different audience knew her for her television work, which began in 1965 with her role as Peggy Nolan on “Another World.” She was also seen on “Guiding Light,” “Edge of Night,” and “All My Children.” Born Minnie Louise Perkins on June 30, 1929 in Chicago, her parents were Micki Grant (center) pictured with Jasmine Armstrong and Linda Oscar and Gussie Perkins. Her father Armstrong at the 2018 Encores! Off-Broadway production of was a barber and self-taught pia“Don’t Bother Me, I Can’t Cope” nist, her mother was a saleswoman for Stanley Home Products. She got into theater and music at the age of 8 and started out in community productions. She also started piano and double-bass lessons. She was writing music at 14, acting in community theater at 18 and attended the Chicago School of Music and started at the University of Illinois. She performed in a musical revue, “Fly Blackbird,”

(Linda Armstrong photo)

See GRANT on page 21

DON’T MISS YOUR CHANCE TO SEE THIS MUSICAL MASTERPIECE.

BROADWAY TICKETS FROM $49 WITH CODE COCAM

SHARON D CLARKE

Book and Lyrics by TONY KUSHNER Music by JEANINE TESORI Choreographed by ANN YEE

Directed by MICHAEL LONGHURST 13 WEEKS ONLY • BEGINS OCT 8