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wild-grass-tw-version-1080p · 4 years

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“中国电影” ~荞麦疯长~ [2020]-HD- 半岛完整版本 (Wild Grass) ~完整~版‘4K’ ~完整版本~高清电影~在线观看

荞麦疯长 (2020)

▷ 荞麦疯长 (2020)

VISIT LINK: http://watch.123filme.xyz/zh/movie/652799

荞麦疯长 (2020) 导演: 徐展雄编剧: 徐展雄主演: 马思纯 / 钟楚曦 / 黄景瑜 / 王砚辉 / 王阳明 / 更多… 类型: 剧情 / 爱情制片国家/地区: 中国大陆语言: 汉语普通话上映日期: 2020–08–25(中国大陆) / 2020–07–27(上海电影节) 片长: 112分钟又名: Wild Grass

发布日期: 2020–08–25 运行时间: 0 分钟类型: 剧情, 爱情明星: Ma Sichun, Johnny Huang, Elane Zhong, Xin-Yi Peng, Gao Ye 导演: Xu Zhanxiong, Xu Zhanxiong, Yanhong Sheng IMDb链接: tt8850222

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There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story. There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others. That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful. ??? TV FILM ??? The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. ??? formats and genres ??? See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.[citvatio””&n needed] In 2007, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In 2007, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. ??? Thanks for everything and have fun watching??? Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings! Thanks for watching The Video Today. I hope you enjoy the videos that I share. Give a thumbs up, like, or share if you enjoy what we’ve shared so that we more excited. Sprinkle cheerful smile so that the world back in a variety of colors.

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asiantheatre · 5 years

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Ma-Yi Theater Company will launch its 2019-2020, the company's 30th, with the world premiere of Felix Starro, marking the first time ever a musical created by Filipino Americans will be presented Off-Broadway

Felix Starro, the story of a young, undocumented immigrant in San Francisco and his famous faith healer grandfather. The new musical, based on a short story by Filipino-American writer Lysley Tenorio, features a book and lyrics by novelist and playwright Jessica Hagedorn (Dogeaters) and music by Fabian Obispo.

Felix Starro will run August 23–September 15 at Theatre Row with an opening night set for September 3.

“Ma-Yi’s focus remains on creating opportunities for Asian American theatre artists to work both in New York and across the country. Ma-Yi believes that it’s not enough to keep plays in endless development cycles to satisfy diversity goals. They must be produced. “

#felix starro #lysley tenorio #jessica hagedorn #fabian obispo #news #ma yi theater

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huttson-blog · 4 years

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Ma-Yi Theater Company to Stream Livin’ La Vida Imelda in Honor of Carlos Celdran — Playbill.com

Read more at Playbill.com

— by Dan Meyer: Ma-Yi Theater Company will honor the life and work of Carlos Celdran by streaming the 2014 Off-Broadway premiere of Livin’ La Vida Imelda June 17–30. Directed by Ma-Yi Producing Artistic Director Ralph B. Peña, the solo show takes a look at the life of Imelda Marcos, the polarizing former First Lady of the Philippines…

Image courtesy of Ma-Yi Theater…

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#Carlos Celdran #Livin’ La Vida Imelda (2014)#Ma-Yi Theater Company #Playbill.com

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larryland · 6 years

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Barrington Stage Presents the World Premiere of “The Chinese Lady” (Pittsfield, MA) Barrington Stage Company (BSC), the award-winning theatre in the Berkshires (Pittsfield, MA) under the leadership of Artistic Director Julianne Boyd, is proud to present the world premiere of…

#Barrington Stage #Barrington Stage Company. BSC #Daniel K. Isaac #Fabian Obispo #Geoff Boronda #Julianne Boyd #Junghyun Georgia Lee #Lloyd Suh #Ma-Yi Theater Company #Oliver Wason #Pat McCorkle #Pittsfield MA #Ralph Peña #Shannon Tyo #St. Germain Stage #St. Germain Stage at the Sydelle and Lee Blatt Performing Arts Center #Sydelle and Lee Blatt Performing Arts Center #The Chinese Lady

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fuckyeahgreatplays · 6 years

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Is there any articulate website you visit in order to find new plays to go see or do you just stumble upon a show and buy a ticket ?

(Hi, I got a bunch of new followers recently so I thought I’d answer a question I’ve answered before!)

Theater twitter has been great for me.* And even before I started cohosting I love @maxamoo podcast and the folks on it for introducing me to some great artists and theater companies. And then honestly I just started following the folks I liked, then see who THEY are supporting, and going from there.

Here are some companies whose taste I pretty much always trust:

New Ohio

Ensemble Studio Theater

Ars Nova

Classical Theatre of Harlem

Ma-Yi Theater Co

NY Neofuturists

*I’m back on twitter with a new name:@MsLizRK.

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citylifeorg · 2 years

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Ma-Yi Theater Company and The Public Theater Announce Complete Casting for The Chinese Lady

By Lloyd Suh The Barrington Stage Company and Ma-Yi Theater Company ProductionDirected by Ralph B. PeñaPresented by The Public Theater Featuring Cindy Im, Daniel K. Isaac, Jon Norman Schneider, and Shannon Tyo Ma-Yi Theater Company and The Public Theater have announced complete casting for the upcoming presentation of THE CHINESE LADY, written by Lloyd Suh and directed by Obie Award winning…

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#City Life Org #Culture #Entertainment #Featured #New York #USA

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newyorktheater · 6 years

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Bob Dylan, Glenn Close, Daniel Radcliffe, and Gloria Steinem are all on a New York stage one way or another in October, always a good month for theater.

This year’s October is likely the busiest ever, thanks to the addition of the hundred shows in the New York International Fringe Festival, which for the first time has been moved from August to October.

Three shows are opening on Broadway in October: Elaine May returns to Broadway in a star-studded revival of Kenneth Lonergan’s “The Waverly Gallery”; Daniel Radcliffe, Cherry Jones and Bobby Cannavale star in “Lifespan of a Fact,” a true story that starts with one of our society’s unheralded heroes – a fact checker. Jez Butterworth’s “The Ferryman” is one of the several plays that month about a stranger who visits…and turns everything upside down.

Off-Broadway’s promising shows include a re-imagined “Oklahoma”; an evening of Beckett performed by Bill Irwin; and a new Bob Dylan musical with a book by Conor McPherson. Glenn Close stars as Joan of Arc’s mother. Christine Lahti portrays Gloria Steinem.

Off-Off Broadway, filmmaker Todd Solondz makes his theatrical debut, and two plays by Samuel D. Hunter are joined together into a dinner theater, New York style.

Below is a selection of openings in October, organized chronologically by opening date. Each title is linked to a relevant website. Color key: Broadway: Red. Off Broadway: Black or Blue. Off Off Broadway: Green. Theater festival: Orange

October 1

Girl from the North Country (Public Theater)

Playwright and director Conor McPherson transforms Bob Dylan’s songbook to tell the story of a down-on-its-luck community on the brink of change in Duluth, Minnesota in 1934.

October 2

Final Follies (Primary Stages at Cherry Lane)

Three one-act plays by A.R. Gurney, who died last year at the age of 86.

October 3

On Beckett (Irish Rep)

Bill Irwin explores his relationship with the work of Samuel Beckett through excerpts of his texts including “Waiting for Godot,” “Endgame,” and “Texts for Nothing.”

The Bachae (BAM)

Euripides’ cautionary parable of hubris and fear of the unknown thrashes to new life in the hands of Anne Bogart, the renowned SITI Company.

October 4

Makbet, a version of Shakespeare’s tragedy presented by the Dzieci international experimental theatre ensemble, takes place inside a shipping container in Sure We Can, a Brooklyn recycling center. It’s one of the first shows in the monthlong New York Fringe Festival.

October 7

Oklahoma (St Ann’s Warehouse)

Director Daniel Fish’s 75th anniversary production of Rodgers and Hammerstein’s landmark musical upends the sunny romance between a farmer and a cowpoke with what has always been just below the surface. The cast includes Rebecca Naomi Jones, Mary Testa, and Ali Stroker.

October 8

Rags Parkland Sings The Songs Of The Future.(Ars Nova)

Sci-fi folk concert set 250 years in the future. “Rags will play the revolutionary songbook that carried us to where we are today”

October 10

Black Light (Greenwich House Theater)

Jomama Jones, portrayed by Daniel Alexander Jones, returns in the cabaret show that’s an act of healing and an act of warning in these turbulent times. My review when it was at Joe’s Pub.

October 11

Midnight at the Never Get (York)

a gay New York couple in 1965 put together a show at an illegal Greenwich Village gay bar. But as the decade ends, they find themselves caught in a passion they can’t control and a political revolution they don’t understand.

Playwright William Jackson Harper

Travisville (Ensemble Studio Theater)

Their lives are irrevocably changed when a stranger visits the members of a community untouched by the civil rights movement, forcing them to take sides and take a stand.

October 12

FringeNYC

FringeNYC opens in earnest with performances by 23 of its 83 shows, including The Resistible Rise of JR Brinkley, the true story of a 1920s con man who became a successful politician.

Duke Oldrich & Washerwoman Bozena (Czech American Marionette Theatre)

non-traditional staging of a 374 year-old marionette play based on the story of love at first sight of the 11th century Duke Oldrich, who married a washerman. Part of the Centennial Heritage Festival

October 13

The Things That Were There (Bushwick Starr)

Written by David Greenspan and directed by Lee Sunday Evans, the play dramatizes the events and relationships of a family over many years at a family get-together. “Certain scenes begin again with slight or significant variation as a means of investigating family relationships through a continually shifting lens a

October 14

Emma and Max (The Flea)

Filmmaker Todd Solondz (“Welcome to the Dollhouse,” “Wiener-Dog”) makes his theatrical debut with a play about privilege, race, and the intersection of black and white.

October 15

Fireflies (Atlantic)

Written by Donja R. Love, starring Kris Davis (magnificent in Sweat and The Royale, now on FX’s Atlanta.) When four little girls are bombed in a church, the marriage between Charles (Davis) and Olivia (Dewanda Wise) is threatened

October 16

Apologia (Roundabout)

Stockard Channing in a powerhouse performance as a woman facing the repercussions of her past, in this play by Alexi Kaye Campbell

October 17

Mother of the Maid (Public)

Glenn Close plays Joan of Arc’s mother in this drama by Jane Anderson (“Olive Kitteridge”)

October 18

Gloria: A Life (Daryl Roth Theater)

Christine Lahti portrays Gloria Steinem in a new play by Emily Mann directed by Diane Paulus.

The Lifespan of a Fact (Studio 54)

Daniel Radcliffe, Cherry Jones and Bobby Cannavale in a true story that begins with an essay written about a Las Vegas teenager who committed suicide. But the fact-checker assigned to make sure the piece is accurate begins to wonder whether any of it is true

October 21

The Ferryman (Bernard Jacobs)

Written by Jez Butterworth and directed by Sam Mendes, this play is set in the Carney farmhouse in rural Northern Ireland in 1981, a hive of activity with preparations for the annual harvest…until a stranger visits.

The Book of Merman (St Luke’s Theater)

Two Mormon missionaries ring the doorbell of Ethel Merman in this new musical comedy. Carol Sakolove sings original songs as Merman.

October 22

School Girls or the African Mean Girls Play (MCC)

A return of the play about the catty girls at Ghana’s most exclusive boarding school who vie to enter the Miss Universe pageant.My review of the original production.

Plot Points in Our Sexual Development (Lincoln Center)

In this play by Miranda Rose Hall, Theo (Jax Jackson) and Cecily (Marianne Rendon) want to be honest about their sexual histories, but what happens when telling the truth jeopardizes everything?

October 23

Happy Birthday Wanda June (Wheelhouse at Duke)

A revival of Kurt Vonnegut’s satire about a big game hunter who returns to America after an eight-year absence to find it trying to address the culture’s toxic masculinity

October 24

India Pale Ale (MTC)

In this play by Jaclyn Backhaus, a tight-knit Punjabi community in a small Wisconsin town gathers to celebrate the wedding of a traditional family’s only son, just as their strong-willed daughter announces her plans to move away and open a bar. This comedy of generations clashing was the recipient of the 2018 Horton Foote Prize for Promising New American Play.

Playwright Orlando Pabotoy

Sesar (Ma-Yi)

After watching an excerpt of “Julius Caesar” on television, a 14-year Filipino boy locks himself in the only family bathroom to dive head-first into the world of ancient Rome, determined to make sense of Shakespeare’s famous tragedy, eventually joined by the boy’s father, a former town mayor now exiled because of his democratic beliefs.

October 25

The Waverly Gallery (John Golden)

Written by Kenneth Lonerganand directed by Lila Neugebauer, making her Broadway debut, and starring Elaine May as Gladys, whose world is being rearranged both within her own mind, and externally – the landlord wants to turn her small Greenwich Village into a coffee shop. It co-stars Lucas Hedges, Joan Allen, Michael Cera, and David Cromer.

Lewis and Clarkson (Rattlestick)

Samuel D. Hunter’s two plays focus on two modern-day descendants of the explorers Meriwether Lewis and William Clark. Each night “the plays will be performed together, in an intimate space for a small audience of only 51 guests who will gather to watch, to share a catered meal between the two productions, and to consider as a community our place in the ongoing American experiment.”

Renascence (Transport Group)

The biography of radical poet and playwright Edna St. Vincent Millay, using her poetry as lyrics.

October 28

Daniel’s Husband (Westside Theater)

A turn of events puts the perfect life of a gay couple in jeopardy, This production of a play by Michael McKeever had a run last year at Primary Stages. My review

October 30

Steven Levenson and Mike Faist

Days of Rage (Second Stage)

Steven Levenson (who wrote the book for Dear Evan Hansen) writes about five young idealists in the middle of a country divided, in October, 1969, who admit a mysterious newcomer to their collective, and the delicate balance they’ve achieved begins to topple. It stars Mike Faist (late of Dear Evan Hansen), Tavi Gevinson, J. Alphonse Nicholson

October 2018 New York Theater Openings Bob Dylan, Glenn Close, Daniel Radcliffe, and Gloria Steinem are all on a New York stage one way or another in October, always a good month for theater.

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joseaesquea · 4 years

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Hands down one of the best theatrical productions I have ever seen. I WAS SO EXCITED I was trying to stream it tonight! #MAGNOLIVES (at Ma-Yi Theater Company) https://www.instagram.com/p/CAbkh7mJT3W/?igshid=ogdxqnnfsodc

#magnolives

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frontmezzjunkies · 3 years

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Ma-Yi Theatre Uses Puppetry to Explore Anti-Asian Aggression in the Experimental Vancouver

#frontmezzjunkies #streams & reviews as @MaYiTheatre Explores Anti-Asian Aggression in the Experimental #Vancouver with #Puppets and Connection. Written & directed by #RalphBPena @rbyronp #MaYiTheaterCompany puppetry director #TomLee @ChiPuppetFest

The Streaming Experience: Ma-Yi Theatre’s Vancouver By Ross It’s a truly surprising and engaging moment when the lid is lifted off the boxes that cradle the intricate puppets that will soon become the visual and emotional centerpieces of Vancouver, a theatrical experiment in art and creativity from Ma-Yi Theatre Company in association with The Chicago International Puppet Theater Festival. The…

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#Chicago International Puppet Theater Festival #Ma-Yi Theater Company #puppets #streaming theatre #Vancouver

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diandrareviewsitall · 5 years

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Theater Review: Fruiting Bodies Is A Mushroom Hunt For Forgiveness

Fruiting Bodies left me torn. On one hand, it is a play about forgiveness of one’s self, and, on another, it is about mushrooms. Playing at Theatre Row, the Ma-Yi Theater company have delivered a play that asks you to look through the forest and all its bodies to see how they symbolize the human spirit.

The play focuses on Thom Sesma’s Ben, and his two daughters: Kimiye Corwin’s Mush and Emma…

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wild-grass-tw-version-1080p · 4 years

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“HD”!蕎麥瘋長! (Wild Grass) ~在线观看~免费电影 (2020)-HD- 国语》高清完整版[1080p — HDQ]

荞麦疯长 (2020)

▷ 荞麦疯长 (2020)

VISIT LINK: http://watch.123filme.xyz/zh/movie/652799

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writemarcus · 4 years

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In the Continuum: Black Theatre Development

An inside look at the long-standing and often overlooked incubators who’ve boosted the profiles of early-career stage writers of color.

BY MARCUS SCOTT

The coronavirus pandemic has had a disproportionate impact on New York City. It has not only led the nation and the world in a number of fatalities but its economic impact in the city promises to be outsized. More than 1.2 million New York state residents filed for unemployment benefits over the course of the first month of the crisis. According to the The New York Times, New York City is projected to lose at least $7.4 billion in tax revenue by the middle of next year, a significant portion of which would have been generated by the performing arts: With a combined 1,737 playing weeks and attendance reaching 14.77 million, in the 2018-19 Broadway season productions grossed a total of $1.83 billion, beating the 2017-18 seasonal record of $1.7 billion by 7.8 percent.

There’s another disproportionate impact that COVID-19 is having: For troubling systemic reasons, it is devastating African Americans at much higher rates. Likewise in the theatre, where, despite a focus on Equity, Diversity & Inclusion, opportunities for artists of color were already heavily circumscribed, the shutdown threatens not only the precarious livelihood of artists of color but the health of institutions that have historically supported and nurtured them. It should come as no surprise that New York, the center of the Black Arts Movement of the 1960s and ’70s, has been a hotbed of theatre development shepherding the work of artists of color, in particular Black and Latinx artists. Among these institutions are the National Black Theatre (NBT), the Movement Theatre Company, INTAR Theatre, Nuyorican Poets Café, Teatro LATEA, QuickSilver Theatre Company, Blackboard Reading Series, Pregones/PRTT, Teatro SEA, Harlem Repertory Theater, Harlem9, and the Billie Holiday Theatre. Asian/Pacific Islander (API) playwrights have also seen their works developed at incubators like Leviathan Lab, the National Asian American Theatre Company (NAATCO), Ma-Yi Theater Company, the Pan Asian Repertory Theatre, Second Generation, and Noor Theatre, among others.

While many of these companies have had to fight for funding and recognition, their hard work has paid off: The combined efforts of these incubators over the last decade have fostered a creative parturition among their artist collectives, sowing the seeds of what many are calling a renaissance of works by POC artists—particularly Black talent—which have been a creative force, not only onstage, but on film and TV as well.

“I think the conversations that are being had, especially in the African American community, is that we understand and recognize—as we always have—that we are not a monolith, that we all have different experiences and points of view, and that they are worth being a part of the whole conversation of who we are,” notes dramaturg Shawn René Graham, literary director of the Classical Theatre of Harlem’s Future Classics Series and Playwright’s Playground, which shines a spotlight on the work of underrepresented writers. “But I do wonder if some of those tales that were told, if they were in residency at a Black space, how the conversation might be different or more robust…It’s the dramaturgy, and the lack of representation behind the scenes. I often wonder, with some plays, whose voices were in the room.”

Graham got her start as an intern at the Mark Taper Forum in Los Angeles at a time when Oskar Eustis was the organization’s associate artistic director and theatre titans Tony Kushner, Eric Bogosian, and Anna Deavere Smith were developing works like Angels in America, Pounding Nails in the Floor With My Forehead, and Twilight: Los Angeles, 1992, respectively. Graham says she is still influenced by that time. In fact, some of her approach to running both reading series comes from watching the iconic comedy trio Culture Clash develop their work in front of live audiences. Boosting the profiles of emerging artists like Madhuri Shekar (House of Joy), Angelica Chéri (Berta, Berta), and Radha Blank (Netflix’s The 40-Year-Old Version), the Classical Theatre of Harlem (CTH) aims to uplift the next generation of artists as well as encourage “little Black boys, little Black girls, and little Black theys” living in Harlem to aspire to tell their own stories.

Graham arrived in 2011, when artistic director Ty Jones was “still rescuing the company from a significant amount of debt,” as she puts it. The only way to keep the theatre relevant then, when the company could not produce their usual number of mainstage productions, was to keep a reading series going. She was tasked with that project, along with helping make the festival an annual event and creating an annual holiday production. Now, with the COVID-19 shutdown, a similar barebones approach may come in handy. The company’s philosophy hasn’t changed, she says: “We are also hellbent on no barriers to access and being of service to the community that we serve, which is the Harlem community.”

Carpe diem has been a defining philosophy of the trifecta behind the rising little giant that is Liberation Theatre Company. Established in 2009, the Harlem-based theatre incubator has committed to the development of new Black playwrights, promoting the likes of James Anthony Tyler (Dolphins and Sharks), James Scruggs (3/Fifths), Dennis A. Allen II (The Mud Is Thicker in Mississippi), Liz Morgan (The Clark Doll), Camille Darby (Lords Resistance), Shawn Nabors (Cake), Deneen Reynolds-Knott (Baton), and Tylie Shider (Parable of the Backyard Roots). (Full disclosure: They have also developed my work as a playwright.) Spearheading the project are two founders, producing artistic director Sandra A. Daley-Sharif and associate artistic director Spencer Scott Barros, who are joined by associate producing director Bernard J. Tarver.

The trio is also part of the collaboration of Black theatre producers known as Harlem9, currently celebrating its 10th anniversary. Harlem9 won an Obie in 2014 for an annual 10-minute play festival, 48Hours in…Harlem, spawning various spinoff festivals around the country (Bronx, Detroit, Dallas, and Holy Ground, N.C.) and five published anthologies. Daley-Sharif and Barros, working actors who have been friends for 25 years, gush over Tarver and mention that he complemented their “old-school work ethic” when joining Liberation.

“We have a very similar intention and vision that we agree on,” Daley-Shariff says. Barros observes, “Even if we have a disagreement from an outside perspective, five seconds later we’ll let it go because we all want the same thing.”

This philosophy has bled into the gallimaufry of talent that the company has helped develop since their humble beginnings renting space at venues around the city. While small in scope, what the company lacks in resources, they make up for in discipline and tenacity. Such hard work led to collaborations with Off-Broadway theatres such as Playwrights Horizons to present an annual festival of new works when the duo were just starting out as producers.

“Sandra is a master at developing relationships with people that open all this space for us, like SPACE on Ryder Farm, like NBT, like National Dance Institute (NDI),” says Barros. “She meets people and people fall in love with her. But as far as space is concerned, that’s the biggest challenge for Black theatre companies in general. We don’t have space. We need a homebase, because we’re constantly in people’s space. We are constantly at their whims and desires from what they want from us, and sometimes it limits or puts perimeters around where we see the vision. And if we had it we could just do whatever the hell we wanted, but who can afford it?”

That’s why a core group of playwrights has tended to meet with the leadership trio in Daley-Sharif’s 2,500-square-foot apartment a few blocks north of Central Park North in Harlem. When the company was founded, Daley-Sharif says she wanted to create a company along the lines of LAByrinth in New York or Steppenwolf in Chicago—an artistic home for Black and brown talent to work and aspire to have a healthy work-life balance.

“I think that’s the difference between producing in your 20s and 30s, which we’ve done, and producing your 40s and 50s, which we are doing,” Barros says. “We’re more pragmatic and practical with what we’re doing. Reestablishing 11 years ago, we were very clear on what this was going to entail. It’s going to have to take focus, being very smart about where we get the money, how we find our talent. I think the benefit has been that we’ve worked with some of the greatest emerging talent in the city.” When they realized they would benefit from pooling resources and connecting with Black organizations and Black producers, that led to the creation of Harlem9, and ultimately an Obie.

Creating a space, says Daley-Sharif, where “Black and brown people can tell their stories in comfort…I think that’s huge!”

“That’s amazingly huge!” Barros adds. “I would say for most artists that work with us, this may be the only time where they have a singular experience where everybody in the room is like them.”

White organizations don’t necessarily “create that space and walk away and leave you alone,” Daley-Sharif points out. Some take that approach, she says, but there is a clear advantage to one run by folks who fully understand the Black experience. She adds, “Sometimes we do need to be policed, sometimes we do need to check ourselves—but I do think there is something to be said about being in a room where it is Black-led and where it’s comfortably facilitated.”

Daley-Sharif’s words call back to Lorraine Hansberry, author of the landmark family drama A Raisin in the Sun and the first Black woman and the youngest playwright to have a play performed on Broadway. Hansberry’s contributions extended past the proscenium and in her abbreviated career—she wrote her first play between her 26th and 27th birthdays—as she engaged with emerging artists of color and passed the baton.

In the years since her passing, the Black Arts Movement saw dramatists like Sonia Sanchez, Ossie Davis, Ishmael Reed, Amiri Baraka, and Ntozake Shange rise to prominence, each supporting one another. Theatre titan Charles Fuller (A Soldier’s Play) ushered in the post-Black Arts Movement, and August Wilson cemented it; and artists such as Anna Deavere Smith, Suzan-Lori Parks, Lynn Nottage, and Thomas Bradshaw followed suit. While the current generation of emerging playwrights pushes boundaries and takes the U.S. theatre field to task, many are mining inspiration from Hansberry’s contemporary James Baldwin, including cultural incubators like the Fire This Time Festival (TFTTF), named for Baldwin’s 1963 collection The Fire Next Time.

TFTTF began in 2009 with a weekend of performances of fully staged 10-minute plays by Kelley Girod, Derek McPhatter, Germono Toussaint, Pia Wilson, Radha Blank, Katori Hall, and Asiimwe Deborah/Deborah Asiimwe. The festival has become one of the most sought-after opportunities for young Black writers, with many of its writers achieving roaring success over the last decade: Dominique Morisseau (Pipeline), Antoinette Nwandu (Pass Over), Jocelyn Bioh (School Girls; Or, The African Mean Girls Play), Marcus Gardley (The House That Will Not Stand), Jordan E. Cooper (Ain’t No Mo’), Aziza Barnes (BLKS), C.A. Johnson (All the Natalie Portmans), Charly Evon Simpson (Behind the Sheet), Jonathan Payne (The Revolving Cycles Truly and Steadily Roll’d), Tanya Everett (A Dead Black Man), and Stacey Rose (America v. 2.1: The Sad Demise & Eventual Extinction of the American Negro).

“The theme of the first festival was: Is there a post-Black theatre, and if so, what are the stories?” says A.J. Muhammad, associate producer and director of TFTTF’s New Works Lab. Muhammad recalls that the inaugural fest took place in the early years of the Obama administration, when some believed the country had entered a post-racial era. That first season’s plays ranged from an Afro-futurism/sci-fi comedy by McPhatter to Girod’s pre-#MeToo era play about sexual harassment in higher education, Hall’s about skin bleaching across the African diaspora and South Asia, Toussaint’s about queerness in a Black church, and Pia Wilson’s existential piece about the past lives of two women. Recalls Muhammad, “All of the performances were sold out, and audiences were galvanized by what they saw, myself included.”

Girod, founder and executive producing director of the festival, testifies that when she graduated with a playwriting MFA from Columbia University, opportunities for emerging Black playwrights were scarce for her and her peers, who like her were trying to get their work produced by established New York theatre companies. Besides producing established Black playwrights, white mainstream theatre companies were limited in their scope of what they expected Black playwrights to write about, and Black playwrights were being pigeonholed. Not wanting to be held back by these gatekeepers and not content to wait for an invitation to the table, a new movement emerged. (New Black Fest at the Lark also emerged around this time.) The festival has been in residence with FRIGID NYC (formerly known as Horse Trade Theater Group) since its inception; FRIGID NYC is a nonprofit that presents a series of festivals throughout the year and other curated programming while managing two indie theatre spaces in downtown Manhattan’s East Village, the Kraine Theater and Under St. Marks.

“What Black theatre doesn’t have a shortage of is ingenuity, passion, determination, talent, generosity, resilience, tenacity, perseverance, and self-determination,” Muhammad says. Echoing others, he says that what Black theatre in New York suffers from is a lack of dedicated physical spaces, apart from such venues as National Black Theatre in Harlem or Black Spectrum Theater in Queens. “Like so many indie theatre companies and festivals, including the ones that are BIPOC, many of our companies are nomadic and there’s a crunch for physical space and resources.”

Muhammad expresses a need for alternative sources of funding, in addition to the those that support New York-area theatre, often predominantly white companies, such as the Ford, Axe-Houghton, and Shubert Foundations. “Are there Black-run philanthropic foundations that are comparable to the ones I mentioned?” Muhammad wonders. “There is Black wealth, but when it comes to our arts organizations, I don’t know if connections are being made between the Black philanthropies and our institutions.” Muhammad says he’d like to band together with other Black organizations and figure out how to cultivate relationships with Black philanthropists. “Those of us who are nonprofits may not have the same access to the white philanthropic foundations, or some of our organizations might be ineligible to apply for grants from those funders because of our small budget sizes or we don’t have a point of entry,” he says. “This is where the Black philanthropic foundations can come in to have that conversation with us.”

Government agencies unwittingly reinforce the inequity, Muhammad suggests. Tax-supported funding from the New York State Council on the Arts and the Department of Consumer Affairs, for instance, is frequently “earmarked for mainstream organizations in support of their diversity and education initiatives, which in many cases is their only point of contact with BIPOC artists.” He adds, “In the age of COVID-19, things might get more dire for all of us. This is also a time to think outside of the box in terms of funding sources and sustainability of our organizations.” In a time when no theatre can happen on any space and everything is virtual and “spaceless” due the pandemic, one of the many puzzles smaller theatre development incubators are having to figure out is how they might offer new opportunities to artists who are among the many that have been hit hardest by the pandemic and how to predict some of the extra challenges that may present themselves moving forward.

Incubators of color are hardly limited to the Big Apple. JAG Productions, in the small town of White River Junction, Vt., launched in 2016 with the mission to produce classic and contemporary Black theatre and serve as an incubator of new work that excites broad intellectual engagement. Most importantly, over the last couple of years, JAG has been responsible for taking Black and brown playwrights from NYC and workshopping their genre-bending theatrical works.

“At the confluence of the White and Connecticut Rivers, which separates Abenaki land into the majority-white states of Vermont and New Hampshire, JAG has nurtured and sustained a multigenerational and multiracial community with Black artists and community organizers at its center,” says the organization’s founder and producing artistic director, Jarvis Antonio Green, a queer director and actor from the South. “Serving as a vehicle for change, JAG has used theatre to catalyze community dialogue around critical issues of race, gender, sexuality, and identity and has played a central role in carving spaces for Black folks and people of color in the predominantly white town of White River Junction, Vt.”

Green describes his journey as “brutal,” with 10 to 15 years auditioning for roles on national tours and assisting directors, all of which led him to establish JAG. He traces its genesis to a call with a friend, Jonah Hankin-Rappaport, in which he explained how much he was struggling. Green says Hankin-Rappaoort responded, “Hey, I’m going to go up to Vermont. My girlfriend is finishing up school, and we’re gonna be working on this farm in Barnard called Fable Farm. Just come hang out for a summer.”

He fell in love with the rural town and eventually made it his home. Green says he saw the need for a company that would make Black, brown, queer, and transgender folks “more curious and aware of ourselves, make us more curious about where we’ve come from and what we’re into, and to access what is already there and to bring that out.” He also says he started the company to help people heal from harm caused by working in anti-Black cultural institutions. In its first season, the organization staged critically acclaimed productions of August Wilson’s Fences, Tarell Alvin McCraney’s Choir Boy, and Polkadots: The Cool Kids Musical, a youth-driven work inspired by the events of the Little Rock Nine. He also launched the company’s touchstone JAGfest, a multidisciplinary weekend-long festival of new works. Since its launch, more than 10,000 Upper Valley theatregoers and 1,200 students from 10 schools have attended JAG performances. In recognition of its work, JAG was honored by the New England Theater Conference (NETC) as the 2017 recipient of the Regional Award for Outstanding Achievement in American Theatre.

In October 2019, JAG’s fourth season opened with the world premiere of Nathan Yungerberg’s Afro-surrealistic family drama Esai’s Table and sent shockwaves through the Upper Valley community, inciting conversations about race and the value of Black life in America when it ran 15 performances at the Briggs Opera House. The production had further aspirations: Prior to the coronavirus pandemic, the play was slated to transfer Off-Broadway to the illustrious Cherry Lane Theatre. Postponed indefinitely, the New York run of Esai’s Table would mark a pivotal moment for JAG as its first world premiere, first Off-Broadway transfer, and first co-production. The blinding success in such a short period of time is uncanny, as the company operates in a state with an African American population of less than 2 percent.

Of course, the show’s postponement is just one example of the widespread devastation the epidemic has caused. “I think right now, in this time, in this moment, especially when there’s so much Black theatre and theatre about race, that it’s important to hold space for spirit and check in with people and how this work is affecting us and the emotions that could be triggering us,” Green says, recalling his time working alongside director Stevie Walker-Webb and in spaces like the Public Theater, where they’d circle up to touch base before every rehearsal and performance. “To hold that space for the people making the difficult art is important.”

As the country experiences a rude awakening in the time of COVID-19, these development incubators need to be more resilient and work almost entirely on deficit, sometimes sacrificing the commitment to making art in favor of fundraising and handling administrative duties. But the formidable contributions of artists of color to our theatre culture and literature have always been made against steep odds, and these institutions have been and will continue to be fighting for their rightful places on the stages, whenever they reopen.

Marcus Scott is a New York City-based playwright, musical writer, and journalist. He has contributed to Elle, Essence, Out, and Playbill, among other publications.

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