The New York theatre community ended 2015 with a bombshell of a story that developed into its first major issue of 2016.
As reported on BroadwayWorld, Tony-winning actor Tonya Pinkins announced in late December that she would be leaving Classic Stage Company's then-previewing production of a new adaptation of Bertolt Brecht's drama MOTHER COURAGE AND HER CHILDREN, which was scheduled to open the next week.
In a written statement, she explained the artistic differences between her and director Brian Kulick, who is in his final season as artistic director of the company. Click here for Pinkins' full statement, charging that Kulick's concept, setting the play in the Democratic Republic of the Congo, was seen through "the filter of the white gaze," with little regard for her perspective as a black woman. Click here for Kulick's response.
The situation escalated when actor Michael Potts, the production's Equity Deputy, posted his view of the situation on Facebook. (click here) Pinkins responded with a lengthy statement that began with "No man speaks for me in 2016." (click here)
After a week's hiatus, preview performances of CSC's MOTHER COURAGE AND HER CHILDREN have resumed this week with Kecia Lewis in the title role. As of this time, no opening date has been announced for the production, which is scheduled to run through January 24th. Visit www.classicstage.org.
In a podcast for American Theatre, Tonya Pinkins discusses the situation with hosts Rob Weinert-Kendt, Suzy Evans, and Diep Tran, but also expands on the topic in a discussion about race and theatre. They bring up the late August Wilson's belief that actors of color should not involve themselves with classic theatre and other works where the playwrights intended the characters to be white. Pinkins has praise for white director John Doyle's current Broadway production of THE COLOR PURPLE.
The discussion also touches the actor's experiences starring in CAROLINE, OR CHANGE and last season's RASHEEDA SPEAKING, and how she believes those two pieces inspired healthy discussion among people of different races.
Click the Facebook post below for the podcast.
"You have to go, 'Who do I know who's lived that, who can come in and create that for me?' I think as a black person, I...
Posted by American Theatre magazine on Tuesday, January 12, 2016
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