Bryan-Keyth Wilson - Page 2

On October 30, 2003, the institution of what we call American Musical theatre would never be the same. This highly anticipated musical hit Broadway running with box office success and two stars top billed. The wickedly talented Idina Menzel (Elphaba) and Kristin Chenoweth (Galinda) were the talks of the town in Stephen Schwartz's new musical. The magical question is, how do you keep a musical relevant and box office worthy in this day and age when rapping forefathers capture the masses? My answer is, if it ain't broke, then don't fix it. This show evolves in every way, from the music, movement, costume and make-up design we are taken on a magical journey.

On July 5th I had the esteemed pleasure to go backstage with the production staff of WICKED national tour to talk with members of the production staff and watch how they transform the Hobby Center to the magical land of OZ. I also had the pleasure to speak one on one with David O'Brien who serves as the Production Stage Manager. This was definitely a great opportunity for our BWW readers to see what goes on behind the scenes of a hit Broadway national tour.

It was circa 1993 when I was introduced to the brilliance of August Wilson by my high school theatre teacher Rodney Sheffield. I remember reading the play in one day, and from then on I was infatuated with Wilson's writing style and dynamic characters. Being a black kid in the theatre, there wasn't much for me to identify with, so Wilson quickly became a theatre icon in my eyes. Fast forward to 2000 and I got to play Cory in my last year of undergrad. My thesis was on the parallels of Wilson's FENCES and Miller's DEATH OF A SALESMAN. Here we are 16 years later and this play has crept up on my radar yet again! I had the pleasure of seeing The Ensemble Theatre's production of FENCES during the month of February and it was a great way to start my celebration of Black History Month.

The circus is in town and I ain't talking about Barnum & Bailey! The national tour of the 2013 revival of PIPPIN made its way to the Bayou City and I'm hippopotamusly happy to see this tour! When creative geniuses such as Bob Fosse and Stephen Schwartz are at the helm of the original material, there's no denying that a musical theatre maven such as myself would be overzealous.

Whenever art and reality collide there is an unexplainable truth to follow. On August 5, 2015 I had the esteemed pleasure to be one of the few to sit in on a panel discussion with the Humphrey's School of Musical Theatre's (HSMT) cast of RENT and HIV/ AIDS educators from Legacy Community Health Services. Its 2015, people are healthy and living with the disease, so obviously there's no need for a discussion about this now 'livable' disease. According to UNICEF in 2013, there were 240,000 new HIV infections among children in low- and middle-income countries. Other interesting facts about HIV/AIDS in the Black Community: Between 2008-2011, African Americans accounted for:

If you are socially conscious or have some type of social media account, you are well aware of the social injustices that seem to flood the timelines. In this past year, we have witnessed young black men assassinated at the hands of police officers as well as a massacre in Charleston, South Carolina where a deranged racist killed nine parishioners at Emanuel African Methodist Episcopal Church. Hashtags such as #Handsupdontshoot and #BlackLivesMatter have become the popular catch phrases in the juggernaut of social media. I know you are asking, 'What in the hell does this have to do with ASSASSINS the musical?' This show addresses so much more than the psychopathic motives of the nine assassins; it makes one question the gun control laws of then and now. Going into the theatre, I was excited to see a musical that I love and know very well, but my thoughts changed immediately at curtain call.

Many theatre companies stay true to the commercial theatre blueprint, and then there's The Ensemble! The Ensemble was founded in 1976 by George Hawkins. His mission was to create a theatre that would provide diverse roles for black artists. Here we are 39 years later and The Ensemble is taking the Houston theatre scene by storm with their Houston premiere of TRAV'LIN - the 1930's Harlem Musical.

Growing up listening to a vast array of music, my ear fell in love with the classics and one particular song entitled 'Summertime' touched my heart and ears. The Gershwin's music is a staple in the history of American Music, and I was ecstatic to see The Alley Theatre's production of GEORGE GERSHWIN ALONE.

Last night I had the privilege to go to the 3rd annual FADE TO BLACK playwright's festival. Houston has its share of fringe events, but there wasn't a playwright's festival celebrating the works of black playwrights until Denise O'Neal conceived the FADE TO BLACK festival. In their 3rd year of operation, the FADE TO BLACK festival is on the rise and serves as a platform for the creative voices of black theatre artists of the future. Not only do the playwrights get the chance to show their work, actors and directors have an opportunity to flex their creative muscles. An esteemed panel of judges read a lot of plays and narrowed it down to 10 titles that were rehearsed and presented last night.

Incest, power trips and a rebel with a cause are a few of the things we see in Houston Grand Opera's production DIE WALKÜRE. I like to think of the opera world as an elaborate wine list. Delectable notes from a fine Merlot, Riesling or Chablis, and Houston Grand Opera's current season is packed full of operas and musicals that are sure to please any musical pallet. We are introduced to DIE WALKÜRE which is the second installment in DER RING DES NIBELUNGEN (The Ring of the Nibelung) better known as The Ring Cycle. The other operas in the cycle include DAS RHEINGOLD, SIEGFRIED and GÖTTERDÄMMERUNG.

What do you get when you have a cerebral 4th grader, spoiled little brother and a turtle named Dribble? It's the popular Judy Blume book TALES OF A FOURTH GRADE NOTHING on stage adapted by Bruce Mason. The Main St. Theatre's TYA performance introduced a room full of inquisitive kids and adults to the work of Judy Blume. This best-selling children's book has inspired and entertained readers for 43 years. Blume is the author of 21 children's books, 7 young adult novels, and 4 adult novels. Saying Blume is an experienced writer would be an understatement. Blume's unique voice and youthful writing style bring forth great stories that transcend time.

It was the summer of 1988 when I first heard the melodious JESUS CHRIST SUPERSTAR score. After church, Mamma and Nanny T would make rounds to the local garage sales and the original cast album was one of their finds. I had a vintage stereo with a record player and this was my solace after church or rehearsal. When Bayou City Theatrics announced this show my excitement ranneth over and I was ready to head to the theatre to see what the creatives had for the American Stage.

Pompoms, popularity, sorority life and a mid-life crisis are just the tip of the iceberg in VANITIES, the musical. VANITIES, a play by Jack Heifner, opened Off-Broadway at Playwrights Horizons in New York in 1976. The cast included Kathy Bates as Joanne, Jane Galloway as Kathy and Susan Merson as Mary. In 1981, the play was taped and televised on HBO starring Annette O'Toole, Meredith Baxter Birney and Shelley Hack. Needless to say, this script is powerful. The musical was adapted by Jack Heifner with music and lyrics by David Kirshenbaum. When a popular play is transformed into a musical, I am doubtful, but this musical had its moments.

When a play weaves in watershed moments in American history, there's sure to be connectivity and enlightenment. Before Obama and the Change movement, there was Maynard Jackson. Jackson was the first black mayor of Atlanta. He would go on to serve three terms, during which he made huge strides in improving race relations and development in the city. Pearl Cleage's play WHAT I LEARNED IN PARIS serves up a history lesson, a powerful story, and a witty cast of characters. Cleage is an Atlanta-based writer with an impressive literary imprint. She is a best-selling author with Oprah Winfrey book club accolades. There is no denying her literary significance to the world. Cleage is not only a novelist, but a playwright of great works such as FLYIN' WEST, A SONG FOR CORETTA and WHAT I LEARNED IN PARIS. I had the esteemed honor to see Houston's Ensemble Theatre's Regional Premier and I have to say, I am glad that I was in the building.

When doing an interview with an artist I am in awe of their love and dedication for their craft. This month I had the pleasure to meet American mezzo-soprano Briana Hunter and our conversation went from traditional interview to old friends talking about their love for the classics. Our mutual love for Bizet's masterpiece CARMEN and love for Audra McDonald made this interview go very quickly.

Walking up to this warehouse building in the downtown area I was excited. Was I in the East Village seeing a production at La MaMa, or I was in the Bayou City seeing The Stark Naked Theatre Company's production of A MIDSUMMER NIGHT'S DREAM? From the rugged factory exterior of the venue to the perfectly designed industrial theatre space I was in artistic heaven.