Henry received nominations for his performances in The Scottsboro Boys, Violet and the 2018 revival of Carousel. He’s an original cast member of In the Heights and has toured in Hamilton. Some of his other Broadway credits include The Gershwins’ Porgy and Bess and Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed. Most recently he became the first Black actor to play the role of Dr. Pomatter in Waitress.

I took this occasion to talk to Henry, who was just announced along with Adrienne Warren as the Broadway stars to announce this year’s Tony nominations, about his first-ever stage role, to look back on his career so far and to also look forward to where and what Broadway might and should become. What follows are excerpts from our conversation that have been edited for length and clarity.

There’s so much more to hear from Henry, so I strongly encourage you to watch the full interview on our YouTube channel for stories about Carousel, tick…tick…Boom!, Stephen Sondheim and more.

I want to start by asking you about something that Harold Hill says in The Music Man, the first role you ever played which was at Florida Bible Christian School. He says “A man can’t turn tail and run just because a little personal risk is involved.” It strikes me as though that is the journey every actor takes to try to get on Broadway. What are the kind of risks that you feel you’ve taken that have been most successful for you in getting this career that you have now? 

I love that quote. I would say one of the biggest risks that I took was when I was doing In the Heights and it was my first Broadway show and Lin-Manuel [Miranda’s] first Broadway show. We had just won the Tony Award for Best Musical. I was in the ensemble and I had the opportunity to go to a principal role on Broadway in Godspell and play Judas. [In the Heights] was going to run for a long time. But I was like, Oh, I definitely see myself as a principal.

So I decided to put in my four weeks notice, leave and go do Godspell. And this was in 2008. Long story short, the show lost its investment and it didn’t happen. So I find myself in between these two amazing things, just right in the middle of a valley. That’s one of the biggest risks I took. I’m so glad that I took it early on because it showed me the highs and lows of the business and how I need to find something to sustain myself beyond the highs and lows. 

When you think of Broadway as it was back when you were doing In the Heights and Broadway as it is today, pandemic aside if that’s possible, what do you miss most from the way it was and what do you like most about what it is now? 

That’s a good question. I’ll start with what I love about what it is now. I think we’re just much more aware of bringing lots of voices to the table creatively and management wise and producing wise. For instance, Black folks are much more in control of their narrative and the way that they run their shows. I think that’s really important.

What do I miss about what was pre-pandemic or even 2008? For me, it was just this incredible community. It’s still an incredible community, but what struck me when I just got here was how it was just fun. It was just absolute fun. I came from Miami, Florida and coming up to New York in 2006 it was just this world of wonder. And I think now it’s not just fun for me anymore. It’s trying to do the right thing. It’s also fun, but now I’m much more aware and I’m much more strategic in how I’m trying to amplify different voices.

Last year I saw the revival of Caroline, Or Change, a show I loved when it was first on Broadway. But it felt like time and audiences had caught up with it in a way they didn’t the first time around. If The Scottsboro Boys was given a revival today do you think this awareness you mentioned might breathe new life into the show?

100 percent correct! Caroline, Or Change is a great example, it depends on the moment. The audiences in 2010 didn’t want to hear about this true story. I bet you now if Scottsboro Boys is on Broadway right now, oh my goodness! Art sometimes lines up with what’s going on. I’m so sad that I missed Caroline, Or Change because I heard it was incredible. Scottsboro Boys went to the West End and won some Oliviers there. It’s had a great regional life since I did it again at the Ahmanson Theater. It all depends on the moment and I do believe that if Scottsboro Boys came back right now that it would do really well.

You’re on Billy Porter‘s album The Soul of Richard Rodgers, which is completely a pop approach. I’m wondering how important you think it is for projects like that to exist so that people don’t think that Rodgers and Hammerstein or moving forward, even someone like Stephen Sondheim, is part of a previous generation or generations past, and that there’s still something viable about what these songs have to say and that young audiences should be paying attention to them.

The great thing about Stephen Sondheim music, Richard Rodgers music, is it’s just phenomenal storytelling, phenomenal lyric, incredible melodic lines. As someone who grew up in the 90s listening the R&B, pop, rock, jazz, I’m going to see great material through my lens and I’m going to want to interpret it like that, just like Billy Porter or Michael McElroy would want to in their lenses. And I think incredible material that speaks to us will stand the test of time and genre interpretation.

I’m glad to be part of a school of thought that wants to bring those incredible composers as current as possible just to people that don’t know and just think that that’s way back. And I hope that a lot of institutions now understand that and we can rethink some of these classics. They’re fine on their own. But what we’re talking about is bringing them to a newer audience and that’s going to take a little more fine tuning.

Do you remember your first audition for a Broadway show and the song you sang? What was it and what do you think your perspective would be on both how you think you performed it then and how you might perform it now?

Oh gosh, my first Broadway show was off-Broadway at the time, but it was In the Heights. I sang the song “Hear Me Out.” That was a song that Benny sang to Nina’s dad to be like, “Hey, listen. I can handle some more responsibility and I can handle your daughter. Just trust me.” It didn’t make it to Broadway, but that song it’s very hip hop and R&B.

It’s funny that the the title “Hear Me Out” means so much more to me now. I have a hat I was just wearing and it says, “Be Heard.” So like, hear me out, you know? Now I think about it in terms of Broadway. I want to be heard in a different way now. I want more voices to be heard.

If I’m going to sing that song now, though, oh gosh. You know what, Craig? I think I’m going to cover that. I’m going to cover that song. I’m going to put it on Tik Tok because I haven’t thought about it in a little while and I’m going to text Lin. I’m going to be like, “Yo, check this out.” I’m so glad that you brought that up. 

To watch our full interview with Joshua Henry, please go here.

Photo: Joshua Henry (Courtesy his Facebook Page)

The post Joshua Henry Talks All About Broadway appeared first on Cultural Attaché.

This one-hour event will feature archival performance footage and new interviews with stars of some of their most popular and awarded productions.

The shows and performers being featured include:

Patti LuPone talking about the 1987 revival of Cole Porter’s Anything Goes. The show was nominated for 10 Tony Awards and won three including Best Revival of a Musical. LuPone starred as Reno Sweeney.

Audra McDonald reminiscing about the 1984 revival of Carousel by Richard Rodgers and Oscar Hammerstein II. The show was nominated for five Tony Awards and won all five including Best Revival of a Musical and Best Featured Actress in a Musical for McDonald. This was the first of McDonald’s six Tony Awards (so far).

Rosemary Harris discussing the 1996 revival of Edward Albee’s A Delicate Balance. Joining Harris in the cast were John Carter, George Grizzard, Mary Beth Hurt, Elaine Stritch and Elizabeth Wilson. The production received 7 Tony Award nominations and won three including Best Revival of a Play.

I saw this production and can tell you this was absolutely theater at its best.

Steven Pasquale sharing memories from A Man of No Importance. This musical played in the Mitzi Newhouse Theater and featured a book by Terrence McNally with music by Stephen Flaherty and lyrics by Lynn Ahrens. Amongst the cast were Roger Rees, Faith Prince and Jessica Molaskey.

Paulo Szot talking about the 2008 revival of Rodgers and Hammerstein’s South Pacific. This Bartlett Sher production was nominated for 11 Tony Awards and won seven of them including Best Revival of a Musical and Best Actor in a Musical for Szot. Co-starring with him was Kelli O’Hara as Nellie Forbush with Danny Burstein, Matthew Morrison and Loretta Ables Sayre. Szot made his Broadway debut in South Pacific.

Seth Numrich telling stories from the 2011 production of the play War Horse. Nick Stafford adapted Michael Morpurgo’s novel for this show that received five Tony Award nominations and won all five including Best Play

Ruthie Ann Miles reminiscing about another Rodgers and Hammerstein musical, The King and I. This revival is from 2015 and found Kelli O’Hara as Anna Leonowens and Ken Watanabe as The King of Siam. Bartlett Sher’s production received 9 Tony Award nominations and won four including Best Actress in a Musical for O’Hara and Best Revival of a Musical.

Bartlett Sher sharing memories of the play Oslo by J.T. Rodgers. The play received 7 Tony Award nominations and won two including Best Play. Jennifer Ehle and Jefferson Mays starred in the play.

Jordan Donica talks about the 2018 revival of Lerner and Loewe’s My Fair Lady. Donica played Freddy Eynsford-Hill in Bartlett Sher’s revival that was nominated for 10 Tony Awards. This was a terrific production (which I saw with Laura Benanti who assumed the role of Eliza Doolittle after Lauren Ambrose left the show), but it only received a single Tony Award for Catherine Zuber’s costume designs.

As for the looking forward part of the show, this should include previews of the musical Flying Over Sunset and an opera by Ricky Ian Gordon based on Lynn Nottage’s play Intimate Apparel with Nottage writing the libretto. Both were postponed due to the pandemic.

Flying Over Sunset will begin previews at the Vivian Beaumont Theater on November 4th in advance of an official opening on December 6th. Intimate Apparel will begin previews at the Mitzi E. Newhouse Theater on January 13th in advance of an official opening night on January 27th.

Resident Director Lileana Blain-Cruz will offer this segment of Tales from the Wings.

There will also be an appearance by playwright Ayad Akhtar (Disgraced; Junk).

There is no charge to watch the show, however registration is required. Tales from the Wings will be available for viewing through Sunday, May 23rd on Lincoln Center Theater’s YouTube channel.

Photo: Patti LuPone in Anything Goes (Photo by Brigitte Lacombe/Courtesy Lincoln Center Theater)

Update: This post has been updated with opening dates for Flying Over Sunset and Intimate Apparel

2nd Update: This post has been updated to include the extension of the availably of the show until May 23rd.

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McDonald made her solo concert debut at Carnegie Hall in 2002. She has subsequently performed as a solo artist there in 2004, 2006, 2011 and 2015.

Of course, most people know her from her Broadway career. She made her Broadway debut in the musical The Secret Garden. That was a minor stop before her career hit the fast lane with her performance in the 1994 revival of Carousel. She won her first Tony Award (for Best Featured Actress in a Musical) for her performance as Carrie Pipperidge.

Look at how nervous she was at her first Tony Awards ceremony:

That was followed by Terrence McNally’s Master Class and the musical Ragtime. She received Tony Awards as Best Featured Actress in both those shows.

A dry patch soon set in where she only received a Tony nomination for the musical Marie Christine. Her next Broadway show was a Lincoln Center production of Shakespeare’s Henry IV.

Things starting looking up again when McDonald received her fourth Tony Award for her performance as Ruth Younger in the 2004 revival of A Raisin in the Sun.

The 2007 revival of the musical 110 in the Shade yielded another nomination. When she starred as Bess in 2012 revival of The Gershwin’s Porgy and Bess, she received her fifth Tony Award (for Best Performance by an Actress in a Leading Role in a Musical).

Her most recent nomination (and also her most recent win) was for her performance as Billie Holiday in Lady Day at Emerson’s Bar and Grill. With this sixth Tony Award she not only become the most awarded actress in Tony Award history, she now has won at least one Tony Award in all four categories for an actress.

On the big screen she’s been seen in such films as Hello, Again, Beauty and the Beast, Ricki and the Flash and Cradle Will Rock. Her small-screen credits include The Good Fight, The Good Wife and Private Practice.

She’s received one Emmy Award and two Grammy Awards (both Grammys for her performance in Los Angeles Opera’s production of Rise and Fall of the City of Mahagonny.)

In her spare time (and when live performances were happening), she has appeared in concerts in just about every major performance venue. She has also released six solo recordings.

To boot she’s long been active in social issues including homelessness, LGBTQ rights and more.

All of this well-documented and perhaps perfunctory information is just a way of saying this should be a truly fascinating 60-75 minutes.

Joining McDonald for Live with Carnegie Hall: Audra McDonald will be Andy Einhorn on piano and serving as music director. Mo Rocca (CBS Sunday Morning correspondent) will be the moderator.

If you cannot watch this event live, Carnegie Hall archives these events for later viewing at your convenience.

Photo of Audra McDonald courtesy of her Facebook page.

The post Live with Carnegie Hall: Audra McDonald appeared first on Cultural Attaché.

Our list this weekend also includes something for everyone: a deeply moving play, a Rodgers & Hammerstein musical in concert, a virtual reading of a bittersweet comedy from the 1970s, the longest-running one-woman show in Broadway history and concerts by two of Broadway’s finest leading ladies.

So here are your Best Bets at Home: July 10th – July 12th:

The Deep Blue Sea – National Theatre Live – Now – July 16th

Terence Rattigan’s 1952 play, The Deep Blue Sea, has proven itself time and time again as great drama and also a great opportunity for an actress.

Peggy Ashcroft originated the part of Hester Collyer, a woman whose failed marriage and crumbling relationship with an RAF pilot leads to a suicide attempt. When Hester is discovered in her apartment after failing to take her own life, the residents of the tenement house in which she lives try to encourage her to choose life over death. One neighbor, Dr. Miller, (Nick Fletcher) proves to be particularly influential.

In this 2016 National Theatre production Helen McCrory took on the role of Hester. (Other actresses who have tackled the part include Vivien Leigh, Blythe Danner, Gretta Schacchi and Rachel Weisz.) Carrie Cracknell directed.

Michael Billington, writing for The Guardian, said of McCrory’s performance, “I’ve seen many fine Hesters but few who have conveyed so clearly what Shakespeare called ‘the very wrath of love.'” 

National Youth Orchestras of the United States Highlights (2014-2019) – Medici.tv – July 10th – July 12th

This week’s offering from Carnegie Hall and Medici.tv features highlights from six years of performances by National Youth Orchestras from America. Joining the various orchestras are violinist Gil Shaham, singer Dianne Reeves and conductors Marin Alsop, Sir Antonio Pappano, David Robertson and more.

The program is split into three sections.

The first features John Adams’ Short Ride in a Fast Machine and Aaron Copland’s Billy the Kid Suite.

Part two features works by Sergei Prokofiev. Shaham joins for the composer’s Violin Concerto No. 1 in D Major and then the orchestra plays the second movement from Symphony No. 5 in B-flat Major.

The final segment features a jazz orchestra. Their program begins with the Symphonic Dances from West Side Story written by Leonard Bernstein. That is followed by works by John Coltrane and Miguel Zenon before Reeves comes out to sing a couple songs. The program ends with music by Dizzy Gillespie and Thad Jones.

Golda’s Balcony – The Wallis – Now – July 13th

William Gibson is a playwright best known for The Miracle Worker. He also wrote Two for the Seesaw and Golden Boy. One of his later works was a one-woman show about Golda Meir, the fourth Prime Minister of Israel (1969-1974). That show is called Golda’s Balcony.

Tovah Feldshuh, who recently appeared at The Wallis in Sisters in Law, has made Golda’s Balcony her own.

The play opened at New York’s Helen Hayes Theatre in 2003 and ran for nearly 500 performances making it the longest running one-woman show in Broadway history. Feldshuh received a Tony Award nomination for her performance.

This was not, by the way, Gibson’s first play about Meir. Anne Bancroft played her in a less-successful play called Golda in 1977. It only ran for 93 performances.

The Wallis has teamed up with the Los Angeles Jewish Film Festival to make Scott Schwartz’s film of Golda’s Balcony available for free viewing through July 13th. On the final day there will also be a Q&A with Feldshuh at 3:00 PM EDT/12:00 PM PDT.

Rodgers & Hammerstein’s Carousel: Live from Lincoln Center – Lincoln Center – July 10th -September 8th

In 2013, the New York Philharmonic staged a concert version of the classic Rodgers & Hammerstein musical Carousel. Starring in the production were Kelli O’Hara (Kiss Me, Kate) and baritone Nathan Gunn.

That concert will be available from Lincoln Center through September 8th.

The cast of Carousel also included Jessie Mueller (Beautiful: The Carole King Musical), Jason Danieley (Pretty Woman: The Musical), opera singer Stephanie Blythe, Shuler Hensley (The Ferryman), Kate Burton (Present Laughter) and John Cullum (Waitress).

Amongst the songs you will know from Carousel are “You’ll Never Walk Alone,” “If I Loved You,” “Soliloquy” and “June Is Busting Out All Over.”

Bernadette Peters: A Special Concert – Broadway Cares/Equity Fights AIDS – July 10th – 8:00 PM EDT/5:00 PM PDT

I published a separate preview of this concert earlier this week. So for details you can go here. This will be amazing and I just wanted to make sure it was on your radar.

Eric Reed Quartet Live at the Village Vanguard – July 10th and July 11th – 9:00 PM EDT/6:00 PM PDT

If you’ve ever been to New York’s Village Vanguard you know how the venue is steeped in music history that permeates your experience of being in the room.

Live concerts won’t be happening anytime soon for you to experience in person, but that doesn’t mean the music has stopped playing.

Pianist Eric Reed leads his quartet in two live performances this weekend. There won’t be an audience in person, but you can join online for one of both of the sets.

Reed’s quartet includes Stacy Dillard on saxophone, Dezron Douglas on bass and McClenty Hunter on drums.

J.D. Considine, writing for DownBeat Magazine said of Reed, “(he) is one of those tremendously gifted players who has chops galore, but seldom uses them to show off, instead letting his obvious command of dynamics add color to the melodies he plays.”

You need to purchase tickets to watch either of these sets. Tickets are $10.

Los Angeles Chamber Orchestra Summerfest – July 11th – 8:00 PM EDT/5:00 PM PDT

Los Angeles Chamber Orchestra launches the first of five Summerfest concerts from Zipper Concert Hall at the Colburn School of Music this weekend.

Ensembles are small and practice social distancing during performance. Each performance is filmed in advance for streaming.

The series launches with principal cellist Andrew Shulman, concertmaster and violinist Margaret Batjer and pianist Andrew von Oeyen performing.

The program begins with Florence Price’s The Deserted Garden. Price was the first black female composer to be recognized as a symphonic composer. Her Symphony No. 1 had its world premiere in 1933 by the Chicago Symphony Orchestra.

The centerpiece of the program is a performance of Mendelssohn’s Piano Trio in D Minor. The composer wrote this four-movement trio in 1839. It is considered amongst his best compositions.

This is a free concert. If you cannot watch it live as it happens, the concert will be archived here for later viewing.

Additional concerts are scheduled to take place every other Saturday this summer. We will keep you notified of those performances.

Same Time, Next Year – Guild Hall – July 12th – 7:30 PM EDT/4:30 PDT

Eastern Long Island’s Guild Hall is holding a virtual stage reading of Bernard Slade’s 1975 play Same Time, Next Year.

The play revolves around Doris and George who are married to other people, yet meet once a year in Northern California to continue their annual affair. Same Time, Next Year depicts the couple’s getaways from 1951 to 1975.

Starring in this virtual reading will be Julianne Moore (Still Alice) and Alec Baldwin (30 Rock).

When the play opened on Broadway the leads were Ellen Burstyn and Charles Grodin. Burstyn won the Tony Award for her performance. A film version was released in 1978 with Alan Alda joining Burstyn.

This is a fundraiser and tickets are priced at $100 per household. You can purchase tickets here. Once you have purchased tickets you will get details how and where to see the reading.

Audra McDonald with Seth Rudetsky – July 12th – 8:00 PM EDT/5:00 PM PDT

Six-time Tony Award winner Audra McDonald is Seth Rudetsky’s guest for his weekly concert series. Each concert features a live performance with a second opportunity to see the concert later.

McDonald has won Tony Awards in all four possible categories for an actor or actress: Best Actress in a Musical (The Gershwin’s Porgy and Bess); Best Featured Actress in a Musical (Carousel, Ragtime); Best Actress in a Play (Lady Day at Emerson’s Bar & Grill) and Best Featured Actress in a Play (Master Class, A Raisin in the Sun).

She and Rudetsky have known each other for years. They have regularly appeared together including this performance of “I Could Have Danced All Night” from My Fair Lady.

Tickets for either the live stream or the second viewing are $25 each. The rerun of Sunday’s concert will be streamed at 3:00 PM EDT/12:00 PM PDT on Monday, July 13th.

Billy Budd – Glyndebourne – July 12th – July 19th

Herman Melville’s short novel, Billy Budd, left unfinished by the author and published in 1924 (33 years after Melville’s death), serves as the inspiration for Benjamin Britten’s opera.

Billy Budd, the opera, had its world premiere in London in 1951. Novelist E.M. Forster (A Passage to India) and Eric Crozier wrote the libretto. Billy Budd is a rare opera in that it features no female roles. Even the chorus is all-male.

The opera tells the story of a young sailor (Jacques Imbrailo) who is newly recruited to join the HMS Indomitable. He possess great beauty and charm. The Master-at-Arms, Claggart (Phillip Ens), finds himself inexplicably drawn to the young man. Uneasy with the feelings Budd instills him, Claggart seeks to do everything he can to destroy the young man.

This 2010 production from Glyndebourne was directed by Michael Grandage. This was the first opera Grandage directed. He is best known for his work in theatre including the plays Red and Frost/Nixon. Mark Elder conducts the London Philharmonic Orchestra.

Andrew Clements, writing for The Guardian said of this production, “Jacques Imbrailo’s Billy is a total joy – slight, lithe and wonderfully guileless, singing his farewell to life with immense dignity and pathos. …The remorseless inhumanity of the story is certainly vivid, both on stage and in Mark Elder’s account of the score, by turns luminous and scaldingly intense. Elder does not neglect a single detail of what is perhaps Britten’s greatest orchestral accomplishment, and both the playing of the London Philharmonic and the singing of the Glyndebourne chorus have marvellous presence.”

That’s it for your Best Bets at Home: July 10th – July 12th. As always, a few reminders:

The Metropolitan Opera productions available this weekend are Tchaikovsky’s Eugene Onegin on Friday; Puccini’s Madama Butterfly on Saturday and my personal favorite opera, Wagner’s Tristan und Isolde on Sunday.

Fridays at Five from SFJazz this weekend features John Scofield and Lettuce in a concert from 2019.

Stratford Festival continues its Shakespeare films with their 2017 production of Romeo and Juliet. Also available are The Adventures of Perciles and Antony and Cleopatra.

Now we’re officially done with the Best Bets at Home: July 10th – July 12th. Enjoy your weekend and stay safe and healthy.

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