News Ticker

Simon Jones

Trouble in Mind

November 21, 2021

If Alice Childress’ 1955 Off Broadway hit, "Trouble in Mind," had transferred to Broadway in 1957 as it was scheduled to do, it would have been the first play by a Black playwright to reach the main stem. As if happened, the white producers wanted continual softening of the play’s ending and after two years of rewrites Childress threw in the towel. Ironically, this is exactly the theme of her backstage play. As things worked out, the softer Raisin in the Sun by Lorraine Hansberry, less critical of its white audience, became the first play by a Black woman writer to reach Broadway in 1959 and the rest is history. Now history is being remade with the Roundabout Theatre Company’s production of "Trouble in Mind" at Broadway’s American Airlines Theatre 64 years later with a fine cast led by Tony Award winners LaChanze and Chuck Cooper. [more]

Panama Hattie

October 29, 2019

While the original production had a great many one-of-a-kind stars supporting Merman, one of the distinctions of the York production is its cast: Montel has been able to obtain the services of Klea Blackhurst for Hattie Maloney, the Ethel Merman role. Blackhurst, you may know, has specialized in Merman for years including her tribute show "Everything  the Traffic Will Allow" as well as appearing in the Merman roles in revivals of "Anything Goes," "Red, Hot and Blue," "Call Me Madam" and The York’s staging of "Happy Hunting." Montel has also surrounded her with seasoned theater veterans including Stephen Bogardus, Simon Jones, Gordon Stanley and David Green. The members of the singing and dancing chorus are equally talented. [more]

Me and My Girl

May 14, 2018

Mr. Carlyle’s giddy opening is a thrilling mise-en-scène of a chorus line of servants, floating props and a grand back drop of a miniature representation of the country estate where the action is set. Act II starts with a rollicking cricket and tennis on the lawn segment showcasing cast members in gleaming casual wear and the commanding gyrations of Mark Evans who wonderfully plays a fatuous cad. There’s also a daffy number where portraits of ancestors in clothing of different eras come to life and dance. [more]