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Black on the Great White Way Audra McDonald, Colorblind Casting and the Power of Identity Gabrielle Levy MUS-185 Final Paper

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Page 1: Presentation audra

Black on the Great White WayBlack on the Great White WayAudra McDonald, Colorblind Casting and the Power of IdentityAudra McDonald, Colorblind Casting and the Power of Identity

Gabrielle LevyMUS-185

Final Paper

Page 2: Presentation audra

Black ON THE Great White Way

"If you grow up singing Funny Girl but no one will ever cast you as Fanny Brice, you look for people doing work that might welcome you, and what they are doing will not typically be Funny Girl but Medea."

"If you grow up singing Funny Girl but no one will ever cast you as Fanny Brice, you look for people doing work that might welcome you, and what they are doing will not typically be Funny Girl but Medea."

Green, Jesse. “Diva of the Difficulty Song.” New York Times. 7 Nov 1999.

Page 3: Presentation audra

Black ON THE Great White Way

"Basically, actors play themselves. From the director's point of view, the ideal is to cast someone as close to the character being portrayed as possible. From the actor's point of view, the ideal is to replicate your real-life emotions on stage, honestly playing yourself rather than "hiding behind the character." From the audience's (and thus the critic's) point of view, you are supposed to "reality test" the performances against your experience of everyday life.

Thus, if a white man on stage purports to have a daughter who is in fact a black woman, lights flash in your head. This could never happen! "Blacks do not belong in parts for white actresses," Simon was quoted as saying, "unless they can pass for white"

Hornby, Richard. “Interracial Casting.” The Hudson Review Vol. 42 No. 3. (1989)

Page 4: Presentation audra

Black ON THE Great White Way

RagtimeBook: Terrance McNally

Lyrics: Lynn Ahrens

Music: Steven FlahertyBased on the novel by E.L. Doctorow

Brian Stokes Mitchell“Coalhouse”

Marin Mazzie“Mother”

Mark Jacoby“Father”

Audra McDonald“Sarah”

Peter Friedman“Tateh”

Book: Terrance McNally

Lyrics: Lynn Ahrens

Music: Steven FlahertyBased on the novel by E.L. Doctorow

Brian Stokes Mitchell“Coalhouse”

Marin Mazzie“Mother”

Mark Jacoby“Father”

Audra McDonald“Sarah”

Peter Friedman“Tateh”

McDonald and Mitchell singing “Wheels of a Dream”

Page 5: Presentation audra

Black ON THE Great White Way

CarouselCarouselBook: Richard Rogers

Lyrics: Richard Rogers

Music: Oscar Hammerstein IIAdapted from Ferenc Molnár’s Liliom

Sally Murphy

“Julie”

Michael Hayden

“Billy”

Audra McDonald

“Carrie”

Shirley Verrett

“Nettie”

Book: Richard Rogers

Lyrics: Richard Rogers

Music: Oscar Hammerstein IIAdapted from Ferenc Molnár’s Liliom

Sally Murphy

“Julie”

Michael Hayden

“Billy”

Audra McDonald

“Carrie”

Shirley Verrett

“Nettie”Performing “Mister Snow” at Broadway’s Best at Pops

Page 6: Presentation audra

Black ON THE Great White Way

110 in the Shade110 in the ShadeBook: N. Richard Nash

Lyrics: Tom Jones

Music: Harvey SchmidtBased on The Rainmaker by Nash

Audra McDonald

“Lizzie”

John Cullum

“H.C. Curry”

Steve Kazee

“Starbuck”

Christopher Innvar

“File”

Book: N. Richard Nash

Lyrics: Tom Jones

Music: Harvey SchmidtBased on The Rainmaker by Nash

Audra McDonald

“Lizzie”

John Cullum

“H.C. Curry”

Steve Kazee

“Starbuck”

Christopher Innvar

“File”With John Cullum, singing “Raunchy”

Page 7: Presentation audra

Black ON THE Great White Way

Broadway roles, 1994-2007Broadway roles, 1994-2007Show Role Written (racial) categorization Awards

Carousel Carrie White (1870s) Tony, DD (won)

Master Class Sharon A Soprano Tony (won)

Ragtime Sarah Black, from Harlem (1906) Tony (won)

Marie Christine Marie Mixed-race, voodoo-practicing (1890s) Tony (nom)

Dreamgirls Deena Black, pop and disco star (1962-1972) n/a

A Raisin in the Sun Ruth Black housewife (1950s) Tony, DD (won), Emmy (nom)

Passion Clara Italian (1860s) n/a

110 in the Shade Lizzie White, spinster (1936) Tony (nom), DD (won)

Page 8: Presentation audra

Black ON THE Great White Way

"Singing for Ms. McDonald is just a more emphatic and articulate way of talking, one that’s needed when emotions are so intense they can’t be captured without the texture and shading of melody. When you listen to Ms. McDonald’s Lizzie sing … you don’t know how she feels; you feel how she feels."

Brantley, Ben. “Neither Rain Nor Love Till a Guy Promises Both.” New York Times. 10 Mar. 2007.

Page 9: Presentation audra

Black ON THE Great White Way

“Mister Snow” - Carousel (1994)“Mister Snow” - Carousel (1994)

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Page 10: Presentation audra

Black ON THE Great White Way

“Raunchy” - 110 in the Shade (2007)“Raunchy” - 110 in the Shade (2007)

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Page 11: Presentation audra

Black ON THE Great White Way

“Happy Days are Here Again”/ “Get Happy” - with Patti LuPone

“Happy Days are Here Again”/ “Get Happy” - with Patti LuPone

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