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Ep 14: Eliza Jackson

1/26/2021

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This week on the podcast host Luisa Lyons chats with Eliza Jackson, an Australian producer based in the UK whom The Stage recently listed as one of the Top 100 Theatre Makers of 2020. 
Topics including making the switch from acting to producing, the joys and challenges of producing virtual theatre content during the pandemic, paying artists during lockdown, the future of streaming, what it means to make theatre during this time, and Lambert Jackson Productions streams of The Last Five Years, Songs for A New World, [title of show], and the upcoming I Love You, You're Perfect, Now Change. 

Australian born Eliza Jackson trained in Musical Theatre at the prestigious NIDA (National Institute of Dramatic Art) in Sydney. She moved to London in 2012 and since then, has worked in the theatre industry both on and off stage. 

In 2018, Lambert Jackson Productions was born and their first project was to take Eliza’s one-woman show to the Edinburgh Fringe Festival. The show, The Voice Behind the Stars received 5-star reviews across the board and was then toured around Australia with much success. On her return, she took on the role of Creative Director of Lambert Jackson full time.

I Love You, You're Perfect, Now Change will stream at select times between January 28-30, 2021. More info and tickets available from the London Coliseum. 

Available wherever you listen to podcasts! 

If you like what you hear, subscribe and leave a review! 

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Measure in Love

12/28/2020

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So, 2020, huh?! It has been a tumultuous, painful, bizarre year with so much loss, grief, and uncertainty. But on the other side of darkness, there is light. And if one good thing has come out of the pandemic, it’s that filmed live theatre content is more available than ever. From Andrew Lloyd Webber’s The Shows Must Go Online, The National Theatre and Met Opera’s weekly streams, Disney+ releasing Hamilton, to smaller independent theatres like Southwark Playhouse, Wise Children, or Westcoast Black Theatre Troupe releasing previously filmed content, and creating new musicals to stream.
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This year I launched the Filmed Live Musicals podcast. I chatted with director and writer Al Monaco, Tony nominee Brenda Braxton, the founder of Scenesaver Caroline Friedman, the executive director of Sarasota’s Westcoast Black Theatre Troupe Julie Leach, dancer and engineer Lena Wolfe, actor and puppeteer David Colston Corris, actor and producer Kimberly Faye Greenberg, academic Kelly Kessler, dancer and associate choreographer Barry Busby, collector Robert Sokol, and the award-winning composer Paul Gordon! The Filmed Live Musicals podcast is available for download wherever you listen to podcasts, and transcripts are available for each episode.

The Filmed Live Musicals database currently has information on nearly 200 musicals. The list I’m currently working on has almost twice that! And that’s not even including musicals that have been filmed without an audience, or the new genre of “zoomsicals”, musicals performed over Zoom.

In 2021, I’m looking forward to continuing to grow the site, learning about new filmed live musicals, and spotlighting artists from all around the world who make them happen.
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My Favorite Things (2020)

To close out 2020, here's a list (in no particular order) of my favorite filmed live musicals released this year! 
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Wise Children 
Based on Angela Carter’s novel of the same name Wise Children tells the epic story of show biz twins Dora and Nora Chance. Produced by Emma Rice’s new company Wise Children and filmed live at the York Theatre Royal in March, 2019. It was briefly available online via the Bristol Old Vic and BBC iPlayer.

​Why I loved it: Whimsical, joyful, and heart-breaking story-telling, cross-gender and cross-racial casting.
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Your Arms Too Short to Box with God 
Based on the Book of Matthew, Vinnette Carroll’s soaring celebration in song and dance of the story of Jesus. Produced by Westcoast Black Theatre Troupe, and filmed live in 2020. Not currently available to view — although WBTT Executive Director Julie Leach mentioned on the podcast that it might be available again at Easter!

Why I loved it: Glorious music with outstanding performances. Even though the film was not super high quality, it beautifully captured the energy and joyousness of the performance.
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Passion Project in Concert
A song cycle about twelve unsung women from history who sing to their great loves: the object of their careers. An aviator sings to her airplane, an acrobat to her tightrope, an astronomer to her comet. Filmed live in 2019 at The Green Room 42. Available on Facebook.

​Why I loved it: A show about women and history, I’m sold! Written and produced by an all-female-identifying team. Great music with solid performances.
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Wasted
A “rocumentary,” or documentary rock musical, about the Brontë family. Filmed live at Southwark Playhouse in 2018. Not currently available to view.

Why I loved it: I’m a sucker for historical musicals re-told with rock music. The film did a great job of capturing the raw and gutsy energy of the show.
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Fabulous Fanny Brice
A one-woman musical about the life of Fanny Brice. Written and performed by Kimberly Faye Greenberg. Available to stream on select dates via Stellar.

​Why I loved it: KimberIy Faye Greenberg is a hoot (I even got to interview her on the podcast)! I learnt new things about Fanny Brice, and her songbook has some of the best songs of the 20th century!
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Only the Brave
Based on true stories, Only the Brave follows Captain John Howard and Lieutenant Denholm Brotheridge, and their wives Joy and Maggie, as the soldiers prepare for the D-Day landings. Filmed live at the Wales Millennium Centre in 2016. Available on Vimeo.

Why I loved it: A moving portrayal of harrowing events from World War II.
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Pinocchio
Chichester Festival Theatre have streamed several excellent shows this year, and it seems unfair to pick just one! Pinocchio is a new adaptation of the classic children’s book by Anna Ledwich, with music by Tom Brady. Produced by Chichester Festival Youth Theatre and performed and streamed live in December 2020. Not currently available to view.

​Why I loved it: Gorgeous staging, inventive, playful, and performed by an outrageously talented cast of young performers. The show itself was delightful, but made even more impressive by the fact that it was rehearsed and performed with a cast of over 50 kids during the pandemic with social distancing!
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Count Orlov
The Moscow Operetta Theatre’s epic musical set in 18th century Russia, telling the story of Count Orlov and his love affair with Elizabeth, who claims to be rightful heir to the Russian throne.

​Why I loved it: The COSTUMES. The EMOTIONS. The POWER BALLADS. Truly, it was so pretty to look at.
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Hamilton
The Broadway smash hit about Founding Father Alexander Hamilton. Told through a blend of hip-hop, musical theatre, and featuring a racially diverse cast. Filmed live at the Richard Rodgers Theatre in 2016.

​Why I loved it: One of the biggest Broadway musicals of the 21st century captured live with most of the original cast and streamed on a platform available at an affordable price across the planet?! What's not to love?! 
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Beardo
An early musical by Dave Malloy (Great Comet, Octet) about the life of Rasputin. Filmed live for archival purposes in 2011 at Ashby Stage.

​Why I loved it: Much like Rasputin himself, the musical was dark, creepy, and disturbing. Even though it was filmed with one camera at the back of a black box theatre, it was so great to be able to see this little gem.
Filmed Live Without an Audience 
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Papi Piernas Largas
Spanish language production of Daddy Long Legs filmed live in Mexico City. Not currently available to view.

​Why I loved it: Daddy Long Legs is one of my favorite musicals, and the chance to see it in Spanish was wonderful.
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Fiver
A new musical about the life of a £5 note as it is passed through the hands and pockets of people in London. Presented in concert by Southwark Playhouse. Not currently available to view.

Why I loved it: The energy of the cast was palpable. Great score, with some killer vocals.
Zoomsicals (musicals performed online/virtually)
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Who’s Your Baghdaddy?
Australian virtual production of the off-Broadway satirical musical about a support group for the people who started the Iraq War. Available to stream via Curveball Creative and BroadwayHD.

Why I loved it: Hands down one of the best zoom-musicals made in 2020. A technical and artistic feat with an incredible cast.
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Into the Woods by Deaf Broadway
A split-screen stream of the original Broadway production of Into the Woods, with actors performing in American Sign Language (ASL). Not currently available to view.

Why I loved it: Actors who can sign are incredibly watchable. The production was inventive, beautifully performed, and best of all, made a piece of iconic theatre more accessible to people in the Deaf community.
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Where Did We Sit on the Bus?
Not exactly a “musical,” but it had to go on the list. Produced by Actor’s Theatre of Louisville, this one person piece by Brian Quijada comprises spoken word, rap, and hip-hop to explore the experience of growing up in an immigrant family and finding identity in making art. Available to stream until May 31, 2021 via Actor’s Theatre of Louisville.

Why I loved it: Satya Chávez is phenomenal. The piece is a brilliant intersection of music, art, history, and commentary on American politics.
Bonus Play​​
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Emil!a
A play about Emilia Bassano, the woman who may have been Shakespeare’s muse. Filmed for archival purposes in the West End at the Vaudeville Theatre. Not currently available to view.

​Why I loved it: A historic woman of color reclaiming her voice through the centuries? Yes please! The play is visceral and moving, with gorgeous use of music on stage. Coupled with powerhouse performances, and you have a brilliant night of theatre. 
What did you see this year that you loved?
Let me know in the comments, or on Twitter and Facebook!

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​Sign-up for the weekly Filmed Live Musicals newsletter!

Thank you to patrons Josh Brandon, Rachel Esteban, Mercedes Esteban-Lyons, Al Monaco, Jesse Rabinowitz & Brenda Goodman, David & Katherine Rabinowitz, and Bec Twist, for financially supporting Filmed Live Musicals.

No matter what level you pledge, patrons receive early access to content, including the Filmed Live Musicals podcast! Become a patron today to support the site!

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Ep 9: Broadway in the Box

11/9/2020

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In this week's episode of the podcast, I chat with Kelly Kessler, Associate Professor of Cinema and Media Studies at DePaul University, about her new book Broadway in the Box: Television's Lasting Love Affair with the Musical. 
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We talk about Kelly's research, why television networks produce live musicals, the role of adverts, the first musicals on television, the first Broadway musical to air live on television (and who got to watch it), and why we should put musicals on television!

​Broadway in the Box: Television's Lasting Love Affair with the Musical is available at all major bookstores.

About This Week's Guest
Kelly Kessler is an Associate Professor of Cinema and Media Studies at DePaul University. Her work draws on three main areas: the American musical, the intersection of genre and gender, and the mainstreaming of lesbianism in American television and film. Her scholarship can be found in works such as Studies in Musical Theatre, The Journal of E-Media Studies, The Journal of Popular Music Studies, Television and New Media, Movies, Moves, and Music: The Sonic World of the Dance Film, Televising Queer Women: A Reader, and The New Queer Aesthetic on Television: Essays on Recent Programming. Kessler has published two books, including Destabilizing the Hollywood Musical: Music, Masculinity and Mayhem and Broadway in the Box: Television's Lasting Love Affair with the Musical.
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Your Ring of Keys

7/13/2020

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Pride Month may be over, but that's no reason to stop celebrating, and definitely not a reason to stop advocating for LGBTQI rights and representation. While there is an ever-growing list of mainstream musicals where gay and lesbian characters are treated as more than the punchline, very few of these musicals have been filmed live and publicly released. Oh, how I wish Head Over Heels (which in 2018 featured the first openly transgender woman, Peppermint, originating a role on Broadway) and The Prom (telling the story of a group of Broadway actors who help a lesbian student bring her girlfriend to prom) had been filmed live during their Broadway runs. #MORELesbiansOnBroadway!

In alphabetical order, here’s a look at some filmed live musicals with LGBTQ themes and central characters who identify as LGBTQ.

Everybody’s Talking About Jamie
Everybody’s Talking About Jamie tells the story of a gay teenager who lives in a Yorkshire council estate and dreams of becoming a drag queen. Composed by first-time theatre writers Dan Gillespie Sells (music) and Tom MacRae (book and lyrics), it was inspired by the 2011 BBC documentary Jamie: Drag Queen at 16. The musical opened on the West End in 2016. It was filmed live in 2018, and broadcast in cinemas throughout the UK and Ireland, and in the North America. A movie adaptation was due for release this year, but has been postponed due to COVID. I really hope they release the filmed live version, because it is GLORIOUS.

Falsettos
Adapted from earlier William Finn works, Falsettos tells the story of a dysfunctional but loving Jewish New York family in the late 1970s. Marvin leaves his family, wife Trina and young son Jason, when he falls in love with another man, Whizzer. Trina ends up with the family psychiatrist Mendel, and the “family” is completed by lesbian neighbors Dr. Charlotte and Cordelia. When Whizzer is diagnosed with AIDS, the whole family comes together.

The musical first opened on Broadway to rave reviews at the Golden Theater in 1992. Lincoln Center staged a highly praised revival in 2016, which was filmed live in 2017 for Live from Lincoln Center and later broadcast in cinemas across North America. The musical was also broadcast on PBS, and is now available to stream on BroadwayHD.

Fun Home
Composed by Jeanine Tesori and Lisa Kron, and based on Alison Bechdel’s best-selling graphic novel of the same name, Fun Home is an intimate musical in which grown-up Alison looks back on her life in relation to her closeted father’s suicide shortly after she came out as a lesbian.

After an award-winning run at the Public Theater in 2013, the musical transferred to Broadway where it played a the Circle in the Square Theatre and became the first musical to win a Tony Award for Best Original Score by an all-female writing team.

Victory Gardens Theater in Chicago staged a production well-received production in 2017 which was recorded for archival purposes. In response to the COVID-19 shutdown, Victory Gardens Theater streamed the archival recording for a limited time in May.

Kinky Boots
Inspired by a true story, Kinky Boots tells the story of Charlie, who reverses the sinking fortunes of his family’s shoe business after meeting Lola, a drag queen in need of a sexy but sturdy shoe. With a score by Cyndi Lauper and book by Harvey Fierstein, the musical adaptation opened on Broadway in 2013 starring Billy Porter in the role of Lola.

The West End production opened in 2015 and was later filmed live by BroadwayHD. It was aired in cinemas in 2019, and is now available to view on BroadwayHD.

Pieces of String
Pieces of String is an original musical set both in 1940 and the present day. When Jane returns to the family home after her father’s funeral to begin clearing out the house, she unfolds a devastating secret, the ramifications of which stretch across generations.

Writer and composer Gus Gowland was inspired to create Pieces of String after seeing a BBC documentary that briefly mentioned gay relationships in the UK and USA during World War II, and modern day stories of gay men being unable to donate blood. Gowland sought to widen the scope for the way gay male characters are portrayed in musical theatre (a topic which he later explored in his PhD dissertation), and attempted to ensure women were also equally represented in the musical.

Pieces of String premiered at the UK’s Mercury Theatre Colchester in 2019 where it was filmed live. The musical is currently available to rent on Digital Theatre.

RENT
A modern re-interpretation of Puccini’s La Boheme, RENT tells the story of a group of friends and artists living in the East Village in New York in the late 1980s. The musical features several gay characters, including Tom Collins, a college professor who is gay and HIV positive, Angel Dumott Schunard, a drumming drag queen who is also HIV positive, Maureen Johnson, a bisexual performance artist, and Joanne Jefferson a public interest lawyer and lesbian.

Following a sold-out run at the New York Theatre Workshop, RENT transferred to Broadway in 1996 and went on to play 5123 performances before closing in September 2008. The final night of the original Broadway production was filmed live, and RENT: Filmed Live on Broadway is widely available on DVD, YouTube, Amazon, VUDU, and Google Play.

Taboo
Taboo the Musical is a love story set against the artistic backdrop of the New Romantic period in 1980s England, interweaving autobiographical elements from the lives of Australian-born performance artist Leigh Bowery, and unashamedly-out pop star Boy George. The musical opened on the West End in 2002, and despite lukewarm reviews, was  a smash hit with audiences. The original London production was filmed in 2003 and is available on DVD (Region 2 only).

Yank!
YANK! tells the story of male soldiers falling in love, depicting the gay world that “thrived just beneath the surface of the US Army in the 1940s.” The musical was a hit of the NY Musical Theatre Festival in 2005, and had a successful off-Broadway run in 2010. Below 54th hosted a 10th anniversary concert earlier this year, and the video is currently available on YouTube.

Extra content:
These musicals are not specifically focused around LGBT storylines, but feature LGBT characters or themes.

Bad Girls: The Musical
Based on the award-winning British drama, the musical premiered in 2006 before transferring to the West End in 2007. It was filmed live during its West End run is now available to rent on Vimeo.

Naked Boys Singing
A revue-style musical, with, as the title suggests, a group of men singing in a state of undress. Although the musical was a long-running off-Broadway staple, the filmed live version was panned by critics. If watching a bunch of naked dudes singing about things that affect dudes is your thing, you can watch it on Amazon.

The Rocky Horror Show
The cult-phenomenon started life as a stage show in 1973 that was put together in just three weeks.

To celebrate the 50th anniversary of the Royal Court Theatre in 2006, a special production of The Rocky Horror Tribute Show was staged featuring original cast members from stage and screen. The event was filmed live and is now widely available on DVD.

A 40th anniversary gala production was staged at the Playhouse in London in  2015. and the event was livestreamed in cinemas across Europe and the UK. It was later briefly available in the USA on BBC America. The film has not yet been officially released.

Victor/Victoria
Starring Julie Andrews and based on the 1982 film of the same name, the musical tells the story of Victoria Grant, an out-of-work British soprano who unsuccessfully auditions for a jazz club in Paris. She befriends Toddy who convinces her to disguise herself as a man pretending to be a woman. Filmed live on Broadway for Japanese television in 1995 with the original cast, the musical is widely available on DVD and Blu-Ray.

Bonus Audio Content
Queer Music Heritage has an excellent list of musicals queer-centric musicals that received commercial cast recordings.

Filmed Live Musicals is a labor of love that takes many hours of research and hundreds of dollars to run. 

Thank you to patrons Mercedes Esteban-Lyons, Jesse Rabinowitz & Brenda Goodman, David & Katherine Rabinowitz, and Bec Twist, for financially supporting the site.

Become a patron and support original research into filmed live musicals.
​Tiers start at $1/month. $5+ patrons receive early access to content with a monthly newsletter, and $10+ patrons will also receive early access to the new Filmed Live Musicals podcast.
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So Here We Stand

7/6/2020

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The title of this week's blog is a line from the 1979 filmed live musical When Hell Freezes Over I’ll Skate. The musical is one of less than a dozen filmed live musicals with Black people in the creative team, and also one of less than twenty musicals in the current database with a female director.

Filmed Live Musicals is a space for documenting stage musicals that have been legally filmed and publicly distributed. Writing as a white cisgender female, I recognize my biases of being drawn to things that look like me, and that in the past I have skimmed over the fact that much of musical theatre is created by white people, and, usually white men. Due to the fact that I am only fluent in one language, English, the database does not currently have any musicals in languages other than English.

Going forward, I am committed to making Filmed Live Musicals a space for addressing white male dominance in musical theatre by amplifying non-white voices, and amplifying musical theatre created by non-white artists and creatives.

Over time, I will be updating the database to state when a musical is lacking gender and racial diversity in its creative team and/or cast, and providing a search function that will allow visitors to the site to find musicals by non-white, and female-identifying, writers and directors. I also plan to add a Search by Subject feature which will include Kid Friendly musicals.

This work is a labor of love. It is detailed, on-going, and necessary. I am thankful to my Patreons for financially supporting the site.

Recent studies show we still have a long way to go to shifting the dominance of white bodies, voices, and creatives, in American theatre. 
  • According to Women of Color on Broadway, between 2008 and 2015, people of color represented less than 25% of the theater industry. 
  • According to the Asian American Performers Action Coalition in the 2016/17 season, across Broadway and sixteen of the largest non-profit theatres: 
    • 87.1% of all productions were directed by a Caucasian director 
    • 68.2% of all directors were male 
    • 95% of Broadway plays and musicals were directed by Caucasian directors 
  • According to a 2017 Actors’ Equity report studying contracts between 2013 - 2015
    • 74% of national stage management contracts went to Caucasian members 

The numbers for the truncated 2019/20 season of Broadway were not much of an improvement. Although the majority of plays and musicals, 33 out of 37, had at least two artists of color in the creative and design teams, just 4 were written by artists of color and only 1 of those was a woman of color. Two plays were directed by a person of color, both of whom were men, and zero musicals were directed by a person of color. Eight productions also had no actors of color in the cast. 

In an earlier post, History Has Its Eyes, I spotlighted filmed live musicals with Black actors in lead roles. This month, I’m taking a look at filmed live musicals with at least two Black people on the production team. Black lives matter, and it matters who gets to create the theatre that we consume and the stories that we tell. 

Researching the racial make-up of creative teams is a tricky task as bios, articles, and websites often do not mention ethnicity. I have used self-identification, my own knowledge, and pictures. This method is not always reliable or accurate. For a start, it is possible for a person to pass as white, but still identify as Black. Another difficulty is that producers are sometimes listed as companies, rather than as individuals, so, although statistically small, it is possible that shows and people have been missed as a result.

If I have misidentified, or left off, a person from this list, please let me know and I will rectify the error.

Here is a chronological list of filmed live musicals with at least two Black people in the production team.

When Hell Freezes Over I’ll Skate 
Producer: Urban Arts Corps 
Director: Vinnette Carroll 
Music: Cleavant Derricks and Clinton Derricks-Carroll
Musical Director: Cleavant Derricks
Based on poetry by: lindamichellebaron, Julian Bond, Linda Cousins, Countee Cullen, Walt Delegal, Paul Laurence Dunbar, Jacqueline Earley, Paula Giddings, Sam Greenlee, Langston Hughes, Saundra Sharp, and Quincy Troupe.

Founded by Vinnette Carroll in 1967, the Urban Arts Corps had the goal of developing the careers of Black and Hispanic actors in New York City, and creating accessible art for Black, Puerto Rican, and under-served communities. Carroll was a multi-talented and highly influential actor, director, and writer who found success in both the UK and the United States. She was the first, and still remains the only, African American nominated for a Tony Award for Best Director.

Staged at the Urban Arts Theater in 1979, When Hell Freezes Over I’ll Skate was a musical drama featuring the poetry of Black poets. The show was directed by Vinnette Carroll, and filmed live for Theater in America in 1979. The recording released on VHS in 1999, and DVD in 2003. 

Ain’t Misbehavin’
Music and Lyrics: Fats Waller 
Musical Director and Orchestrations: Luther Henderson
Set in a Harlem nightclub, Ain’t Misbehavin’ is a musical revue featuring the music of stride pianist Fats Waller. The Broadway production opened at the Longacre Theatre in May 1978. It  won the 1978 Tony Award for Best Musical, and went on to play 1604 performances before closing in 1982. NBC aired a filmed live recording of the musical in June 1982. It hasn’t officially been released, but a copy has been uploaded to YouTube.

Sophisticated Ladies
Based on a concept by: Donald McKayle 
Music: Duke Ellington 
Musical Director: Mercer Ellington 
Orchestrations: Al Cohn
Dance arrangements and incidental music: Lloyd Mayers
Vocal Arrangements: Malcolm Dodds and Lloyd Mayers
Choreography: Donald McKayle
Co-Choreography and Tap Choreography: Henry LeTang  

Sophisticated Ladies is a revue celebrating the music of Duke Ellington. The musical opened on Broadway in March, 1981, and in November 1982, it became the first Broadway musical to air on pay TV. Due to difficult contract negotiations, and fears the telecast would affect ticket sales, most of the Broadway cast did not appear in the taping. The telecast was released on DVD in 2005, and it is currently available on BroadwayHD. 

The Gospel at Colonus 
Producer: Yvonne Smith  
Make-Up Design: Toy Russell 

The Gospel at Colonus is a re-telling of Sophocles’ Oepidus at Colonus through a pentecostal sermn. It was filmed live during the American Music Theater Festival in 1985 and aired on PBS’ Great Performances. The cast included Morgan Freeman, Carl Lumbly, Robert Earl Jones, The Institutional Radio Choir, Clarence Fountain and the Five Blind Boys of Alabama. It was released on DVD in 2008. 

Passing Strange
Producer: Spike Lee
Book/Music/Lyrics/Orchestrations: Stew

Loosely based on the life of rock musician Stew, Passing Strange is a rock musical about a young man who leaves his conservative Californian home to find “the real” in Europe. The musical opened on Broadway at the Belasco Theatre in February 2008. Spike Lee filmed the Broadway production shortly before it closed in July 2008. Passing Strange: The Movie was released in 2009 to much acclaim. The film was aired on PBS in 2010, and also released on DVD. Passing Strange: The Movie is available to view on DVD. 

FELA! 
Producer: Jay Z, Will Smith and Jada Pinkett Smith 
Book: Bill T. Jones
Music & Lyrics: Fela Anikulapo-Kuti
Director/Choreography: Bill T. Jones
Hair, Wig, and Make-Up Design: Cookie Jordan

FELA! is a biographical musical about the pioneering Nigerian musician Fela Kuti. The musical was directed by choreographer and director Bill T. Jones, and featured Sahr Ngaujah in the title role. When FELA! opened in London in 2010, it became the first National Theatre musical production to be concurrently running on Broadway. The London production was filmed live for the National Theatre’s NT Live program, and broadcast in cinemas around the world. It is disappointing that the National Theatre did not release FELA! as part of its National Theatre at Home programme. The musical is not currently available to view. 

Memphis 
Musical Director: Kenny Seymour 
Orchestrations: Daryl Waters    
Costume Design: Paul Tazewell
Stage Manager: Alexis Shorter 
Conductor: Kenny Seymour

Memphis is an original musical about the power of music to overcome racial divides in 1950s America. Despite lackluster reviews, the musical won 4 Tony Awards, including Best Musical and played on Broadway for three years. Memphis was the first Broadway musical to be released in cinemas whilst playing on Broadway. It was subsequently released on Netflix, DVD, and Blu-Ray, and aired on PBS’ Great Performances. Memphis is now available to stream on BroadwayHD and YouTube. 

Rockin’ Down Fairytale Lane
Producer: Westcoast Black Theatre Troupe
Book: Nate Jacobs & Joey James 
Music & Lyrics: Nate Jacobs 
Concept & Director: Nate Jacobs 
Musical Director: James “Jay” Dodge II
Choreography: Donald Frison
Scenic Design: Annette Breazeale 
Costume Design: Angela Franklin-Mayo 
Lighting Design: Michael Pasquini 
Stage Manager: Juanita Munford
Videography/Editor: Bill Wagy 

Think Into the Woods meets The Wiz. Written by Westcoast Black Theatre Troupe’s artistic director Nate Jacobs. The 2018 production was performed at the Donnelly Theatre in Florida and was streamed throughout most of June on the WBTT website. 

Your Arms Too Short to Box With God 
Producer: Westcoast Black Theatre Troupe
Book: Vinnette Carroll
Music & Lyrics: Alex Bradford and Micki Grant
Director: Harry Bryce 
Musical Director: Jay Dodge II
Choreography: Donald Frison
Scenic Design: Michael Newton-Brown
Costume Design: Adrienne Pitts
Lighting Design:  Nick Jones
Stage Manager: Juanita Munford

Based on the Book of Matthew, Your Arms Too Short to Box With God is gospel-infused re-telling of Jesus’ final days. Written by the aforementioned Vinnette Carroll with Alex Bradford and Micki Grant providing music and lyrics, the musical originally opened on Broadway in 1976. The Westcoast Black Theatre Troupe staged a production in March 2020 as part of their 20th anniversary season celebrating Black women. The musical was filmed live and released as a result of the COVID-19 shutdown. Due to licensing and Equity agreements, the musical was only available until April 19th, 2020.

Filmed Live Musicals is a labor of love that takes many hours of research and hundreds of dollars to run. 

Thank you to Star patrons Mercedes Esteban-Lyons, Jesse Rabinowitz & Brenda Goodman, and David & Katherine Rabinowitz, and Bec Twist, for financially supporting the site.

Become a patron and support original research into filmed live musicals.
​Tiers start at $1/month. $5+ patrons receive early access to content with a monthly newsletter, and $10+ patrons will also receive early access to the new Filmed Live Musicals podcast. 
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Interview with Carrie Sutton

8/9/2018

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British actress and writer Carrie Sutton. Photo by Samuel Black.
The following interview was originally published in the July edition of the Filmed Live Musicals Patron newsletter. When you become a patron, you will be supporting the running of this site, and original research into the ever growing field of filmed live musicals. Previous newsletters include content on upcoming screenings, new movie technology, and 360º captures. Star Patrons also gain access to filmed live musical reviews. To gain access to Patreon-only content, become a Patron today!

British actor and writer Carrie Sutton has performed in many West End musicals including Sister Act: The Musical, Chitty Chitty Bang Bang, Little Women, Cabaret, Imagine This, and Kiss Me, Kate. She also worked as a dresser on the recent West End musical The Wind in the Willows. You can catch Carrie performing as Laurey in Oklahoma! later this month at the Gordon Craig Theatre in Stevenage.

Imagine This, Kiss Me, Kate, and The Wind in the Willows were all filmed live. I recently chatted with Carrie about her experiences working on these filmed live musicals. 

What difference is there between acting for camera and acting on stage? How does that translate when you’re filming a live stage show? 
You’re still giving a theatrical performance, but there is an awareness of the camera. It’s a different scale. I aimed for the middle of the audience rather than the back, and in close-up moments, I tried to be still. The audience is recorded too, and that energy translates on camera. 

For “Kiss Me, Kate” and “The Wind in the Willows,” we did pick-ups after the performance. For example, a mic went down during the show, so afterwards we re-recorded some scenes out of sequence.

You knew Kiss Me, Kate was going to be filmed from the outset. Did you rehearse for the stage or for the camera? 
We rehearsed it as a piece of theatre, and it was filmed as a piece of theatre. In fact, John Wilson [the conductor], told us to “chip your teeth on the words” because Royal Albert Hall is so big. You really have to work hard to make yourself understood in that space. So we definitely worked for the live performance of it. 

We had rehearsals at the Town Hall in Belsize Park, and then the camera guys would come in and see the work. They would check angles and close-ups, and compare it to marked-up scripts. There is a lot of back and forth between the director, the DP [director pf photography], and the choreographer. It’s very much a group effort.

"Kiss Me, Kate" aired during prime time on Christmas Day. That was so exciting for me. A real bucket list item. 

Stage musicals are sometimes altered when the cameras come in. What aspects of Imagine This were changed for the filming?
Some slight blocking changes were made to accommodate the cameras, but from the actors’ perspective very little was changed. 

What was it like working as a dresser on “Wind in the Willows”? 
It was filmed over three days. We had a dress rehearsal for close-ups, and where they got pick-up footage for when things go wrong in live filming, like a child screaming in the audience, or costume failure. The costumes had to be immaculate — it has to be perfect for film. What passes on a regular show won’t pass on a recording. Socks have to be level, ties have to be straight. There is extra attention to detail on quick changes because all the clothes use velcro, ties are stuck on with velcro, shirts do up with velcro, it has to be exact or it doesn’t look right. 

How do contract negotiations work for filmed live musicals? 
All the negotiations are done through the producer. For “Imagine This” we were given a fee for filming, or perhaps we waived it, and were bought out for the broadcasts. “Kiss Me, Kate” was all done prior and we just signed a standard BBC contract. If you had a step out, you received extra. 

You get reimbursed for royalties. It’s all worked out with the cast and crew and everyone is allocated points based on how much you work during the rehearsals and during the show. Like in “The Wizard of Oz,” we ended up distributing points based on word count. The female ensemble had a lot more to do in that show, so we were given more points. 

EPKs [Electronic Press Kit] are included in new contracts. We spend around a day in the theatre shooting scenes for promotional copy. The scenes are different from what’s in the show, we learn new blocking that works better for the camera, like a dance will be more spaced out, or the angles will be slightly different. “The Wizard of Oz” were on Children in Need. We did a montage specifically for that show. It was covered in the EPK as “reasonable promotion.” 

What do you think of filmed live musicals or filmed live theatre in general?
It’s both theatre and film. It’s a record. It is important to have records of shows. People who would otherwise never be recorded are able to have a record of their work, especially ensemble members. It creates revenue for the production. It brings art back to the people. It makes the West End accessible to people who are far away. 

Do you have a favorite filmed live theatre event?
The entire Kenneth Branagh season. I saw it filmed live, and I watched the films. I loved the Royal Ballet’s “Alice in Wonderland.” I felt really involved in the production, even though I was watching it in the cinema. Also the RSC’s “Henry” plays. 

Why are filmed live musicals important? 
The “Imagine This” DVD potentially gives that show a future life. It honors the work of the all the people that create the show, all the creatives, and the cast. The level of work that went into the show is incredible. Everything was handmade for the production, and every moment of work is captured. It was just a flash in the pan, but all the work, and commitment, and artistry, it isn’t lost. 

Learn more about Carrie at www.carriesutton.com  and  http://www.londonvoiceover.com/carrie-sutton/. 

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Mercedes Esteban-Lyons, Jesse Rabinowitz and Brenda Goodman, and David and Katherine Rabinowitz.
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I Wanna Be a Producer

3/30/2018

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In the final week of Women’s Month, let’s take a look at the producers.

In an earlier post, I took a look at the representation of women in the production teams of filmed live musicals. After costume design, the area where women had the highest representation was producing. In the current database, a total of 53 women have produced 34 filmed live musicals. Many musicals credit companies rather than people as producers, so these numbers may actually be higher.

Four of these women, Ellen M. Krass, Iris Merlis, Dione Orrom, and Bonnie Comley have been instrumental to bringing filmed live musicals to the world. Between them, these women have produced 19 filmed live musicals, which is 55% of all the musicals produced by women, and 15% of all the musicals currently in the database. Many of the musicals were Broadway or West End productions, and, in a fun tidbit related to last week’s post on Sondheim, nearly one-third of female produced musicals were written by Sondheim.

Ellen M. Krass
In a career spanning over 30 years, Ellen M. Krass has been instrumental in bringing theatre to film and television. Krass worked as an executive producer for RKO/Nederlander before forming her own company, EMK Productions. She has won 2 Emmy Awards, including the  Outstanding Classical Music-Dance Program for  Sweeney Todd in Concert in 2002 (shared with Iris Merlis and several others). Her filmed live musical credits include Sweeney Todd (1982 and 2001), Candide, Company, Gypsy, and She Loves Me. Krass also produced the 1985 concert production of Follies.

Dione Orrom
Dione Orrom has worked as a producer for film, opera, and live music concerts, with The English National Opera, Cirque du Soleil, The Three Tenors, Tina Turner, Elton John, and Cher among her many credits. Orrom has worked extensively in bringing live theatre to cinema and television. Her filmed live musical credits include the 25th anniversary productions of The Phantom of the Opera and Les Miserables, Billy Elliot, Miss Saigon, and The War of the Worlds.

Iris Merlis
Since graduating from the Guildhall School of Music and Drama in 1961, New York native Iris Merlis has worked as a stage manager, production consultant, and producer for film, television, and theatre. With credits spanning the ABC, HBO, and PBS, Merlis has been instrumental in producing theatre for television and film. Her filmed live musical credits include Candide, Into the Woods, Sunday in the Park with George, Sweeney Todd. Along with Ellen M. Krass, and several other producers, Merlis won an Emmy for Sweeney Todd in Concert.

Bonnie Comley
Bonnie Comley has worked as an actor, and producer for film, television, and Broadway. Over the past 14 years, Bonnie Comley, along with her husband Stewart F. Lane, has produced over 20 Broadway shows, including A Gentleman’s Guide to Love and Murder, Bloody, Bloody Andrew Jackson, and Legally Blonde the Musical. In 2015, Comley and Lane launched BroadwayHD, a subscription-based streaming service for live theatre productions. The site features musicals such as Billy Elliot, Daddy Long Legs, Les Miserables, Jesus Christ Superstar, and most recently The Wind in the Willows.

I hope women and girls see the work of these tremendous women and are inspired to become producers themselves.

Producing this website is a labor of love that requires hours of time, and money to run the site and conduct research. If you enjoy what you find here, please consider ​becoming a Patron. ​You will be supporting research into filmed live musicals and allow me to continue growing the database. ​​
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All I Need is the Girl

3/19/2018

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Last week I was fortunate enough to attend the inaugural Women’s Day on Broadway. The day featured 5 panels covering various aspects of the representation of women on Broadway. I live-tweeted the day, and you can catch up here!

Several panelists made reference to the fact that women purchase over 60% of Broadway tickets, yet make up only 17% of the creative teams on Broadway.

With this in mind, I wanted to take a look at the representation of women in the production teams of filmed live musicals. I made a record of the production positions for each musical, including stage director, film director, producer (film only), book writer, composer (music/lyrics), choreographer, lighting design, sound design, scenic design, costume design, orchestrator, musical director, and stage manager.
From this record, I made a list of all the women currently in the Filmed Live Musicals database. While the 124 filmed live musicals represent a tiny sample of all musical theatre offerings (and does not yet include musicals in languages other than English), it provides insight into the gender disparity in the industry as a whole.

​Over half, 75 of 124, filmed live musicals have at least 1 named woman in the production team. Not a single musical had an entirely female production team, and only one, Bad Girls, could claim half the production team was comprised of women. 


Comparing each production position, women were more likely to be the costume designer, producer, or choreographer.
  • 40 filmed live musicals (30%) had a female costume designer,
  • 34 filmed live musicals (27%) were produced by women.
  • 25 filmed live musicals (20%) employing a female choreographer.

It is worth noting that musicals with female producers also had the highest number of women in key creative positions.
The musicals with the most number of women in the production team were Bad Girls, Merrily We Roll Along, and Shrek, each with 6 women named in the production credits.

Out of a possible 13 production roles, Bad Girls the Musical had the highest number of women in the most number of roles, with 6 women in 6 different roles. It was directed by Maggie Norris, produced by Kath Gotts and Maggie Norris, written by Ann McManus and Maureen Chadwick, choreographed by Ann Yee, and stage managed by Sheena Linden.

Merrily We Roll Along had 6 women in 5 different roles. The musical was directed by Maria Friedman, and produced by Debbie Bindo, Sondia Friedman, and Tanya Bink. Catherine Jayes was the musical director, and Soutra Gilmour was the scenic and costume designer. 

Ernest Shackleton Loves Me had 5 women in 5 different production roles, including director Lisa Peterson, producer Bonnie Comely, lyricist Val Vigoda, costume designer Chelsea Cook, and stage manager Lucy Kennedy. 
Only 6 musicals (0.04%) had both producers and directors who are women, including Legally Blonde, Ernest Shackleton Loves Me, Merrily We Roll Along, When Hell Freezes Over I’ll Skate, Pippin, and Bad Girls. 

A tiny total of 10 filmed live musicals (0.08%) had a female stage director, and just 3 musicals (0.02%), had a female film director. Vinnette Carroll was the only female to serve as both film and stage director (for When Hell Freezes Over I’ll Skate).
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When it comes to writing the musicals, the representation of women is incredibly low.
  • 7 musicals (0.05%) had lyrics by a woman.
  • 7 musicals had their book written by a woman.
  • 3 musicals had both book and lyrics both written by women.
  • 2 musicals had both music and lyrics by women
  • 2 musical had book, music, and lyrics, written by women.

The music of filmed live musicals is also lacking in female representation.
  • 7 musicals were composed by women.
  • 4 had a female musical director
  • 2 musicals were orchestrated by women.

Representation of women in the design team is sorely lacking.
  • 12 musicals had a female scenic designer. In 8 of these, the scenic designer also served as the costume designer.
  • 3 musicals had a female lighting designer,
  • Zero musicals had a female sound designer.
While over half of the filmed live musicals in the database have at least 1 female in a named production position, the above figures show that women do not have equal representation in the production teams.

Just a few days ago, on March 16, 2018, The League of Professional Theatre Women launched an initiative entitled #OneMoreConversation. The initiative aims to encourage theatre decision-makers to have “one more conversation” with a woman before finalizing hiring to try and bring more women in the process. 

While the number of women in the Filmed Live Musicals database reflects the low representation of women on Broadway, it is important to note that Broadway musicals only make up a small portion, 17%, of the musicals in the database. It will be interesting to see if the low representation of women changes as more musicals, and more musicals from a wider range of countries, are added to the database.

Let's hope with the continuation of Women's Day on Broadway and #OneMoreConversation, we will see more women in musical theatre production teams, and more of those musicals being filmed live for a wider audience to enjoy. ​​​​
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It Takes a Woman

3/8/2018

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Image by Marco_Polo
To celebrate International Women’s Day, here is a list of filmed live musicals featuring female creative teams. Click on the titles to learn more about each show!
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Ernest Shackleton Loves Me (2017)
  • director: Lisa Peterson​
  • producer: Bonnie Comley
  • lyrics: Val Vigoda
  • costume design: Chelsea Cook
  • stage manager: Lucy Kennedy
  • A multimedia musical performed and captured live during its Off-Broadway run at Second Stage in New York. Available to view on BroadwayHD.
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From Here to Eternity (2014)
  • director: Tamara Harvey
  • A musical based on the novel of the same name. Filmed live during its West End run and released in cinemas. Now available to view on BroadwayHD and on DVD. ​
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Merrily We Roll Along (2012)
  • director: Maria Friedman
  • producer: Debbie Bindo, Sonia Friedman, Tanya Bink
  • scenic & costume design: Soutra Gilmour
  • musical director: Catherine Jayes
  • The Menier Chocolate Factory’s smash hit 2012 production. Filmed by Digital Theatre, and released in cinemas and online. Not currently available to view. ​
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Bad Girls The Musical (2007)
  • director: Maggie Norris
  • producer: Kath Gotts, Maggie Norris
  • book: Ann McManus, Maureen Chadwick
  • stage manager: Sheena Linden
  • Based on the British television Bad Girls, the musical was filmed live on the West End and is available to view on Amazon and Vimeo. ​
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Legally Blonde the Musical (2007)
  • director: Beth McCarthy Miller
  • producer: Barbra Danov
  • Musical version of the hit movie. Broadcast live on MTV during its Broadway run. Not officially available to view. ​
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Contact (2002)
  • director: Susan Stroman
  • A “dance play” conceived, choreographed, and directed by Susan Stroman. The final Broadway performance was aired on PBS’ Live from Lincoln Center. Not currently available to view. ​
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A Tale of Cinderella (1995)
  • director: Patricia Di Benedetto
  • stage manager: Heather Hazelton Hamelin
  • An “Italian-flavored” version of Cinderella performed at the New York State Theatre Institute. Taped live by PBS, and now available on DVD. ​
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When Hell Freezes Over I’ll Skate (1979)
  • director: Vinnette Carroll
  • Musical featuring poetry by people of color set to music. Conceived and directed by trailblazer Vinnette Carroll. Taped live and aired on Channel 13’s Theater in America. Now available on DVD. ​
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The Heart's a Wonder (1958)
  • book: Mairin O’Farrell, Naula O’Farrell
  • music: Maria Duane
  • choreography: Josie McAvin, Patricia Ryan
  • A popular musical based on the play The Playboy of the Western World. During its West End run, the BBC aired excerpts from the show on live television. The live broadcast was not recorded and is not available to view. ​
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Some Day Someone Will Stand Up

2/19/2018

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Amsterdam News
This week's blog title comes from Langston Hughe's poem "Note on Commercial Theatre," which is spoken by  Brenda Braxton in the 1979 musical When Hell Freezes Over I’ll Skate. ​In researching last week’s blog post, History Has Its Eyes, I was fascinated by the biography of the musical's director, Vinnette Carroll, and decided to spotlight her incredible career in this week's post. 

Carroll was one of the first African American women to direct on Broadway, and the West End. She was nominated three times for a Tony Award, and was the first (and regrettably, still the only), African American woman to be nominated for a Tony Award for Best Director. She was an Obie and Emmy Award winner, and celebrated in her lifetime as a driving force for theatre by, and about, African American people.

Over the course of her career, Vinnette Carroll created and wrote 16 musical plays, many of which were written with long-time collaborator Micki Grant. Carroll also collaborated with Alvin Ailey and Langston Hughes. Her work has been credited with launching the careers of actors such as Cicley Tyson, Clarence Williams III, James Earl Jones, Jennifer Holliday, Brenda Braxton, and Cleavant Derricks, among many others.

Born in New York in 1922, Carroll spent most of her childhood in Jamaica. She returned to New York City to attend high school and, thanks to her father’s thriving dental practice, enjoyed a rich cultural life attending theatre and receiving music lessons.

To satisfy her father, Carroll trained to be a psychologist. Shortly after leaving her PhD program at Columbia University in 1948, Carroll sought to pursue her true passion as an actor. She attended the New School and the Actors Studio, training with Erwin Piscator, Lee Strasberg, and Stella Adler.

Upon completion of her actor training in the early 1950s, Carroll found regular acting work, but was frustrated by the limited range of roles made available to her as an African American woman: maids, and roles that reinforced negative stereotypes of people of color. In response, Carroll created her own work and successfully toured a one woman show.

Carroll began teaching acting at the High School for the Performing Arts in 1955, a position she held for 11 years. During this time, Carroll developed a passion for directing.

In 1964, Carroll won an Emmy Award for the television production Beyond the Blues, a dramatization of works by African American poets.

In 1968, Carroll joined the New York State Council on the Arts as the new director for the Ghetto Arts Program. The Ghetto Arts Program (GAP) sought to provide collaborative theatre experiences for African American and Hispanic communities in New York, and establish a new repertory company that created new work.

In her capacity as director of GAP, Carroll founded the Urban Arts Corps (UAC). Within a few years Carroll left GAP and became the artistic director of the UAC. The UAC trained a troupe of actors from African American and Hispanic backgrounds, who wrote and performed original material. Later knowns the Urban Arts Theatre, the UAC worked in schools, colleges, and prisons to bring theatre, and theatre training, to minority audiences.

Throughout her 10 years with the Urban Arts Corps, Carroll directed over 50 productions. Musical highlights include But Never Jam Today, Don’t Bother Me I, I Can’t Cope, and Your Arms Too Short to Box with God.

Don’t Bother Me, I Can’t Cope, which first opened at the UAC in 1970, opened on Broadway at the Playhouse Theatre in 1972. The musical earned Carroll a Tony nomination for Best Director of a Musical and played 1065 performances. It will be performed in 2018 as part of Encores! Off Center’s summer program.

Your Arms Too Short to Box with God transferred to Broadway in 1976, earning Carroll her second Tony nomination for Best Director. The musical was revived on Broadway in 1980, 1982, and 1996.

But Never Jam Today, was an adaptation of Alice in Wonderland featuring gospel and calypso-infused music. The musical adaptation began life as Alice, and after much re-working and several off- and off-off-Broadway runs opened on Broadway in 1979. It was a commercial flop and closed within a week of opening.

In 1984, living in Florida in “semi-retirement,” Carroll founded the Vinnette Carroll Repertory Company. The company was renamed the Metropolitan Diversity Theatre at Carroll's request in 2000 after she suffered a debilitating stroke. The theatre is now the home of Fort Lauderdale’s Cinema Paradiso.

Despite Carroll’s immense body of work, just one of her shows was filmed live for public distribution: When Hell Freezes Over I’ll Skate. The musical had a short run at the UAC in January 1979, before being presented as part of the Lincoln Center’s Black Theatre Festival in May of the same year. An hour-length version of the musical co-directed by Carroll was presented on PBS in June 1979. When Hell Freezes Over I’ll Skate was released on VHS in 1999, and on DVD in 2003. Sections of the musical are currently available on YouTube.

In the capture of When Hell Freezes Over I'll Skate, we get a mere glimpse of Carroll’s incredible talent as a writer and director. One wonders if Carroll had been born white, and a male, how much more of her work we could have continued to enjoy watching today. 
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