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The female protagonists in “Trouble in Mind,” “Caroline, or Change” and “Clyde’s” show the richness that comes from having a multitude of Black voices onstage.
The “Pass Over” playwright’s bold decision to alter her play’s ending was essential, she said, to convey the message that “we as a people need to heal.”
By staging Kathleen Collins’s rich psychological portraits of Black women, a theatrical group aims to enlighten, heal and inspire.
Oscar-nominated performances this season put the emphasis on the trauma, not the artistry, of Billie Holiday and Ma Rainey. The most insightful movie might just be “Soul.”
The actress-turned-director of “One Night in Miami” explains why she sees the fact-based drama about a meeting of four icons as a companion piece to “Watchmen.”
Black artists didn’t wait around for institutional change. They are making it happen.
A playwright, a director, an artistic director and an actor share their experiences — and prescriptions for change.
Our writers suggest works that illuminate and tackle issues of police brutality, social injustice and racial inequity.
How do you turn a magazine article about air travel and race relations into theater? For “Help,” Rankine’s new play, she started with a pile of letters.
The creator of “A Soldier’s Play” has largely written for black theaters. But now he has the chance to remind the biggest audiences: African-Americans served, too.
Why Anna Deavere Smith handed Michael Benjamin Washington a revival of her breakthrough 1992 documentary solo show about the Crown Heights race riot.
How does who you are affect how you see this Pulitzer Prize-winning drama? Two critics finally have the talk.
The bio-play “Twisted Melodies” aims to remind us of his timeless musicianship and unsettling personal struggles.
The new documentary “Sighted Eyes/Feeling Heart” explores a more complex and complicated playwright than the civil rights figure known to most people.