That is similar to doing a new work to introduce it to somebody. But the really fun thing is, when people haven't seen the work, and you know that for that night, for those few people, you're the one carrying the torch for that person who can then say that was their first. As everybody else has said so eloquently, when you do that right, you're doing it for people who've seen it 50 times and you hope that they enjoy it as one of the versions that they're seeing. At the same time, you're also owing it to a piece that's considered a classic to put your own twist on it and to add freshness to it. Now we both find ourselves in widely beloved Sondheim revivals. There's a number of fears and stresses to introducing something fresh and new and inviting people to expand to new work. I was in Dave Malloy's Great Comet of 1812 Sara was in and wrote Waitress. JOSH GROBAN (Sweeney Todd, Sweeney Todd: The Demon Barber of Fleet Street): The last time Sara and I were on Broadway, we were in two new works. Even with a revival like A Doll's House, these themes feel even more present. People in New York are seeing the show that just went through a breakup. I'm an Iranian immigrant, and so when the Iranians see the show, they think the show is about current-day Iran. But what's really cool with A Doll's House specifically - and why I think it's sadly still very relevant today - is that the themes that are so present-day are actually from Ibsen. Immediately when you say that you're playing Torvald in A Doll's House, everyone's like, "Well, I'm ready to hate him." You're battling with a lot of preconceived notions. But there's so much baggage with these characters because everyone knows these characters. So, I had to weirdly approach it like a new play. I was one of the only members that didn't know A Doll's House. ARIAN MOAYED (Torvald, A Doll' s House): With our version, it's also tricky because it's a new adaptation, so it's also a new play. "Broadway's Black Playwrights on Legacy Theater and Their Vision for an Inclusive Industry". " 'Thoughts of a Colored Man' to be filmed by Theatre on Film and Tape Archive". " 'Waitress' and 'Thoughts of a Colored Man' Close on Broadway Amid COVID Surge". " 'Thoughts of a Colored Man' closes on Broadway". "When Thoughts of a Colored Man Almost Canceled Broadway Performance, Playwright Keenan Scott II Saved the Day". "Review: 'Thoughts of a Colored Man' Preaches to the Choir". "Broadway's 'Thoughts of A Colored Man' explores diversity, power, of Black mens' voices". "Thoughts of a Colored Man review – Black Brooklyn life explored on Broadway". "Broadway Is Brimming With Black Playwrights. ^ "Theatre professor directs 'Thoughts of a Colored Man' on Broadway"." 'Thoughts of a Colored Man,' From University to Broadway". A December performance of the show was recorded for preservation in the New York Public Library Theatre on Film and Tape Archive. Prior to its Broadway engagement, the show had an out-of-town tryout at Syracuse Stage and Baltimore Center Stage. Scott began working on what is now Thoughts of a Colored Man fifteen years earlier when he was a Frostburg State University student. It was originally slated to end March 2022. The show ran at the Golden Theatre until December 22, 2021, when it was forced to close due to the COVID-19 pandemic, even though the playwright stepped in to cover one performance. The show uses slam poetry, prose and songs to tell the story of Black life in America through the stories of seven multi generational men living in the same Brooklyn neighborhood. It was slated to be one of seven plays by Black playwrights during the Fall 2021 season. It is Scott's Broadway debut, and the play is the first Broadway show that was written and directed by Black men (Steve Broadnax III) with a Black man in the lead role. Thoughts of a Colored Man is a play written by Keenan Scott II that opened on Broadway on October 13, 2021.
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