In the season of Broadway, the brilliance of Black artists is on full display. Black theater has been the outlet for the expression of African American brilliance serving as a platform for Black artists to perform, tell their own stories, challenge racist and sexist ideals, and cultivate Black joy. Seeing Black artists and the creatives behind the scenes acts is a powerful tool for empowerment and community building.
To celebrate long Black artists on Broadway and Black History Month, HOT97 caught up with James Monroe Iglehart (A Wonderful World: The Louis Armstrong Musical), Brandon Victor Dixon (Hell’s Kitchen), Harry Lennix (Purpose), and Elijah Rhea Johnson (MJ: The Musical). We spoke to acclaimed actors about their journeys, what inspires them, and why the arts are so important to Black culture.
When did you all first discover your love for acting and performing on stage?
Iglehart: I grew up in church. My mom was a singer, and my dad was a public speaker. And I knew I wanted to do that. I had a wonderful school teacher in my elementary school and she gave me a solo. I was a big cartoon fan of Bugs Bunny, making Bugs Bunny and Donald Duck. I remember saying I was a little nervous about singing this solo and she said, ‘What would Bugs Bunny do? I’ll never forget her saying that. And I said, bugs would just get up there and do it. The rest is history.
Dixon: I knew at a very young age that I wanted to be a performer for a living. My mother says that I told her when I was three years old, so I’ve known my whole life.
Lennix: I became fascinated with acting at age 15 while doing the musical GUYS & DOLLS in high school. This would have been about 1980.
Johnson: As a child, I remember that after watching a commercial on television that I liked, I would immediately run to my mom or dad and recite the entire thing back to them (trying to make them laugh the entire time, of course). I think I was about 6 years old then, and I had a TON of energy with not a lot of places to put it. That wanting to make people laugh and “perform” definitely informs a lot of what I love to do now with acting.
You all are a part of fantastic shows about the complexities of Black life. How did everyone land the current role?
Iglehart: I never told the story before but I didn’t audition. During the pandemic I was watching a Ken Burns documentary on jazz. The first couple of episodes were about Louis Armstrong. I found out someone was doing a musical on the Louis Armstrong musical in Miami. I told my agent that I’d like to be a part of a Louis Armstrong musical in some way, as a creative producer or whatever I could do. But deep down, I really wanted to play Louis. I started practicing the voice, just in case they came around. When my representation told them I was interested, I had already found Louis’ two autobiographies when they came back to talk to me. That’s how I became a part of the show.
Dixon: For me, I did a couple of the early readings of the script just to support the production. And then, you know, when it came time for them to go to Off Broadway, you know, I was available and happy to join them.
Lennix: My friend, Glenn Davis, called and offered me this role just over a year ago. We performed PURPOSE in Chicago at Steppenwolf Theatre last year where it had its world premiere. Glenn is the co-artistic director there.
Johnson: I was involved in the early workshops for the show, where I played the role of “Middle Michael.” Eventually, I replaced Myles Frost on the production in 2023
For you, why is Black theater so important to the arts and Black culture?
Iglehart: These stories need to be told because they’re humanistic stories told from a different perspective. I think when we tell Black stories, they’re just good stories, everybody can understand. As long as it’s a human story, other cultures and other people who see our shows and see or hear our stories. Why do we need these Black stories? We need these stories out so that other Black folks know these stories exist so when they look up there, they see themselves in these stories and realize that, no, we’re not erased from history.
Dixon: It is important that black people be in a diversity of spaces to establish, a community of Black people who can pay attention to the needs of the black people and there and also bring, bring the needs of black people to the attention of the other demographic groups represented in whatever industry or group.
Lennix: Black people, like any other people, become more connected to reality when they see their stories reflected through the performing arts. Reification through authentic drama is vital to proper functioning in the world.
Johnson: It’s all about representation! So much of what you see in entertainment is centered solely on whiteness and white stories. Black theater, really any type of Black art, allows us to change the narrative, be vulnerable, and tell our truths. It’s so important to see yourself, your stories, reflected to you in the media. Being able to tell Michael’s story, which is so important to Black history and culture, is such an honor. As I progress throughout my career, I want to continue to help bring Blackness to the forefront of all things entertainment.
What advice would you offer up and coming actors who aspire to Broadway?
Iglehart: Here’s the advice I give to those young folks: if this is what you want to do, if you feel it every morning, go for it. And if you don’t know what you want, try it. You never know this might be the place for you. And also, just in case, we do this with black folks all the time. Are you a good artist? You can build a set. Do you like colors? You can make lighting. You could build costumes. You can draw costumes. You can be on the deck crew. You can be the one that puts the mics on people, runs the microphones. You can be the one backstage who does all the props. There are so many places for us to be on Broadway that we need to be.
Dixon: I would say focus on educating yourself in the environments that are geographically located in the industry you want to participate in. Also, make sure that you network. The vast majority of our businesses are about who you know, as much as it’s about your talent. Then, find a way to create and operate in the space in a diversity of ways. You don’t just be a performer. Be a designer, be a writer, be a producer, because you have to just keep creating. Keep creating until something sticks. Maybe the second and the third one, but then the fourth might, and because the fourth does, then, you know, suddenly there’s this catalog of things that you’ve been a part of.
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