#darlesia cearcy

[thesquirrelqueer]

What is HTDIO?

How to Dance in Ohio or HTDIO is a musical about 7 autistic young adults in a counseling group getting ready for a spring formal. All 7 of them are played by autistic actors. It is based off of a documentary of the same name. The show focuses on the relationships between characters as they prepare for the formal as well as face some of their biggest social fears.

The show had a short run at Syracuse Stage back in 2022 and started previews on Broadway on November 15th, 2023. It is set to officially open at the Belasco Theatre on December 10th, 2023.

Who are the characters?

Remy (played by Desmond Edwards) - The youngest of the group, a genderqueer cosplayer with a budding TikTok channel and a love of fashion. 16, any pronouns.

Caroline (played by Amelia Fei) - A bubbly college freshman who is just getting into her first real relationship. Best friend of Jessica. 19, she/her.

Marideth (played by Madison Kopec) - The newest member to the group, very shy but loves geography and Australia. Oh and just like fun facts in general. 18, she/her.

Drew (played by Liam Pearce) - A senior in high school preparing for college. Loves electricity and electrical grids. 18, he/him.

Tommy (played by Conor Tague) - The "class clown" of the group. Uses humor to cope with being self-conscious. Wants to get his drivers license. 22, he/him.

Jessica (played by Ashley Wool) - The confident best friend of Caroline. Loves fantasy stories, especially ones with dragons in them. 20, she/her.

Mel (played by Imani Russell) - The oldest of the group and the one who has been there the longest. Works at a local pet shop and loves reptiles and self-help books. 24, they/them.

Dr. Emilio Amigo (played by Caesar Samayoa) - The therapist in charge of the group, trying his best to get his clients to break out of their shells. he/him

Ashley Amigo (played by Cristina Sastre) - Dr. Amigo's daughter. Used to be a dancer but due to an injury is back in Ohio helping out with the group. she/her

Johanna (played by Darlesia Cearcy) - Caroline's mother. she/her

Terry (played by Haven Burton) - Jessica's mother. she/her

Where can I listen to/watch it?

Currently there are no video recordings of the show available (yet), but they did release an EP with 4 of the songs on it on Spotify which you can check out here

[ashleywool]

For the last few days, I’ve been getting really into How To Dance In Ohio and, my goodness, I adore the cast EP and have watched and re-watched every YouTube video about it I can! But, from what I could find, there isn’t a Wiki page or anything like that with information about the characters! If you can, I would love to know some fun facts (maybe pronouns, likes, dislikes, whatever else!) about the seven lovely autistic people we follow in the show!

I’m hoping to see it sometime next year! 💛

Hey there!

The Wikipedia page does exist, although it's still pretty sparse as the show is still in previews and there are rules about what the updates are allowed to be. Everything has to be substantiated by a published article on an established platform or a first-person interview.

Here's the character breakdown from the Equity Principal Audition, with some of my own notes added for context. I've included some of the nicknames we've come up with for the characters also, some of which are canon.

Johanna: 40s-50s, she/her, powerful mezzo-soprano. Caroline’s mother, perky and positive, keeps a watchful eye over her daughter, artsy mom vibes. (Note: it's pronounced "yo-HAH-na.") Also known as: Jo-Jo (pronounced "yo-yo;" not canon) Currently: played by Darlesia Cearcy, and understudied by Marina Pires. (Note also: Darlesia's name is pronounced Dar-LEE-see-ah.) Fun fact: Darlesia isn't much of a public social media user, but when I looked her up on Twitter, this is the first thing that popped up, from her time in Shuffle Along. If I were her, I wouldn't even bother with a headshot and resume anymore, I'd just hand casting directors a copy of that tweet. It pretty much says it all.

Terry: 40s-50s, she/her, powerful mezzo-soprano. Jessica’s mother, patient, loves leopard print, gives her daughter lots of space, cool mom vibes. Also known as: Ter-Bear. (not canon) Currently: played by Haven Burton, and understudied by Marina Pires. Fun fact: Haven plays my mom but she's only seven years older than me in real life. Marina P is four years younger than me. Best of all: when we were premiering in Syracuse, this role was also covered by an SU junior (Elana Babbit). She didn't get to go on, but if she had, I would've had a mother who was almost half my age!

Michael: 40s-50s, he/him, mid to high tenor. Marideth’s father, blue-collar, doing his best, is anxious in new social settings. Also plays: "Derrick," a pharmacy technician employee at Columbus Community College, who has a brief interaction with Caroline (and may or may not be a murderer). Currently: played by Nick Gaswirth, and understudied by Martín Solá.

Amy: 40s-50s, she/her, soprano. Drew’s mother, cultured, a housewife with a master’s degree, adept at managing her husband and son’s needs. Also plays: Shauna Parks, a super hawtt reporter from the Columbus Gazette. Currently: played by Melina Kalomas and understudied by Marina Pires.

Kurt: 40s-50s, he/him, mid to high baritone. Drew’s father, white-collar, conservative, a bit formal, has high expectations for Drew. Also plays: Hawkins, Mel's manager at Paws and Claws Pet Shop, who's kind of a douchebag, and Rick Jenkins, a blogger (not a reporter) who has no idea how to write about disability with any shred of respect. Currently: played by Carlos L. Encinias--who calls his collection of roles "The Villain Track" though I assure you is an exquisitely kind and funny anti-villain in real life--and understudied by Martín Solá.

Dr. Emilio Amigo: to play 50s, he/him, high baritone, Cuban-American. A clinical psychologist, founder and director of Amigo Family Counseling, great at his job, charismatic, full of empathy, recently divorced, at a crossroads. Currently: played by Caesar Samayoa, and understudied by Martín Solá and Carlos L. Encinias.

Ashley Amigo: to play 22, she/her, mezzo-soprano with a strong mix, of Cuban-American. Amigo’s daughter, a dancer recovering from an injury, is at a crossroads. Currently: played by Cristina Sastre, and understudied by Marina Pires and Marina Jansen.

Drew: 18, he/him, mid to high tenor, autistic. He needs structure, a bit formal, knows a lot about electricity and electrical grids, is looking for deeper connections in life, possibly romantic, on track to go to his dream college. Also known as: Drewby (by his mom; canon) Currently: played by Liam Pearce and understudied by Collin Hancock, Jean Christian Barry, and Hunter Hollingsworth.

Marideth: 18, she/her, alto with a strong mix, autistic. Raised by a single dad, loves to research facts, hates shoelaces, doesn’t like to be touched, is anxious in new social settings. Also known as: Wolf (not canon) Currently: played by Madison Kopec, and understudied by Marina Jansen and Ayanna Nicole Thomas. Fun fact: Marideth isn't the first canonically autistic character originated by Madison Kopec. I first heard of them back in 2019 when they were cast as Emma in a reading of a new musical called Indigo, which eventually had its world premiere last summer in (funnily enough) Ohio.

Caroline: 19, she/her, soprano with a strong mix, autistic. Perky and positive, goes to community college, is best friends with Jessica but is obsessed with her boyfriend. Also known as: Menace (not canon) Currently: played by Amelia Fei, and understudied by Ayanna Nicole Thomas and Marina Jansen.

Jessica: 20, she/her, full-voiced mezzo-soprano, autistic. Wants to live on her own, loves fantasy but is surprisingly practical, has a flair for drama. Also known as: Rachel Berry (obviously not canon as that's copyright infringement) Currently: played by Ashley Wool (yours truly) and understudied by Ayanna Nicole Thomas and Marina Jansen. Fun fact: Lol. 20. That's adorable. I'm absolutely not 20.

Mel: 24, she/he/they, earthy alto, autistic. The oldest member of the group, a seeker into self-help and mindfulness, a natural leader, works at a pet shop. Also known as: Head of Reptiles (technically canon, but we also just like to imagine Mel as a mythical creature with a reptilian head) Currently: played by Imani Russell and understudied by Marina Jansen and Ayanna Nicole Thomas. Fun fact: way back in 2021, when they were casting the first reading of the show, my agent at the time submitted me for Mel--the character was initially conceived as a cis woman on the breakdown--but I had already gotten a callback for Jessica from my self-submission, and I had a gut feeling that there was somebody better out there for Mel. I couldn't have been more right--after Imani was cast, it was largely thanks to their creativity, insight and influence that Mel evolved into the distinctive non-binary icon (non-bicon?) we know and love today.

Remy: 18+ to play 16, he/she/they, mid to high tenor, autistic. Into cosplay, makes a How-To costume and makeup tutorial videos online. Currently: played by Desmond Luis Edwards, and understudied by Jean Christian Barry, Ayanna Nicole Thomas, and Hunter Hollingsworth. Fun fact: Dez's involvement in HTDIO is the ultimate "Cinderella story." In 2021, Jacob Yandura was running a summer camp in Florida, and Dez was a student there; upon finding out Dez was autistic, Jacob said, "hey, I think you'd be a good fit for this musical I'm writing." The first time I heard Dez sing at the rehearsals for the reading, I was like, "you're SEVENTEEN?! I quit." How many actors out there go from their third high school musical DIRECTLY to Broadway? Another fun fact: Dez created all the cosplay designs we used onstage in the Syracuse production. Check out his art account here!

Tommy: 22, he/him, mid to high baritone, autistic. Funny, self-conscious, studying to get his driver’s license. Currently: played by Conor Tague, and understudied by Hunter Hollingsworth, Collin Hancock, and Jean Christian Barry. Fun fact: In real life, Conor does not drive and is staunchly anti-driving.

Ok, I gotta shower and head to the theater for work notes, but I'll happily add more later!

[spirngakawening]

Obligatory spotify wrapped top songs

1: バイバイ YESTERDAY – 3年E組うた担(渚&茅野&業&磯貝&前原)

2: Waves and Wires – How to Dance in Ohio (Original Broadway Cast Recording) – Liam Pearce, Imani Russell, Amelia Fei, Ashley Wool, Conor Tague, Madison Kopec, Desmond Luis Edwards, Cristina Sastre, Darlesia Cearcy, Nick Gaswirth, Carlos L. Encinias, Haven Burton, Melina Kalomas, Caesar Samayoa

3: Good Kid – The Lightning Thief (Original Cast Recording) – Chris McCarrel, The Lightning Thief Company, Rob Rokicki

4: Nightmare Time – Original StarKid Cast of Nightmare Time

5: No.7 – Jibaku Shonen Band

[moesasaur]

Here is the entire OBC for The Book Of Mormon including the ensemble :)

All information is gathered from The Book Of Mormon: The Testament Of A Broadway Musical and Wikipedia

Please let me know if there’s any mistakes

Josh Gad

Elder Cunningham

Andrew Rannells

Elder Price

Nikki M. James

Nabulungi

Rory O’Malley

Elder McKinley, Moroni

Michael Potts

Mafala Hatimbi

Lewis Cleale

Jesus, Price’s Dad, Joseph Smith, Mission President

Brian Tyree Henry

General, Satan

Scott Barnhardt

Elder Harris, Elder Price’s sister, Elder Thomas, Hobbit, Devil

Justin Botton

Elder Smith, Price’s Mom, Elder Zelder, Devil

Kevin Duda

Elder Young, Cunningham’s Dad, Elder Neeley, Hitler

Clark Johnsen

Elder Brown, Price’s Brother, Elder Michaels, Brigham Young, Devil, Mission President’s Assistant

Benjamin Schrader

Elder White, Price’s Brother, Elder Schrader, Yoda, Jeffrey Dahmer, Mission President’s Assistant

Brian Sears

Elder Grant, Cunningham’s Mom, Elder Church, Hobbit, Devil

Jason Michael Snow

Mormon, Elder Cross, Price’s Brother, Elder Davis, Devil

Darlesia Cearcy

Sadaka, Skeleton, Coffee Cup

Asmeret Ghebremichael

Asmeret, Devil

John Eric Parker

General’s Guard, Mutumbo, Devil, Joseph Smith (African Pageant)

Michael James Scott

Gotswana, Devil, Brigham Young (African Pageant)

Lawrence Stallings

Ugandan Man (who is shot), Middala, Skeleton, Moroni (African Pageant)

Rema Webb

Mrs Brown, Kimbay, Uhura, Skeleton, Coffee Cup

Maia Nkenge Wilson

Kalimba, Genghis Kahn

Tommar Wilson

General’s Guard, Ghali, Darth Vader, Skeleton, Jesus (African Pageant)

[dreamcastingbroadway]

Dream(re)casting Broadway: INTO THE WOODS

“Anything can happen in the woods.”

Dreamcasting Broadway: Into the Woods

Olga Meredíz as The Narrator

Karen Olivo as The Witch

Greg Hildreth as The Baker

Ruthie Ann Miles as The Baker’s Wife

Brittney Mack as Cinderella

Aaron Lazar as Cinderella’s Prince/The Wolf

Andrew Barth Feldman as Jack

Gwynne Wood as Little Red Riding Hood

Jackie Hoffman as Jack’s Mother

Terrence Mann as The Mysterious Man

Jenni Barber as Rapunzel (Cinderella u/s)

Michael Maliakel as Rapunzel’s Prince (Cinderella’s Prince/Wolf u/s)

Darlesia Cearcy as Cinderella’s Stepmother (Witch u/s)

Catherine Ricafort as Lucinda (Little Red u/s, Rapunzel u/s)

Keri René Fuller as Florinda (Baker’s Wife u/s)

MaryAnn Hu as Cinderella’s Mother/Granny/Voice of the Giant (Narrator u/s, Jack’s Mother u/s)

Eddie Korbich as Cinderella’s Father (Mysterious Man u/s)

Adam Kaokept as Steward (Baker u/s)

Aisha Jackson as Sleeping Beauty (Cinderella u/s, Little Red u/s, Lucinda u/s, Florinda u/s)

Celia Hottenstein as Snow White (Rapunzel u/s, Lucinda u/s, Florinda u/s)

Chelsea Lee Williams as Standby (Witch, Baker’s Wife, Cinderella’s Stepmother, Cinderella’s Mother/Granny/Giant)

Hannah Clarke Levine as Standby (Narrator, Jack’s Mother, Cinderella’s Stepmother, Cinderella’s Mother/Granny/Giant)

Scott Stangland as Standby (Baker, Mysterious Man, Cinderella’s Father, Steward)

Ali Louis Bourzgui as Standby (Jack, Rapunzel’s Prince, Steward)

Paul HeeSang Miller as Standby (Cinderella’s Prince/Wolf, Rapunzel’s Prince, Cinderella’s Father)

[thatsgoodweather]

12 Days of BOM - Day 5: Share the Love <3

Here’s a ship that I LOVE but I don’t usually create content for because it’s kind of a rarepair and I love Arnold and Nabalungi together. :) I’m not sure what the official ship name is, but it’s Sadaka and Naba, and I love them so much :)

[everything-lauramkelly]

~ MATILDA at the Muny, starring Mattea Conforti, Beth Malone, Laura Michelle Kelly, and more ~

[starchildrenofdustand-ashes]

Sooooo last weekend was broadwaycon... some pics of my OOTI group and I ( I was erzulie and papa ge 💕💀)

[thediaryofatheatrekid]

Another Hundred People: Erzulie in Once On This Island (Broadway Revival)

1. Lea Salonga 2. Darlesia Cearcy 3. Michelle T. Williams 4. Cassondra James (u/s) 5. Cicily Daniels (u/s)

[whatwouldbeenough]

Listen to an unplugged version of "The Human Heart" from the cast of Once On This Island.

[sephstones]

[13mtm80]

Please!!

[broadwayreprise]

Once On This Island Ensemble for Broadway.com

[paskvilnet]

B-Zet - Everlasting Pictures - Right Through Infinity

[gdelgiproducer]

What’s been your favorite staged version of JCS? (Non-concert)

First, a list of the staged (non-concert) versions of JCS I’ve seen: two high school productions (about which you’ll hear nothing in this post; it’s unfair to judge them in competition with pros), the closing performance of the 2000 Broadway revival, two performances of the national tour that followed said revival (one of which featured Carl Anderson as Judas and Barry Dennen – Pilate on the original album, Broadway, and in the 1973 film – as Herod), and four performances of a national tour initially billed as Ted Neeley’s “farewell” engagement in the role of Jesus. In total, discounting the number of performances of each, five productions, only three of which we will consider here.

The 2000 Broadway revival had basically all the problems of the video of the same production: I’m sure Gale Edwards is a fine director of other shows, but she missed the boat with this particular iteration of JCS. (Not having seen her original production at the Lyceum Theatre in 1996, which unfortunately never left that venue and was reportedly far better than the one that went wide, I can only comment on this version.) Her direction and the production design that accompanied it were full of the kinds of blatant, offensively obvious attempts at symbolism and subtlety that appeal only to pseudo-intellectual theater kids. In real life, there’s no such thing as obvious good vs. obvious evil (things just ain’t black and white, people), and any attempt to portray this concept on stage or in a film usually results in a hokey “comic book” product, which is kind of what the 2000 production was. 

The first thing Edwards did was draw her line in the sand. “These are the good guys, and these are the bad guys.” The overall production design played into this ‘line in the sand’ feel as well, being so plain in its intentions as to almost beat you over the head with them. There may have been some good concepts mixed in, but for a show that runs on moral ambiguity, they were very poorly executed and did damage to the piece. Some examples:

Annas and Caiaphas were devoutly “evil,” seemingly designed to inspire fear.  It’s easy to see good as so very good, and bad as so very bad; to want to have the evil in a nice little box. But it’s not that simple. As Captain Jean-Luc Picard (and now you know where my Star Trek loyalties lie, curse you!) once said, “…villains who twirl their mustaches are easy to spot. Those that clothe themselves in good deeds are well camouflaged.”  Evil isn’t always a clear and recognizable stereotype. Evil could be lurking inside anyone, maybe even in you, and you would never know. People aren’t inherently evil. Like good, it’s a role they grow and live into. And since history is basically a story of the developments and actions of humans over the ages, maybe it’s a mistake to view the characters who’ve played their parts in it so one-dimensionally. It doesn’t dismiss the evil they did, but it does allow one to understand that this potential to be good or to be evil is in everyone, and that it’s not always as simple as just doing the right thing.

Judas was an almost thoroughly unlikable prick (though Tony Vincent played him a tiny bit more sympathetically than Jerome Pradon in the video); in beating Jesus over the head with his cynicism and curt remarks, any sense of a fully three dimensional person was lost, leaving us with a total, utter dickhead. If the audience is to truly feel for Judas, and appreciate his fall, it’s imperative for them to see his positive relationship with Jesus. More importantly, it has to be readily apparent. It shouldn’t be the audience’s responsibility to assume as much. I never once saw any love, or even a hint of friendship, between Jesus and Judas in the 2000 production. Judas’ interactions with Jesus were a constant barrage of either completely in-your-face aggression, or more restrained (but still fully palpable) aggression. No hint of a conflict in him, or at least none the audience could see, and what use is a conflict or emotion if the audience isn’t privy to it?

And when not telegraphing an ultra-specific view of the story’s events, everything else about the design would’ve left a first-time viewer befogged. Young me liked the industrial, post-apocalyptic, pseudo-Gotham City atmosphere of the set. Older me still likes it (though I am firm in my opinion it works best on stage), but realizes what a mess the rest of it was. We’ve got Jesus and the apostles straight out of Rent, Roman guards that looked (with the choice of riot gear) like an army of Darth Vader clones with nightsticks substituting for light sabers, priests that practically stepped off the screen from The Matrix, a Pilate in generic neo-Nazi regalia, a Herod with showgirls and chorus boys that seemed to have visited from a flash-and-trash third-rate Vegas spectacular, a Temple full of ethnic stereotypes and a mish-mosh of dime-store criminals, and a creepy mob with a striking resemblance to The Addams Family that only popped up in the show’s darker moments. Lots of interesting ideas which might work (operative word being “might”) decently in productions of their own, all tossed in to spice up a rather bland soup. The solution to having a bunch of conflicting ideas is not to throw all of them at the wall at once; you look for a pattern to present itself, and follow it. If no pattern emerges from the ideas you have, it’s a sign you should start over.

You can see what my basic issue was: where other productions at least explored motivation, examining possibilities and presenting conflicting viewpoints for consideration, the 2000 production (when not utterly confused in its storytelling thanks to conflicting design) blatantly stated what it thought the motivation was without any room for interpretation – this is who they are, what they did, why they did it, so switch off your brain and accept what we put in front of you. Which, to me, is the total opposite of what JCS is about; it didn’t get famous for espousing that view, but for going totally against the grain of that.

The national tour at least had Carl and Barry to recommend for it the first time around, but for all the mistakes it corrected about the 2000 revival (swapping out the shady market in the Temple for a scene where stockbrokers worshiped the almighty dollar, with an electronic ticker broadcasting then-topical references to Enron, ImClone, and Viagra, among others, was a fun twist, and, for me, Barry Dennen gave the definitive performance of Herod), it introduced some confusing new ones as well:

For one, Carl – and, later, his replacement, Lawrence Clayton – looked twice the age of the other actors onstage. Granted, Christ was only 33 when this happened, but next to both Carl and Clayton, Eric Kunze (I thankfully never caught his predecessor) looked almost like a teenager. When Ted and Carl did the show in the Nineties and both were in their fifties, they were past the correct ages for their characters, but it worked – in addition to their being terrific performers and friends in real life whose chemistry was reflected onstage – because they were around the same age, so it wasn’t so glaring. Without that dynamic, the way Jesus and Judas looked together just seemed weird, and it didn’t help anyone accept their relationship.

Speaking of looking weird together, the performer playing Caiaphas – who was bald, and so unfortunately resembled a member of the Blue Man Group thanks to the color of lighting frequently focused on the priests – was enormously big and tall, while the actor in the role of Annas was extremely short. Basically, Big Guy, Little Guy in action. Every time I saw them onstage, I had to stifle the urge to laugh out loud. I’ve written a great deal about how Caiaphas and Annas are not (supposed to be) the show’s villains, but that’s still not the reaction I should have to them.

The relentlessness of pace was ridiculous. It was so fast that the show, which started at 1:40 PM, was down by 3:30 PM – and that included a 20-minute intermission. What time does that leave for any moments to be taken at all? A scene barely even ended before the next began. At the end of the Temple scene, Jesus threw all the lepers out, rolled over, and there was Mary singing the “Everything’s Alright” reprise already. How about a second to breathe for Mary to get there? Nope. How about giving Judas and Jesus two seconds’ break in the betrayal scene at Gethsemane? The guards were already grabbing Christ the minute he was kissed. I was so absolutely exhausted towards the end of the show that I was tempted to holler at the stage to please slow down for a minute. The pace didn’t allow for any moment in the show to be completed, if it was ever begun; it was just too fast to really take advantage of subtle touches and moments the actors could’ve had, and as a result, I think they were unable to build even a general emotional connection, because one certainly didn’t come across.

The cast was uniformly talented singing-wise, with excellent ranges and very accomplished voices. (In fact, the second time around, the woman understudying Mary, Darlesia Cearcy, walked away with the whole show in my opinion, and I am incredibly glad to have seen her career take off since then.) But, in addition to some being more concerned with singing the notes on the page just because they were there than imbuing them with emotion and motivation, the cast was undercut by the choices that production made with the music. For one, there’s a huge difference between singing “words and notes” and singing “lyrics and phrases.” When you have a phrase like “Ah, gentlemen, you know why we are here / We’ve not much time, and quite a problem here…” you sing the sentence, and if sometimes a word needs to be spoken, you do that. You don’t make sure you hit every single note by treating each like a “money note” (which you hit and hold as long as you can to make sure everyone hears it), dragging out the tempo to hang on to each note as long as you can. Generally, the actors were so busy making sure every note was sung – and worse, sung like a money note – that they missed the point of singing a phrase, and how to use one to their advantage. Caiaphas and Pilate were particularly egregious offenders. (I’ve never understood some of these conductors who are so concerned that every note written has to be sung. The result suffers from it.) 

And then there’s Ted’s production. Of the three, it’s the one I liked the most, but that’s not saying much when it was better by default. 

The production design was stripped-down, the set basically limited to a bridge, some steps, a stage deck with some levels, and a couple of drops (and a noose) that were “flown in.” The costumes were simple, the sound was very well-balanced, and the lighting was the icing on the cake. Combined, the story they told was clear.

The music sounded very full, considering the pit consisted of a five-piece band relying in part on orchestral samples.

Ted, for being of advanced age, was in terrific form vocally, if his acting fell back a little much on huge, obvious, emotive gestures and choices. (I love him and all, but his attempts at acting were kind of like a “Mr. Jesus” pageant, striking all the appropriate Renaissance poses. The film, through editing and close-ups, allows him a subtlety he just ain’t got onstage.)

And there were some beautiful stage pictures; for example, there was a drop with an image of a coin with Caesar’s head on it in the Temple scene, and it fell on the crowd when Jesus cleared out the riff-raff. In the leper sequence that followed, the chorus’ heads popped out of holes in the cloth, under which they undulated, pulsing to the beat, and rather than being treated as a literal mob scene, the sequence had a very dream-like effect, a mass of lost souls reaching out to Christ. It was rather like a Blake painting, with a creepy vibe in a different manner from the typical “physically overwhelm him” approach. He didn’t interact with them, didn’t even turn to look at them, until finally he whipped around with a banishing thrust of his arm, hollering “Heal yourselves!” Sometimes it was over-acted with annoying character voices (remember, I saw this four times), but when it wasn’t, the effect was chilling.

My main beef with the show was, oddly enough, on a similar line to my beef with Gale Edwards’ production: it drew lines in the sand. But in this case, it drew them with respect to Jesus’ divinity. 

As written, JCS deals with Jesus as if he were only a man, and not the Son of God. The show never suggests that Jesus isn’t divine, but neither does it reinforce the view that he is. Portrayed in detail in JCS is the mostly-unexplored human side: ecstasy and depression, trial and error, success and regret. He agonizes over his fate, is often unsure of his divinity, and rails at God. Not so in this production. Aside from “The Temple” and “Gethsemane,” there was never any room for doubt that Jesus was the mystical, magic man portrayed in the Gospels.

At the top of the show, after a fight between his followers and the Romans during the overture (a popular staging choice I’m not a real fan of, but you’ve got to do something during that moment in a fully staged version, and I understand why it’s an easy choice to make for exposition purposes), Jesus made his majestic entrance, spotlit in robes that looked whiter than Clorox bleach could produce, and raised a man from the dead. Well, where’s the room for Judas to doubt? Clearly “this talk of God is true,” we just saw it! If this guy is actually capable of performing miracles, and more than that specializes in necromancy, good luck telling him that fame has gone to his head at the expense of the message and he’s losing sight of the consequences! Try explaining to anyone that that person is “just a man”!

If that weren’t enough, Jesus went on to have a constant connection with God throughout the show, speaking to a spotlight that focused only on him and often served to distract him from anything else happening onstage, and at the end, during “John 19:41,” his body separated from the cross, which fell back into the stage, and he ascended to heaven. 

Now, though the former was admittedly played to excess (some reviewers unkindly compared Neeley to a homeless man with Bluetooth), there are arguments to be made in favor of both of these choices: a Jesus who constantly seeks a connection with God that isn’t reciprocated, searching for guidance or at least a friggin’ clue, is great foreshadowing for his eruption – and acceptance – in “Gethsemane.” As for the ascension, depending on how it’s staged, there’s room for argument that it could be interpreted more metaphorically than literally, as the moment when Jesus’ spirit is born, as Carl Anderson once put it (meaning, to me, that his message is given life and strength when his body fails him). But this production didn’t have that level of shading and layers to it, and coupled with the resurrection at the start, it defeated the rest of the story.

None of ‘em’s perfect, and I don’t think I could create the perfect one. Thus, concert.

[broadwayblack]

The moment we’ve been waiting for has arrived, partially. The first cast announcement for the Broadway revival of Once On This Island has been made by producers Ken Davenport and Hunter Arnold. We’re excited to announce Tony Award nominee Phillip Boykin (Porgy and Bess) as Tonton Julian, Alysha Deslorieux (Hamilton) as Andrea, Kenita R. Miller (The Color Purple) as Mama Euralie, and Isaac Powell as Daniel will lead the cast.

Also, joining the cast as Storytellers are Darlesia Cearcy, Rodrick Covington,��Cassondra James, David Jennings, Grasan Kingsberry, Tyler Hardwick, Loren Lott, T. Oliver Reid, and Aurelia Williams.

Once On This Island is the Broadway musical celebration that sweeps us across the sea to a small village—where, in the aftermath of a great storm, a joyous new life begins. It is the tale of Ti Moune, a fearless peasant girl who falls in love with a wealthy boy from the other side of the island. When their divided cultures threaten to keep them apart, Ti Moune, guided by the island gods, sets out on a remarkable quest to reunite with the man who has captured her heart.

The revival will play in the Circle in the Square Theatre (235 W. 50th Street, NYC) this fall, directed by Tony nominee Michael Arden, and choreographed by the critically acclaimed Camille A. Brown. Tony Award winner Nikki M. James is set as the Assistant Director. Production is set to begin preview performances on Thursday, November 9, 2017, and officially open on Sunday, December 3.

Additional casting will be announced at a later date. Ti Moune, Papa Ge, & more are yet to be announced.

The creative team also includes Dane Laffrey (Scenic Design), Clint Ramos (Costume Design), Jules Fisher and Peggy Eisenhauer (Lighting Designers), Peter Hylenski (Sound Designer), Chris Fenwick (Music Supervisor), Alvin Hough, Jr (Music Director), David Perlow (Associate Director), and Telsey + Co / Craig Burns, CSA (Casting Agent).

Once On This Island premiered at Playwrights Horizons in May of 1990. The Broadway production opened in October of that year and ran for 469 performances garnering eight Tony nominations including Best Featured Actress (LaChanze), Best Original Score, Best Book of a Musical and Best Musical. The 1994 West End production won the Olivier Award for Best New Musical.

For more information on the Broadway revival including tickets and specific dates visit www.OnceOnThisIsland.com

Phillip Boykin as Tonton Julian

Alysha Deslorieux as Andrea

Kenita Miller as Mama Euralie

Isaac Powell as Daniel

Darlesia Cearcy as Storyteller

Rodrick Covington as Storyteller

Tyler Hardwick as Storyteller

Cassondra James as Storyteller

David Jennings as Storyteller

Grasan Kingsberry as Storyteller

Loren Lott as Storyteller

T. Oliver Reid as Storyteller

Auriela Williams as Story Teller

  Once On This Island Broadway Revival Cast Announced @OnceIslandBway The moment we've been waiting for has arrived, partially. The first cast announcement for the Broadway revival of…