29 stories by "Salamishah Tillet"
Aleshea Harris won acclaim for her drama “Is God Is.” When it came time for a film adaptation, she saw cinematic possibilities far beyond her play.
Across film ("Sinners," "One Battle After Another"), theater ("Ragtime") and TV ("The Lowdown"), four works suggested what achieving racial equality in America would take.
In "Hamilton," no moment captures the actor's emotional expansiveness, artistic breadth and vocal depth better than this number.
"Spunk," a fable weaving together music and movement, is getting its first full staging since being rediscovered in 1997.
Ahead of the Tony Awards, the playwright Branden Jacobs-Jenkins and the acclaimed ensemble reflected on the challenges of balancing the many script revisions.
Whether it's Elphaba in "Wicked" or Celie in "The Color Purple," the star doesn't choose parts "frivolously"; she wants roles that stay with viewers.
As pop culture continues to fracture, our critic was drawn to art and performances that explored universal themes by way of specific settings.
Walking around downtown Philadelphia, James Ijames reflected on his new play, "Good Bones," gentrification and the absence that "haunts the cities."
"Wicked," which arrives to the big screen this fall, redeems the villain who is barely a character in L. Frank Baum's classic novel.
The veteran and the newcomer each had their own fears as they joined the Broadway revival of the beloved all-Black musical.
Suzan-Lori Parks's play is the latest work by a Black writer seeking to prioritize Hemings's life and perspective to make her fully dimensional.
A new adaptation shows how rich Alice Walker's novel is and how the source material can lend itself to unconventional storytelling.
Global conflict and personal loss encouraged our critic to seek out art that gave her a better understanding of grief and healing.
The stars Leslie Odom Jr. and Kara Young and the director Kenny Leon discuss the revival, and why its satirical take on racism is still so timely.
Our critic was haunted, in a good way, by the performances she saw in movies, theater and TV that offered glimpses into other worlds.
Corey Hawkins and Yahya Abdul-Mateen II discuss their electrifying performances in the Broadway revival of Suzan-Lori Parks's Pulitzer Prize-winning play.
As she makes her Broadway directorial debut, she said her "vision is about seeing a deeper way into" what August Wilson intended with his Pulitzer Prize-winning play.
The actress, nominated for a Tony Award for her magnetic performance in "Macbeth," is drawn to female characters who challenge the status quo.
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.
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.
