By Colman Domingo
Electronic ISBN: 9781783195572
In 2010, Domingo's self-penned play A Boy and His Soul premiered Off-Broadway on the winery Theater, for which he received GLAAD Award: striking ny Theater: Broadway & Off–Broadway and a Lucille Lortel Award for notable Solo exhibit. He was once additionally nominated for a Drama table Award and a Drama League Award.
Where do you get SOUL? From observing your mom and dad promote the home you grew up in? From researching the kin mystery approximately your loopy cousin? Or from the youth documents present in your parents’ basement? From Stevie, Aretha, Marvin, Chaka, Barry, Gladys…and Colman. Propelled by way of the beat of vintage soul, gentle R&B and disco, this can be the soundtrack of a boy’s coming of age in 70s and 80s Philadelphia.
A Boy and His Soul used to be the recipient of the Lucille Lortel Award top Solo convey, GLAAD Media Award top Play On or Off Broadway and the ITBA top Solo exhibit awards.
"A blazingly charismatic performer." manhattan Times
"Personal, poignant and pungent… [an] evocative, relocating piece a few guy who reveals himself and a wide a part of his id via music." The Stage
"A appealing and smooth one-man show." day-by-day Telegraph
"Its sprinkling of sharp observations coupled with a heartfelt love for the track makes A Boy and His Soul not easy to resist." What's On Stage
"The characters created via Domingo… are so vibrant, so likeable, so easily but vividly embodied… it really is tough to resist." reputable London Theatre
"Leaves you yelping for more." Observer
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Additional info for A Boy and His Soul
43 For details of the white, Northern European invention of Greece see the first volume (1987) of Martin Bernal’s controversial Black Athena: The Afroasiatic Roots of Classical Civilization, whose analysis of the ideological agenda behind the accepted eighteenth- and nineteenth-century picture of ancient Greece (an analysis inspired by laudable anti-racist motives) was marred by his insistence on substituting an equally misleading alternative model. For a variety of responses see Lefkowitz and Rogers (1996).
The order in which the categories are presented does not indicate a hierarchy of perceived importance. Yet the section ‘Dionysus and the Sex War’ comes first partly because the most obvious reason for the recent renaissance of Greek tragedy in performance has been the rise and continuing impact of the feminist movement. 14 12 ‘I like to think of the history of rock & roll like the origin of Greek drama. That started out on the threshing floors during the crucial seasons, and was originally a band of acolytes dancing and singing.
Her danced version of Euripides’ Iphigenia in Tauris (1974), to Gluck’s music, is regarded as a landmark in modern ballet, especially for the manner in which it replaces narrative storytelling with exploration of the emotional implications of the myth. But Greek tragedy has played an arguably much more important role in late twentieth-century opera, discussed in Chapter 11 by Peter Brown. His wide-ranging survey yields fascinating results. Although the repertoire which has 32 Edith Hall attracted opera composers (above all Bacchae, Medea, and the Oresteia) closely mirrors that which has been dominant in the theatre and cinema (and for similar reasons), the sheer number of recent operatic productions based on Greek tragedy is intriguing.