Mama, I Want to Sing! (musical)
Encyclopedia
Mama I Want To Sing! is a 1983 black musical based on the life and times of singer Doris Troy
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The musical was given an overall positive review from Stephen Holden of The New York Times
, saying: "The sequel's romance lends the sequel a warmth and sexiness that the original show lacked." Although the review continued to say, "The dialogue and line readings sometimes go completely flat.", Holden added, "But in an odd way, the show's weaknesses seem inseparable from its strengths." He concluded by saying, "To attend either production of Mama with a typical audience made up largely of church groups, some of which have traveled hundreds of miles by chartered bus to be there, is to be indelibly reminded of the enduring power of that tradition."
Doris Troy
Doris Troy was an American R&B singer, known to her many fans as "Mama Soul".She was born as Doris Higginson in The Bronx, the daughter of a Barbadian Pentecostal minister. Her parents disapproved of "subversive" forms of music like rhythm & blues, so she cut her teeth singing in her father's choir...
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Production
As a tribute to many of the African-American stars' rise to fame in the 1960 and 1970s, Vy Higginsen based her musical on the life of her sister Doris Troy. Her 1963 hit "Just One Look," launched her to international fame and a successful career in London, although her roots were in her church choir. This is not unlike the rise of other R&B and jazz singers such as Aretha Franklin, Patti LaBelle and Donna Summer. Vy Higginsen and Ken Wydro, her husband conceived the play in January 1979 and subsequently wrote the book and lyrics to Mama. The musical however was rejected by every major producer in New York. The lack of interest was largely due to the doubtfulness that a large enough audience would be attracted to a gospel-based production. The couple persisted without a producer, and invested their life-savings to hire out the 632-seat Heckscher Theatre in East Harlem, which had previously been closed for fifteen years. Vy envisioned her audience as being "senior citizens, church groups, school children, and hard-working black mothers and fathers who had spiritual values and loved soul-stirring music." Mama, I Want to Sing opened March 23, 1983 on a very tight budget, however worth of mouth throughout the black community spread the word about the work. Audiences flocked to see the musical which "presented the passion, spontaneity and emotional uplift of the black church experience along with a universal message for anyone with a dream." Currently, Mama, I Want to Sing! has played 2,500 performances in New York and another 1,000 performances throughout the United States, Europe, and Japan. It has been performed in front of thousands of people, and is the longest running black off-Broadway musical in American history. On January 7, 1985 Time magazine named Mama, I Want to Sing one of the ten "Best of '84" theater performances. On January 20, 1986, the show hit its 1000th performance milestone. On February 1–6, 1994, Mama, I Want to Sing played to 40,000 at the Paramount Theater at Madison Square Garden. In 2003–2004, Mama, I Want to Sing! celebrated its 20th Anniversary at the Williams Institute C.M.E. Baptist Church in Harlem, formerly the Lafayette Theater. 2011 saw the release of the long awaited premiere of the film adaption of the musical by 20th Century Fox20th Century Fox
Twentieth Century Fox Film Corporation — also known as 20th Century Fox, or simply 20th or Fox — is one of the six major American film studios...
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Cast and crew
Various actors and actresses have played the roles of the different parts over the years:Doris Winter
- Cystal Johnson 1983
- Tisha Campbell]] 1983
- Desiree Coleman 1983-1985
- Lynda McConnell 1984
- Octavia LambertisOctahviaOctahvia, is a female singer from New York City. While she would later have several hits as a featured vocalist for other artists, she is perhaps best known under her own name for the 1986 R&B/dance hit, "2 the Limit."-Early career:Born Octavia Lambertis, Octavia first rose to prominence in the...
1984 - D. K. Dyson 1985
- D’Atra Hicks 1986-1990
- Ramona Keller 1985-1988
- Noreen Crayton 1985-1990
- Sharlene Nelson 1989
- Stacy Francis 1992-1996
- Ahmaya Knoelle 2004–present
Mama Winter's Mother
- Dejahnee Richardson 1992-1993
- Shirley Caesar 1994-1996
- LeJuene Thompson 2004
Minister of Music
- Steven Williams 1983-1985
- Charles Stewart 1985-1990
- Pierre Cook 1990-2000
- Dejahnee Richardson 1998-2000
- Darryl JoVan 2004
- Elijah Ahmad Lewis 2011
Reverend Winter
- Randy Higginson 1983-1988
- Alexander Plummer, Jr. 1984-1988, 2004
- Ronald Grant 1989
- Tyrone Flowers 1992-1996
- Craig Wiggins 1995-2004
- Tyrone Flowers 2011
Sister Carrie
- Peggie Blue 1983
- Carolyn Dennis 1983-1984
- Trina Thomas 1985
- Kathleen Murphy-Jackson 1986-2004
- Kellie Evans 1986-1988
- Altrinna Grayson 1986-1988
- Dejahnee Richardson 1993-1995
- Chaka KhanChaka KhanChaka Khan , frequently known as the Queen of Funk, is a 10-time Grammy Award winning American singer-songwriter who gained fame in the 1970s as the frontwoman and focal point of the funk band Rufus. While still a member of the group in 1978, Khan embarked on a successful solo career...
1995 - Deniece Williams 1996
- Sandra Huff 2011
Mama, I Want to Sing: Part II
Mama, I Want to Sing: Part II follows the courtship, marriage, and birth of the first child of superstar Doris Winter and her husband, Rev. Julian Simmons. In the spring of 1990, Mama, I Want to Sing, Part II opened at the Heckscher Theatre playing in repertory with the original play.The musical was given an overall positive review from Stephen Holden of The New York Times
The New York Times
The New York Times is an American daily newspaper founded and continuously published in New York City since 1851. The New York Times has won 106 Pulitzer Prizes, the most of any news organization...
, saying: "The sequel's romance lends the sequel a warmth and sexiness that the original show lacked." Although the review continued to say, "The dialogue and line readings sometimes go completely flat.", Holden added, "But in an odd way, the show's weaknesses seem inseparable from its strengths." He concluded by saying, "To attend either production of Mama with a typical audience made up largely of church groups, some of which have traveled hundreds of miles by chartered bus to be there, is to be indelibly reminded of the enduring power of that tradition."