African-American Shakespeare Company was introduced in 1994 to create an opportunity and a venue for actors of color to hone their skills and talent in mastering some of the world's greatest classical roles. Additionally, the company seeks to unlock the realm of classic theatre and these time-favored works to a diverse audience in a style that reaches out to, speaks to, and embraces their cultural aesthetic and identity. African-American Shakespeare has produced over 30 productions, toured to 97 schools, and reached over 105,000 patrons through its mainstage productions and arts education program.
Website: http://www.african-americanshakes.org/
George Rowe in The Examiner:
This is a different kind of “Cinderella.” Young’s version of the mistreated maid and the Prince Charming who rescues her includes music and a masquerade ball choreographed by Patrik Gallineaux from the Cheryl Burke Dance Studio. It’s all done with a distinctively Southern touch.
This is a different kind of “Cinderella.” Young’s version of the mistreated maid and the Prince Charming who rescues her includes music and a masquerade ball choreographed by Patrik Gallineaux from the Cheryl Burke Dance Studio. It’s all done with a distinctively Southern touch.
“We’re setting it in the French Quarter, with Grandmother sitting in a rocking chair telling the story to the grandkids,” Young says. “We’ve added some Cajun characters and a little French cadence.”
That’s a characteristic approach for African-American Shakespeare. Young, a graduate of the American Conservatory Theater’s master of fine arts program, started the company when she noticed that many local theater productions didn’t reflect the Bay Area’s diverse population.
“There were all these great stories, but I could see that a lot of African-Americans in the audience were put off,” she says. “They didn’t see themselves in the picture. That was a shame, because these stories have the human emotions and traits that represent all of us.”
Since then, she’s staged more than 30 productions, giving actors of color opportunities to hone their skills in classical works.
For “Cinderella,” Young cast a wide net for children to play the grandkids.
“We have four sets of kids,” she says, “and they’re coming from as far as Napa, Pittsburg and San Jose to be in the show.”
http://www.sfexaminer.com/entertainment/A-holiday-Cinderella-story-78744367.html
Sherri Young calls the production of Cinderella at the African-American Shakespeare Company she founded and directs a “gateway drug.”
“Cinderella is a fun show,” she said. “It sort of gives the opportunity for anyone to see themselves on stage and they can bring their two year olds, and it’s a way they get introduced to the African-American Shakespeare Company.”
…
This is the 8th year the company has done Cinderella. Every year it varies and this year it will be set in the bayous of Louisiana. Young looks forward to it every year.
“There’s a Christmas tree and we have dry ice and a beautiful masquerade ball and the audience goes ‘Ohhh!’” she said. “There’s all this sparkliness that you would get in a show on Broadway.”
2007
Molly Rhodes in SF Weekly:
The more freewheeling the fun, the better the show in the African-American Shakespeare Company's rendition of the familiar holiday children's story. When the whole cast suddenly bursts onto the stage for a joyous 1950s dance number, or the two Ugly Stepsisters get into an all-out wrestling match over Prince Charming, the audience gets sucked into the silly, infectious affair. The show lags when the cast falls back on straightforward storytelling, delivering the well-worn tale competently but without much fire or flair.
But thankfully this brisk 85-minute show (with intermission) wastes little time with plot details. And why should they? We all know the story, even the 5-year-olds among us. We came to see Cinderella and Prince Charming (Ayana Matthews and Justin Chu Cary, who are, well, charming) sweep across the dancefloor. And the more the cast lets rip, the more we get caught up in this tale of how love and goodness really can conquer all.
http://www.sfweekly.com/2007-12-19/culture/african-america-shakespeare-company-charms-us-with-its-take-on-cinderella/The more freewheeling the fun, the better the show in the African-American Shakespeare Company's rendition of the familiar holiday children's story. When the whole cast suddenly bursts onto the stage for a joyous 1950s dance number, or the two Ugly Stepsisters get into an all-out wrestling match over Prince Charming, the audience gets sucked into the silly, infectious affair. The show lags when the cast falls back on straightforward storytelling, delivering the well-worn tale competently but without much fire or flair.
But thankfully this brisk 85-minute show (with intermission) wastes little time with plot details. And why should they? We all know the story, even the 5-year-olds among us. We came to see Cinderella and Prince Charming (Ayana Matthews and Justin Chu Cary, who are, well, charming) sweep across the dancefloor. And the more the cast lets rip, the more we get caught up in this tale of how love and goodness really can conquer all.
