Travel back in time through song and dance to join Josephine Baker, the first Black American superstar, as she dives deeper into the experiences of her childhood and adult life. Through a series of reflections, she re-imagines a world that could have existed during the Harlem Renaissance featuring icons such as Billie Holiday, Ella Fitzgerald, Harry Belafonte, Sam Cooke, Eartha Kitt, Carmen Miranda, Paul Robeson, Little Richard, Aretha Franklin, Duke Ellington, Dorothy Dandridge, Edith Piaf, Ben Vereen, and more. This fictional portrayal captures the timeless stories of potent pioneers through dance, humor, drama and song simply called THEATRE!
This show is encompassed with multi-talented artistry and ingenuity of
Harlem in the 20s, 30s, 40s, and 50s Cotton Club era and beyond with a multimedia presentation of timeless pioneers!
Experience a revue of the Harlem Renaissance era, REIMAGINED!
Produced, directed, choreographed and conceptualized by Tina Thompson
In Josephine's Cotton- The Revue, The First Black American Superstar dives deeper into her childhood, adult life experiences and reflections through imagining a world that might exist during the Harlem Renaissance movement. Imagine All of the Icons Meeting the Great Josephine Baker, Billie Holiday, Harry Belafonte, Sam Cooke, Aretha Franklin, Carmen Miranda, Duke Ellington, Cab Calloway, Ella Fitzgerald, Louis Armstrong, Eartha Kitt & More!
This fictional portrayal through stories of pioneers are timeless and sure to capture audiences globally. Josephine's experiences with a cast of exuberant influential icons will prove to be as timely as they are potent. Where legends collide!
It is a common mistake to gauge the vitality of the American professional theater solely or even primarily by Broadway. No one would judge American writing only by the best seller list, American movies solely by the week’s top grossing film, or music merely by the groups that can fill a football stadium. Similarly theater is not described by its commercial operations alone.
We are convinced that the heart of American theater is the not-for-profit theater. Commercial theater gets the greatest attention in the popular press because of the size of its budgets, the concentration of activity on Broadway and environs, and the availability of the national media headquartered in Manhattan. By contrast the impact of any one not-for-profit theater is usually felt within a single community. Since theater is distinguished by being a live event, no other media can duplicate the aesthetic experience of theater. Thus, for many people, the not-for-profit theater is their main access to the theater experience.
Though it was once primarily a place where musicals and boulevard comedies went after they left Broadway, the not-for-profit theater is increasingly an important cultural engine developing new plays and musicals. It is the rare successful
Broadway show that originates on Broadway. We looked at the origins of Broad- way openings in the 2006–7 and 2007–8 seasons as examples. Of thirty-three openings in 2007, sixteen originated in the not-for-profit theater, and seven were imported from abroad. New Broadway productions in 2008 totaled thirty-two, of which nineteen were from not-for-profit theaters and five were from abroad.
In 2006–7, of fourteen shows that Variety, the primary trade journal of the entertainment industry, labeled flops, six originated on Broadway. Of eight shows labeled as hits, two originated on Broadway. Not-for-profit sources of hit shows included the La Jolla Playhouse, San Diego; Alliance Theatre, Atlanta; and Center Theatre Group, Los Angeles.
The Tony Awards for 2004 were a minisweep for the not-for-profit theater: best musical, best play, best revival of a musical, and best revival of a play all went to not-for-profit theaters or shows that originated in not-for-profit theaters. Between 1999–2000 and 2007–8, 61 percent of the “Best . . .” Tony Awards went to not-for-profit productions or not-for-profit originated productions, and 17 per- cent went to productions originating abroad. Fewer than one-quarter of these superlative kudos—22 percent—went to shows originating on Broadway.
Copyrighted Material/ SKIN Dance Company/ Affiliates Usage Only
In Josephine's Cotton- The Revue, The First Black American Superstar dives deeper into her childhood, adult life experiences and reflections through imagining a world that might exist during the Harlem Renaissance movement. Imagine All of the Icons Meeting the Great Josephine, Billie Holiday, Sam Cooke, Eartha Kitt, Carmen Miranda & More! This fictional portrayal through stories of pioneers are timeless and sure to capture audiences globally. Josephine's experiences with a cast of exuberant influential icons will prove to be as timely as they are potent.
Josephine's Cotton THE REVUE- Produced by Tina Thompson
OFF-BROADWAY Production ROY ARIAS THEATRE'S
Photography by Andrew Mark Williams
Set Design by Lance Pope
Costume Design by Tina Thompson/ Jessica Morales
Assistant Choreographers: Josef Woodson/ Natasha DeVaughn
Public Relations: Charlotte Allen
Wardrobe Assistant: Luke Destin
Thomas Matthew Shands
A New Musical Produced, Conceptualized and Choreographed by
Special Guest Performers/ Choreographer's
Set to Music from Various New Pioneer Artists
In Greek mythology, Terpsichore is one of the nine Muses and goddess of dance and chorus. She lends her name to the word "terpsichorean" which means "of or relating to dance". She is usually depicted sitting down, holding a lyre, accompanying the dancers' choirs with her music. Her name comes from the Greek words τέρπω ("delight") and χoρός ("dance"). She was also said to be the mother of the Sirens and Parthenope by Achelous. In some accounts, she bore the Thracian king Biston by Ares.
'ALL THINGS ARE DONE THROUGH HIM'