![]() ![]() Title: Work of the Colored Law and Order League: Baltimore, Md. To check the laws of the country where you are located before using this ebook. If you are not located in the United States, you'll have The Project Gutenberg License included with this eBook or online at You may copy it, give it away or re-use it under the terms of Other parts of the world at no cost and with almost no restrictions ![]() This eBook is for the use of anyone anywhere in the United States and most The Project Gutenberg EBook of Work of the Colored Law and Order League: As an artist who has worked all over the world, Walker-Webb said he’s never experienced a city with the “kind of synergy and complexity” that Baltimore offers - with its mix of rich history, cultural institutions and “hyperpolitical, hyperengaged” residents.Work of the Colored Law and Order League of Baltimore, Md. Walker-Webb doesn’t hide his ambitious plans for Center Stage and the Baltimore theater industry at large. He later added, “I think we’re really lucky to have him.” “We are just totally inspired by the way that he thinks about those things and the work he wants to make here,” Frank said. Frank is confident Walker-Webb will bridge generational and cultural gaps to bring new consumers to a theater with 60 years of history. Walker-Webb said Center Stage will begin announcing the first productions with him at the artistic helm sometime next year.įrank, who was hired in December and served on the search committee for the artistic director role, said the hiring of Walker-Webb had “unanimous support” from everyone at Center Stage. Planning for next season will start this fall, he said. 14 with the Baltimore-centric “Lady Day at Emerson’s Bar & Grill.” Other upcoming plays include “Cinderella (Enchanted Edition),” a reimagining of the Disney classic by the local, all-Black theater company ArtsCentric, and the hip-hop musical “Mexodus.” Walker-Webb is set to lead Center Stage’s 2023-24 season, which was programmed by Ybarra and kicks off Sept. “But if you entertain me and you challenge me? That’s the sweet spot.”Īrtistic director Stevie Walker-Webb and managing director Adam Frank sit outside Baltimore Center Stage. It doesn’t matter if what you’re saying is really, really profound if it bores me to death or I feel like it wasn’t worth my two hours or the ticket price that I paid for it,” he said. “People want to be challenged, but they want to have a good time, too. Walker-Webb said he won’t shy away from this kind of approach at Center Stage, but his first priority is to entertain. It’s not preaching at you - it’s almost tickling you into epiphany.” ![]() “You’re laughing your way into new ways of thinking and being. “‘Ain’t No Mo’' is a play that has a real punch but it’s got so much comedy in it that you’re laughing your way into enlightenment,” he said. Despite its short Broadway run, the production was further proof to Walker-Webb that comedy remains one of the most effective paths to empathy and understanding. “Ain’t No Mo’” generated big laughs against a backdrop of Black American characters boarding a “reparations flight” from Gate 1619. Walker-Webb is no stranger to work that can both titillate and unnerve audiences. Become one.Īside from navigating Center Stage through the pandemic, which temporarily shuttered the theater and led to employee furloughs, Ybarra faced pushback for her programming decisions - even from some Center Stage trustees, including Michael Styer, who told The Baltimore Sun he left the theater in protest of Ybarra’s production choices. ![]() The Baltimore Banner thanks its sponsors. In April, she became the Mellon Foundation’s program officer in arts and culture. Walker-Webb follows interim artistic director Ken-Matt Martin and Stephanie Ybarra, who left the post in the spring after a five-year tenure marked with intentional choices that provided a high-profile platform for artists of color who performed plays such as “Dream Hou$e” and “Thoughts of a Colored Man” that challenged and entertained Center Stage audiences. “What’s most important is programming things that people get really jazzed, really turned up, really excited about.” If it doesn’t relate to where the city is and what the city is interested in talking about, it’s not important,” he said. “It doesn’t matter if I’m obsessed with some niche idea. As the theater industry aims to recover from the pandemic, Walker-Webb said it’s his responsibility to put consumers back in seats by meeting public demand. One of his first priorities, he said, is to talk to locals about the types of productions they want to see at Maryland’s state theater. ![]()
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