Dramalogue Award, Joseph Calloway Award, NAACP Image, Outer Critics Award
Hope Clarke (born March 23, 1941) is an American actress, dancer, vocalist, choreographer, and director. Clarke, a Tony Award nominee, made history in 1995 when she became the first African-American, as well as the first African-American woman, to direct and choreograph a major staging of the classic opera, Porgy and Bess.
Clarke began her career as a principal dancer with the Katherine Dunham Company and the Alvin Ailey American Dance Theater, and as an actress appeared in many stage, film, and television productions. As a choreographer, Clarke is credited with staging and movement for more than 30 shows on and off Broadway.
Early life and education
A native of Washington, D.C., Clarke took dance classes with her sister at the Alma Davis Dance School, and as a senior in high school, she was a lead dancer with Doris Jones' company in DC.[1][2] Clarke worked as a summer employee for the Central Intelligence [Agency].[2] She grew up in a middle class Black community, a place where people shopped through mail-order catalogues in order to purchase clothes offered in stores where they were not welcomed. “The black community, as I remember it, was very closely knit," Clarke said in the San Francisco Examiner: "Before the fabric of this society was torn by racism and lack of education, we all took care of each other. We all watched each other's children."[3]
Career
West Side Story to Don’t Bother Me, I Can’t Cope
In 1959, Clarke landed a role in the original touring cast of West Side Story.[2] At the urging of her sister, she auditioned for the role, got it, and joined the touring company while it was in Chicago,[1][4][5] and remained in the cast until April 23, 1960.[6] In 1961, Clarke appeared in the interracial love story Kwamina starring Brock Peters and Robert Guillaume, and featuring the choreography of Agnes de Mille.[1][5] In 1967, she played a minor role and was part of the ensemble in Hallelujah, Baby!, which received five Tony Awards, including Best Musical.[1][4][5]
In 1970, Clarke was a dancer in “Purlie,” a musical that nominated for five Tony Awards.[1][4] In 1972, she was in the musical “Don’t Bother Me, I Can’t Cope,” which was the first Broadway musical to be directed by an African American woman, Vinnette Carroll.[1][2][5][9]
Clarke, along with Michael Blake, Carmen de Lavallade, Sheila Rohan, and others, co-founded the former 5 Plus Ensemble (New Beginnings Theater), a dance company created to showcase the work of dancers, choreographer, and musicians who are older than the age of 50.[2][13][14]
In 1985, Clarke played “Ruby” in the musical Grind[4][5][16] and worked with Lester Wilson.[2] In 1992, Clarke earned a Tony Award nomination for “Best Choreography” for her work in the 1992 Broadway hit Jelly's Last Jam.[1][5][17] The show grew from New York workshops and a Los Angeles production at the Mark Taper Forum to a Broadway show.[18]
In 1995, Clarke choreographed “The Tempest.”[4][5] In November 2003, she started work on Caroline, or Change, a musical that features spirituals, blues, Motown, classical music and Jewish Klezmer.[19] Clarke was responsible for the choreography of the show that began as an Off-Broadway production, received a Broadway production of 126 performances in 2004, received six Tony Award nominations, and had a two-month run at the Lyttleton Theatre, National Theatre in London, winning the Olivier Award for Best New Musical.[19][8][16]
In 2010, Clarke choreographed A Free Man of Color,[5] and in 2017, she choreographed, Fly, a play about the Tuskegee Airmen. The show was produced by the Lincoln Center Institute and toured to several venues, including Alabama Shakespeare Festival, Pasadena Playhouse, Florida Studio Theatre, St. Louis Rep, Cincinnati Playhouse, Ford's Theatre, Vineyard Playhouse, and Crossroads Theatre.[2][20][21][22]
In 1995, Clarke directed the Houston Grand Opera production of Porgy & Bess, the first African American to stage a major professional U.S. staging of “Porgy and Bess.[23][10][11] Regarded as America’s greatest opera, the two million dollar Houston Grand production toured throughout the United States, as well as performances in Italy and Japan.[27][10]
“I want African Americans who come to see the opera to be proud that an African American is directing the production and to recognize the people on stage.” [10]
"Blacks and women have been locked out of directing major productions for too long. It's time for us not only to tell our stories but to direct them."[30]
"As a director, I guess I bring in the female sensibilities. Since I'm also an actress, I've really tried to develop the characterizations so that the performers don't do a little singing here, and some acting there. And coming from a black perspective, I know how we think, how we feel, what we do. I understand the little things. That makes a difference."[31]
“In my production, everybody works. Everybody has some type of job. Just because you are poor doesn't mean you have to be slovenly or ignorant."[32]
^ abcdefghijklmnopWaters, Sylvia and Hope Clarke interview. Jerome Robbins Dance Division Oral History Project. The New York Public Library for the Performing Arts. April 20, 24, and 25, 2017. 3 streaming files (approximately approximately 4 hours and 55 minutes) : digital + transcript (232 pages). https://legacycatalog.nypl.org/record=b21682817~S1
^ abAlabama Shakespeare Festival Soars with FLY, Celebrating the legacy of the Tuskegee Airmen, Jan. 26-Feb 11. 2017. Alabama Shakespeare Festival. December 20, 2017. https://asf.net/wp-content/uploads/2018/03/FLY-PR.pdf
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