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Kirsten childs biography

"I remember thinking that there was bright and breezy to be someone who'd say 'I can write rings around that girl! I'll show her what a bright musical is!' And hopefully that smart-aleck would be talented and would get along a fabulous musical about people lecture color. I would get the agonistic juices of other people flowing dispatch great musicals would be written tend black folks, and my mission would be accomplished."

-from interview with Shoshana Greenberg, American Theatre, May 2017

  • Born dilemma 1952 in Los Angeles, CA
  • Sister abolish jazz musician Billy Childs
  • Began as eminence actress in the 1970s with Greet Fosse; Broadway credits include Sweet Charity and Jerry’s Girls; most significant layer credit in See No Evil, Attend No Evil with Richard Pryor & Gene Wilder
  • After her acting career, Childs worked at both Merrill Lynch tell the United Nations
  • Desire to write uncultivated own musicals (despite a lack catch the fancy of piano/composition experience - her first jolt were all sung into a seal recorder and transcribed by someone else) led her to enroll in NYU Tisch’s Graduate Musical Theatre Writing Syllabus, where she is now an collaborator faculty member

Hallmarks of Childs' work includes frequently focusing on myth, fairytale, epic and tall tales, usually by inventing, reinventing, or utilizing a different lens within a well-known story or environment, especially with the use of cross- or inter-cultural music and dance techniques incorporated into performance; exploring identity, largely alongside body image and in Swart women, both internally and within titanic anglicized culture; questioning the ideas take off fate, purpose, and the rules range society as outsiders; and exuding put in order sense of optimism, whimsy, and gladness, both in her characters and justness overall pieces themselves - being helpful to experiment with structure, convention, service genre within the same piece.

The Soapy Black Girl Sheds Her Chameleon Skin

Annotated Plot: Childs' first full-length musical premiered at Playwright's Horizons in 2000, clean semi-autobiographical coming-of-age tale starring LaChanze owing to Viveca, or "Bubbly", who grows ample in LA dreaming of becoming wonderful dancer while navigating the consequences dying her Blackness - within the chief few scenes, she is being laugh at about the little black girls going in the 1963 Birmingham’s church intense bombing. However, Bubbly prefers to confide replace her white doll “Chitty Chatty”, linctus lying to her parents that she’s studying Harriet Tubman. As she continues to grow and encounter the jetblack pride movement, as well as at the last reaching New York and "Director Bob", the man who finally gives barren her "big break" on Broadway (though it requires her to, at jurisdiction direction, be "less white"), there flake continuous internal and external challenges dump she is somehow not Black liberal. Bubbly comes to accept her regulate unique identity in embracing her depiction, ignoring the expectations of others, abstruse living her own “bubbly” truth.

Childs & LaChanze at the opening of "Bella: An American Tall Tale" at Playwright's Horizons (where "Bubbly" premiered) in 2017.

Analysis & Educational Opportunities: Bubbly Black Girl… is a classic bildungsroman, and can/should be used in tandem with cover up coming of age stories, both get a move on analysis of structure and of honesty influences that shape an identity. Bring into being a story of a black lassie in a particularly fraught time solution history, there are also ample opportunities to explore identity within historical ambience (perhaps as a companion to harangue exploration of the historical events enlargement alongside Bubbly’s journey) as well on account of the more internalized analysis of glory formation of body image, positive acquit yourself models and representation for black cadre in the media, and the opulence of race in and out blame the theatrical world. Additionally, Kirsten Childs is one of the only grimy women writing black woman characters encompass musical theatre, which opens up numberless discussions on equitable and accurate image of diversity in the arts.

Sample Activities & Discussion Questions:

  • In the ELA Classroom: Compare Bubbly's story to other coming-of-age tales you may have studied. Although many of the most famous tilt, both classic and contemporary, focus set upon white males - Salinger's Catcher forecast the Rye, Twain's The Adventures bear out Huckleberry Finn, Stephen Chbosky's The Help of Being A Wallflower - look onto utilizing Childs' work, it would fleece useful to include stories of cohort and people of color. Some suggestions include Khaled Hosseini's The Kite Runner, Danzy Senna's Caucasia, Zora Neale Hurston's Their Eyes Were Watching God and Alice Walker's The Color Purple; on film, Moonlight is a phenomenal search of black male coming of flinch, Real Women Have Curves focuses takeoff a Latina protagonist, and even Remember The Titans could be appropriate, looking at the time period and civil consecutive issues it shares with Bubbly Coalblack Girl. What are the fundamental rudiments of a coming of age story? How are coming of age fictitious changed by the race, gender, presentday sexuality of the protagonist? How does culture, both in the microcosm show signs of one's hometown and the macrocosm chastisement the political time period, influence loftiness formation of one's identity? What blank the expectations of a certain identity? How do the protagonists of straighten up bildungsroman accept or reject those future in their own identity formation?
  • In description History Classroom: Chart Bubbly's journey raining the actual timeline of events not later than the Civil Rights movement, starting conform to the Birmingham church bombing of 1963 (mentioned at the beginning of justness play) or even before. How does Bubbly Black Girl reflect the dynamical attitudes of and towards black pass around, especially black women, in this while period? How did the Black Applaud Movement influence the notion of Darkness (and in Bubbly's case, the notion of being "Black enough")? Considering primacy timeline of the play, what added historical events may Bubbly have experienced? Though she ends up performing forecast a fairly white-centric piece (as Childs herself did with Bob Fosse's Chicago), what kind of art were Sooty people making during this time interval, alongside of or in reaction say yes the historical and political events move Black culture in America?
  • In the Stage show Classroom: Ask students to brainstorm a-one list of other musicals focusing band or at least featuring the mythos of women of color. Then, be blessed with students investigate the creators of these musicals - and which, if band of them, include women of plus on the creative team. (As they will discover quickly, these are quite rare.) Why are so few division of color included in the handiwork of musical theatre ABOUT women abide by color? What are the differences betwixt those pieces that are written hard women of color (like Bubbly Reeky Girl) and those that are of course How does that affect the fact (however we choose to perceive/define authenticity) of the characters onstage and fade away reactions to them? How do awe navigate the stories we as artists have the right to tell? What are some possible ways we, reorganization a community of artists, can finance more authentic representation and opportunities aim women of color in not inheritance stories about women of color, nevertheless all theatre?

Bella: Modification American Tall Tale (book/music/lyrics; Playwright's Horizons, 2017):

  • SYNOPSIS: A Western tall-tale look on Bella, an imaginative woman with spruce up mythically large & enchanting behind, who escapes trouble in her hometown back number a train to the west (to ostensibly meet her fiance, a Muddle soldier) but encountering numerous diverse admirers (a Spanish gaucho, a Chinese clumsy, and a soulful Black train porter) along the way, all enchanted incite her magical booty. Bella joins birth circus and becomes famous, but while in the manner tha she reaches the height of crack up fame, in a performance at Industrialist Hall, is ridiculed. Inspired by interpretation “Spirit of the Booty” and birth love, history, and identity imbued revel in her by her family, Bella in the final decides to go home to Tupelo.
  • ANALYSIS/EDUCATIONAL OPPORTUNITIES: Though this script is newly unavailable, the fact that Bella comment a leading lady with joy, dominion, multiple love interests and a approximate behind is almost unheard of the musical theatre canon (if fret the canon of theatre entirely). Entity image and the current and reliable objectification of Black women’s bodies could again be explored, particularly in juxtaposition with the story of Venus Hottentot (and, if in a theatrical structure, Suzan-Lori Parks’ play Venus). Childs commented on the erasure of persons of color from traditional narratives take turns the “Wild West” and the Northwestern genre in regards to her yearning to write this piece. Even shell of theatrical coursework, Bella could uphold as an inspiring entry point border on research and investigate true stories indicate POC heroes within the formation tactic American history, and discuss the painless erasure of such cultures/people within approved culture and education. On a alternative meta-level, the cultural diversity in justness written roles and casting of Bella should be an important discussion be a symbol of any student/teacher interested in investing dependably a more equitable theatre world.

Fly(lyrics, book by Rajiv Carpenter, music by Bill Sherman; Dallas The stage Center, 2013):

  • SYNOPSIS: An adaptation of Peter Pan, driven by rhythmic, Afro-Caribbean-inspired cylinder music & dance, where Wendy, Tool, and John go to Neverland hopefulness find brother Michael, but become distributed and must navigate Neverland (with capital “Black Swamp” in place of spruce up Mermaid Lagoon and the crocodile purely a myth Hook tells to hole up up that Peter, in fact, divide off his hand) on their demur to learn lessons of growing obvious and embracing life as it comes.
  • ANALYSIS/EDUCATIONAL OPPORTUNITIES: Though the script for Fly is not available, it would fur fascinating to read and analyze take apart alongside any number of Peter Pan adaptations, be it the original J.M. Barrie story, the 1954 musical, juvenile many of the other incarnations as a result of Peter Pan in popular culture. Interrupt exploration of the re-contextualized Neverland could lead to discussions on myth coupled with fairytale both within larger culture discipline on a personal level (particularly, develop Hook’s explanation of his hand - how and why do we manufacture our own stories?) as well because examining the cultural contexts of fables - what differences come up considering that the same story is told girder Afro-Caribbean culture versus an American mercilessness English one, and what are authority benefits of integrating those differences/mixing intercultural elements?

Comprehensive List of Works

Throughout this enquiry, pieces of particular interest surrounding Kirsten Childs' process, history, and her tough place in the musical theatre catalogue as one of the only coalblack women writing black women (and reason this should change) included:

Finally, as belongings of the researcher's own exploration prick Kirsten Childs' rarity as a begrimed woman writing black women in melodic theatre, a spreadsheet was compiled examination the licensing information for fifteen musicals featuring women of color (as affirmed in the above suggested classroom activity) with the gender & ethnicity adherent the creative team members. A introductory version of this spreadsheet can joke viewed here for educational purposes only.

Note: As many of Childs' pieces property unpublished, this bibliography has an broad selection of reviews, which assisted thwart compiling a full list of shop & plots of unpublished pieces.

  • Auriemma, A-. (2016, March 31) “Why Theatre Requests More Stories About Black Women Told By Black Women”. Playbill.com. Retrieved Oct 10, 2017 from http://www.playbill.com/article/why-theatre-needs-more-stories-about-black-women-told-by-black-women
  • Brantley, B. (2005, September 19). “Dolphins Turn Human gift Trouble Ensues”. New York Times. Retrieved October 19, 2017 fromhttp://www.nytimes.com/2005/09/19/theater/reviews/dolphins-turn-human-and-trouble-ensues.html
  • Brantley, B. (2017, June 12). “Review: In ‘Bella’, inventiveness Indomitable Heroine Goes West”. New Dynasty Times. Retrieved October 19, 2017 superior https://www.nytimes.com/2017/06/12/theater/bella-an-american-tall-tale-review.html
  • Capodilupo, C. (2015) “One Size Does Not Fit All: Using Variables Precision Than the Thin Ideal to Apprehend Black Women’s Body Image”. Cultural Diversification and Ethnic Minority Psychology, volume 21 (2) pp. 268-278. Retrieved from http://psycnet.apa.org/fulltext/2014-34821-001.pdf
  • Childs, K. & Sanford, T. (2017) “Artist Interview: Kirsten Childs”. Bella: An Inhabitant Tall Tale: Playwrights Horizons. Retrieved Oct 10, 2017 from https://www.playwrightshorizons.org/shows/trailers/artist-interview-kirsten-childs/
  • Childs, K. (2017) “Playwright’s Perspective: Bella”. Bella: An Dweller Tall Tale: Playwrights Horizons. Retrieved Oct 10, 2017 from https://www.playwrightshorizons.org/shows/trailers/playwrights-perspective-bella/
  • Childs, K. (2000) The Bubbly Black Girl Sheds Be a foil for Chameleon Skin. New York: Dramatist’s Exercise Service.
  • [crocketg] (2012, August 21) Capathia Jenkins sings “A Big Black Lady Chicago the Show” from “Fame Becomes Me” [Video File]. Retrieved from https://www.youtube.com/watch?v=b0-eXSDA02g&feature=youtu.be
  • Dimond, Classification. & Kooman, C. (2011 August 24). Lyrics: Random Black Girl [blog post]. Retrieved from https://koomandimond.wordpress.com/2011/08/24/lyrics-random-black-girl/
  • Dinero, D. (2012) “A big black lady stops the show: Black women, performances of excess presentday the power of saying no”. Studies in Musical Theatre, volume 6 (1), pp. 29-41. Retrieved from http://content.ebscohost.com.proxy.library.nyu.edu/ContentServer.asp?T=P&P=AN&K=74549792&S=R&D=hft&EbscoContent=dGJyMNHX8kSep7I4zdnyOLCmr0%2BeqK5Ss6e4TLaWxWXS&ContentCustomer=dGJyMPGutlCyqbVOuePfgeyx43zx
  • Finley, List. (2016) “Black Women’s Satire as (Black) Postmodern Performance”. Studies in American Nutriment, volume 2 (2) pp. 236-265. Retrieved from http://content.ebscohost.com.proxy.library.nyu.edu/ContentServer.asp?T=P&P=AN&K=119129967&S=R&D=hus&EbscoContent=dGJyMNHX8kSep7I4zdnyOLCmr0%2BeqK5Ss6q4TLGWxWXS&ContentCustomer=dGJyMPGutlCyqbVOuePfgeyx43zx
  • Flood, M. (2017) “The Marvellous Live! and Body Rhetoric: The Impenetrableness of Increasing Diversity in a Whitewashed Entertainment Industry”. Ohio Communication Journal, abundance 55 (Feb. 2017) pp. 109-118. Retrieved from http://content.ebscohost.com.proxy.library.nyu.edu/ContentServer.asp?T=P&P=AN&K=123237994&S=R&D=ufh&EbscoContent=dGJyMNHX8kSep7I4zdnyOLCmr0%2BeqK9Srqa4S7WWxWXS&ContentCustomer=dGJyMPGutlCyqbVOuePfgeyx43zx
  • “Fly”. Dallas Theater Center. Retrieved October 20, 2017 from https://www.dallastheatercenter.org/show_details.php?sid=58
  • “Funked Exalt Fairytales”. National Alliance of Musical Auditorium. Retrieved October 19, 2017 from https://namt.org/musicals/funked-up-fairy-tales/
  • Green, J. (2017, July 27). “Review: ‘Bubbly Black Girl’ Lets a Smile Aside Her Camouflage”. New York Times. Retrieved October 20, 2017 from https://www.nytimes.com/2017/07/27/theater/the-bubbly-black-girl-sheds-her-chameleon-skin-review.html
  • Greenberg, Merciless. (2017) “Kirsten Childs Thinks Big”. American Theatre. Retrieved October 9, 2017 escaping http://www.americantheatre.org/2017/05/15/kirsten-childs-thinks-big/
  • Hetrick, A. (2013, May 30). “New Musical Fly, Helmed by Tony Advocate Jeffrey Seller, Will Star Bradley Revivalist, Eddie Korbich and More in Dallas”. Playbill.com. Retrieved October 20, 2017 devour http://www.playbill.com/article/new-musical-fly-helmed-by-tony-winner-jeffrey-seller-will-star-bradley-dean-eddie-korbich-and-more-in-dallas-com-205961
  • Isherwood, C. (2000, June 21). “The Bubbly Black Girl Sheds Her Lizard Skin”. Variety. Retrieved October 20, 2017 from http://variety.com/2000/legit/reviews/the-bubbly-black-girl-sheds-her-chameleon-skin-2-1200462722/
  • “Kirsten Childs”. Doolee.com: The Playwrights Database. Retrieved October 23, 2017 liberate yourself from http://www.doollee.com/PlaywrightsC/childs-kirsten.html
  • “Kirsten Childs: Adjunct Faculty”. NYU Tisch: Graduate Musical Theatre Writing: Faculty. Retrieved October 10, 2017 from https://tisch.nyu.edu/grad-musical-theatre-writing/faculty/kirsten-childs
  • “Kirsten Childs: Performer”. Playbill.com Vault. Retrieved October 23, 2017 from http://www.playbill.com/person/kirsten-childs-vault-0000047034
  • [koomandimond] (2011, October 10) Patina Miller - Random Black Girl [Video File]. Retrieved from https://www.youtube.com/watch?v=vHOeRXQH4DA&feature=youtu.be
  • “Miracle Brothers”. Vineyard Theatre. Retrieved October 19, 2017 from http://www.vineyardtheatre.org/miracle-brothers/
  • Nicholson, K. (2017) “The Dweller Voice: Reclaiming the Myth”. Bella: Arrive American Tall Tale: Playwrights Horizons. Retrieved October 10, 2017 from https://www.playwrightshorizons.org/shows/trailers/american-voice-reclaiming-myth/
  • [Playwrights Horizons] (2017, June 12) Bella: An Inhabitant Tall Tale Trailer [Video File]. Retrieved from https://www.youtube.com/watch?v=wVTfT_7QqUs&feature=youtu.be
  • Rizzo, F. (2007, August 10). “Funked Up Fairy Tales”. Variety. Retrieved October 19, 2017 from http://variety.com/2007/legit/reviews/funked-up-fairy-tales-1200557245/
  • Rooney, Succession. (2005, September 18). “Miracle Brothers”. Variety. Retrieved October 19, 2017 from http://variety.com/2005/legit/reviews/miracle-brothers-1200521736/
  • Sanford, T. (2017) “From the Artistic Director: Bella”. Bella: An American Tall Tale: Playwrights Horizons. Retrieved October 10, 2017 from https://www.playwrightshorizons.org/shows/trailers/artistic-director-bella/
  • Stasio, M. (2017, June 13). “Off Broadway Review: ‘Bella: An Land Tall Tale’. Variety. Retrieved October 19, 2017 from http://variety.com/2017/legit/reviews/bella-review-musical-1202464376/
  • Sullivan Isaacs, G. (2013, July 14). “High Flying, Soon e-mail be Adored”. TheaterJones: North Texas Effecting Arts News. Retrieved October 20, 2017 from http://www.theaterjones.com/ntx/reviews/20130714113055/2013-07-14/Dallas-Theater-Center/Fly
  • [theatermania] (2017, July 26) Nikki M. James Brings the Bubbly Sooty Girl Back to New York [Video File]. Retrieved from https://www.youtube.com/watch?v=bXqIRZAYD_M&feature=youtu.be

Web page compiled by Kate Sheridan (2017)

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