By Colman Domingo
Electronic ISBN: 9781783195572
In 2010, Domingo's self-penned play A Boy and His Soul premiered Off-Broadway on the winery Theater, for which he gained GLAAD Award: notable long island Theater: Broadway & Off–Broadway and a Lucille Lortel Award for amazing Solo convey. He used to be additionally nominated for a Drama table Award and a Drama League Award.
Where do you get SOUL? From looking at your mom and dad promote the home you grew up in? From gaining knowledge of the kinfolk mystery approximately your loopy cousin? Or from the formative years documents present in your parents’ basement? From Stevie, Aretha, Marvin, Chaka, Barry, Gladys…and Colman. Propelled via the beat of vintage soul, tender R&B and disco, this is often the soundtrack of a boy’s coming of age in 70s and 80s Philadelphia.
A Boy and His Soul used to be the recipient of the Lucille Lortel Award top Solo express, GLAAD Media Award most sensible Play On or Off Broadway and the ITBA top Solo exhibit awards.
"A blazingly charismatic performer." long island Times
"Personal, poignant and pungent… [an] evocative, relocating piece a couple of guy who reveals himself and a wide a part of his id via music." The Stage
"A appealing and soft one-man show." day-by-day Telegraph
"Its sprinkling of sharp observations coupled with a heartfelt love for the tune makes A Boy and His Soul tough to resist." What's On Stage
"The characters created through Domingo… are so vibrant, so likeable, so easily but vividly embodied… it truly is tough to resist." authentic London Theatre
"Leaves you yelping for more." Observer
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Additional resources for A Boy and His Soul
Müller identifies Brecht’s influence as the primary force that enabled him to finally get through these difficult years. “My support for the GDR,” he writes in this context, “was connected with Brecht. Brecht legitimized living in the GDR. That was extremely important. One had to stay because Brecht was there. Because of that, there was a reason to accept the system absolutely. Brecht showed that one could be a Communist and an artist” (112). Müller speaks just as positively about Helene Weigel, who, above all, purportedly encouraged him to write a self-criticism in order to appease the SED after its sharp condemnation of The Resettler (Die Umsiedlerin).
In his autobiography, Müller nevertheless differs from the authors of these other works in that he consciously denies the disillusionment and depicts himself as politically uninvolved from the start in order to invest his life, beyond all political upheavals, with a certain coherence—at least in terms of ideology and a humane outlook. In any case, he does so in an extremely provocative way that others will certainly denounce as immoral, because Müller characterizes himself as an author who was never really politically committed but who limited himself from the beginning to an attitude of cool observation.
Hans Bunge’s posthumously published documentation of the debate surrounding the publication of Hanns Eisler’s libretto Johann Faustus and Brecht’s production of 26 CARL WEBER Goethe’s Urfaust fragment presents a central issue of cultural policy during the early and mid-1950s: the definition of a “National Culture” and the defense of the so-called “Classical Heritage” in the arts and letters (Bunge, 1991). “Classical Heritage” was the catchword for the works by German poets, dramatists, composers, and artists who had achieved the status of classics, works the Party had deemed “progressive” and an inalienable property of the German nation.
A Boy and His Soul by Colman Domingo