Chester Gregory has remained a steady Broadway fixture since making his debut in 2003 in Hairspray. A replacement in the role of Seaweed, the Gary, Indiana native began a streak of supporting principal roles that included Terk in Tarzan, Dupree in Cry-Baby, Donkey in the Seattle tryout of Shrek The Musical, and James “Thunder” Early in the Dreamgirls national tour. Now Gregory is back on Broadway playing (Sweaty) Eddie Souther in Sister Act—the noble police officer who sends lounge singer Dolores (Patina Miller) to hide in a convent from her thug pursuers.
Gregory earned raves in 2000 when he starred in Chicago’s Black Ensemble Theater’s production of The Jackie Wilson Story. When the show toured in New York at the Apollo Theater, Hairspray creators Marc Shaiman and Scott Wittman were taken by Gregory’s energetic performance and immediately cast him as Seaweed in their hit musical. Since making his Broadway debut, Gregory has earned an adoring fanbase, but his stage journey has had notable low points. Tarzan opened to terrible reviews, Cry-Baby only lasted 68 performances, and the industry buzzed when Gregory was not cast as Donkey in Shrek’s Broadway transfer, after creating the role in Seattle.
Despite these potential setbacks, Gregory plunged forward, giving a well-reviewed performance in the national tour of Dreamgirls and creating a slick R&B/soul solo career. Gregory sat down with Stage Rush in his dressing room at the Broadway Theatre (coincidentally, where the musical about the ogre played) to discuss Sister Act, his history with the Apollo, and what happened with Shrek.
How did Sister Act come into your life?
Sister Act came into my life by way of my son’s mother, Kimberly Herbert Gregory, who is an actress as well [last seen in By The Way, Meet Vera Stark]. She saw the production in London and recommended I audition for it. Read more
How do you solve a problem like Fela!? If you’re crafting a musical based on the radical Nigerian musician who created the genre “Afrobeat” and used it to criticize his government, you must formulate a production that is just as outside-the-box as the man was. Director Bill T. Jones presents a Broadway-quality experience that feels unlike anything “Broadway.”
Jones paints the Eugene O’Neill Theatre in Fela’s colors. The show felt like it had already begun when I walked into the director/choreographer’s old Spring Awakening home. The band is already playing, and as I step into the building, I see that covering the walls are murals of African art, enlargements of Fela’s headline-making antics, and strands of lights stretching all the way from the back mezzanine to the boxes. The theater is unrecognizable and I felt like I wanted to get a table and eat a good meal there. For this show, arriving to the theater early allows you time to soak up the mood of Fela’s world and by the time the show begins (forgoing the parental “Unwrap your candy, turn off your cell phones” warning), your interest will be piqued.
I knew nothing about Fela Anikulapo-Kuti prior to this show, and I’m venturing to say few others did too. But being this is a bio-musical, the narrative is supposed to take care of that for you. By curtain call, I did have an understanding of Fela’s life, but I can’t say I’d pass a test on the details. I then thought theatergoers would benefit from a little trip to Wikipedia before taking their seats, but then certain plot points would be less of a surprise, such as Fela’s mother’s death (don’t worry, this isn’t a spoiler. It’s made clear in the Playbill that she is dead, but the circumstances surrounding it are the real shocker).
Having the national tour of Dreamgirls kick off at the Apollo Theater in Harlem is a special event. The historic theater is celebrating its 75th year, this incredibly successful show is coming off a much-lauded film adaptation, and it happens that the opening and closing scenes of Dreamgirls take place at the Apollo. So it’s a particularly commendable gesture that the Apollo is making an outreach to the community.
The theater is offering half-price tickets for specific “community performances.” To be eligible, you need to either be a Harlem resident or work in the neighborhood. Since I just happen to be a proud SpaHa resident, I sent my roommate to the Apollo to snap up some tickets before they were all gone. Sammy said there was a good line of people at the theater, and quite a bit of curiosity from passersby as to what the line was for. She was armed with an addressed envelope, to confirm our Harlem residency, and an ID to connect her with the mail. So as to keep this as close to a typical rush experience as possible, I entrusted Sammy not to purchase any tickets over $30.
I received an elated text from Sammy exclaiming, “$18.50!!!!” Ding ding ding! Ladies and gentlemen, we have our record-lowest rush price ever – $18.50! Congratulations, Dreamgirls; let’s see how long it takes for another production to beat that. (I know what you’re thinking. Bye Bye Birdie offered $10 tickets to the first preview. But those tickets were sold way in advance and… well, I didn’t get those tickets. Leave your objections in the comments.) Read more