Activist Bayard Rustin faces racism and homophobia as he helps change the course of Civil Rights history by orchestrating the 1963 March on Washington.
Alvin Ailey was a visionary artist who found salvation through dance. Told in his own words and through the creation of a dance inspired by his life, this immersive portrait follows a man who, when confronted by a world that refused to embrace him, determined to build one that would.
Compulsive gambler Oz lives in a rent-controlled apartment in Brooklyn, with his roommate, Ivy-League dropout Ish. Crippled by an unspoken fear of failure, the serial underachievers whittle the hours away playing video games and discussing plans for a band that has yet to leave the realm of the hypothetical. But after they meet graffiti artist Veronica, who challenges them to take action, Oz and Ish must examine themselves for the first time.
Long separated from his teenaged son and daughter, Michael Fields comes into contact with them in a most unexpected fashion. He is appointed headmaster of the exclusive New England private school where they both are enrolled.
Hope Clarke is an American actress, dancer, vocalist, choreographer, and director. Clarke performed as principal dancer with the Katherine Dunham Company and the Alvin Ailey American Dance Theater, 1960s; actress on stage, film, and television, 1970s–1980s; choreographer and director, 1980s--. Clarke served on the Tony Awards Nominating Committee for the 2011–12 Broadway season. Clarke 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 opera-musical Porgy and Bess. Clarke's production of the George Gershwin classic was staged in celebration of the work's 60h anniversary, and it toured not only major American cities but Japan and Europe as well. Clarke drew critical acclaim for her commitment to staging the show as a monument to African-American community and pride, giving a more hopeful, positive aura to a story that has been criticized for its stereotypes. As for the director herself, the success of Porgy and Bess is just the latest accolade in a long career devoted to dance and drama.
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