patricia white


The Perfect Cast of “The Proud Family”.


Lorraine as Penny Proud!

Brian White as Oscar Proud!

Beyoncé as Trudy Proud!

Mónica Alvarez as LaCienega Boulevardez!

Gabriel Iglesias as Felix Boulevardez!

Constance Marie as Sunset Boulevardez!

Patricia Belcher as Suga Mama! (Because it wouldn’t be right to choose Madea)

Tony Plana as Papi Boulevardez!

August Alsina as Bobby Proud! (Surprisingly not Trinidad James)

Will Smith as Wizard Kelly!

& Jaden Smith as Wizard Jr. a.k.a Little Wiz!

If you need a description for this perfect cast, you do not deserve to reblog it. It’s all in the theme song. The Proud Family.


For Black History Month: black principals in “Phantom of the Opera”

  1. Phantom: Robert Guillaume, Los Angeles (1990-91)
  2. Phantom: Norm Lewis, Broadway (2014-15)
  3. Carlotta: Patricia Phillips, Toronto & Broadway (1993, 2003-04, 2006, 2008-09)
  4. Carlotta: Angela M. Caesar, Restaged UK Tour (2012-13)
  5. Carlotta: Danielle White, Las Vegas (principal 2008, 2006-12)
  6. Christine: Lana English, Johannesburg and Pretoria (2004)
  7. Raoul: Jordan Donica, Broadway (2016-17)
  8. Piangi: Thabiso Masemene, World Tour (2011-16)
  9. Piangi: John Whitney, US Tour (2001, 2004-10)
  10. Piangi: Marcus Desando, World Tour (2004-05)
  11. Phantom: Derrick Davis, Restaged US Tour (2016-17)
  12. Phantom: Nicholas Nkuna, Johannesburg and Cape Town (2011-12)

(some comments: for many South Africans the term “coloured” is preferred if there’s different heritage involved, and Lana English would be considered coloured. But in the US and UK that is considered slur and usually avoided online. Just be aware of the distinction. Read more about that here.

Also, there’s been so many wonderful understudies that I did not get to list here, especially for the role of Carlotta, but also for Piangi, Meg Giry and Madame Giry. Only understudy on the list is Nicholas Nkuna, as he played the Phantom. The others are not forgotten, only left out because of Tumblr’s photo limit)


Favorite Reads of March. 2017

March was a month of untraditional, but badass, ladies. The overweight beauty pageant, a female VW mechanic and Vlad The Impaler reimagined as a teenage girl. I laughed, cried and fell in LOVE in March. I loved almost everything I read and could not put it down. I specifically want to point out The Upside of Unrequited by Becky Albertalli which comes out on Tuesday (April. 11). It’s one of the best representations of low self-esteem and what it’s like to have a crush you don’t believe will be returned.  

AMPAS Class of 2017 adds 18 new women directors to the Directors’ Branch

Every year the Academy of Motion Picture Arts and Sciences invites new artists to join the different branches that make up the academy. Why does this matter? Oscar nominees for each category come directly from that branch (i.e. the Directors Branch members vote on who will be nominated for Best Director) while all members vote on the final ballot. 

The Academy as a whole has been criticized for its membership primarily made of older (over 60) white and male members. Last year represented the greatest push for diversity yet with a record number of white women and poc added across all branches. Of particular note to this blog was the fact that 52 women directors were added to the directors branch.

This year a smaller number of women directors were invited to join the branch: 18 out of 64 directors were women, and most of those were white. However a great number of the men invited to join the branch were men of colour and a the overwhelming percentage of directors were non-American once again representing an attempt by AMPAS to continue to diversify its branch. 

What will this mean in the future? It’s difficult to say. Nominees in the directing branch have remained overwhelmingly white and male for the last decade (Kathryn Bigelow, the only woman to win an Oscar is also the last woman to have been nominated for one back at the 2010 ceremony). And there’s no guarantees that non-American nominees will leap at a chance for membership at a prestige American institution (one of last year’s nominees, Argentinian director Lucrecia Martel, flatly rejected membership).

The invitees:

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