It’s difficult to describe Vy Higginsen without using the word "pioneer." She was the first woman to host a morning show on New York radio, the first woman to work in advertising sales at Ebony magazine, and the first black woman to produce a drama on Broadway.
These days the prolific renaissance woman is also busy running
the Mama Foundation for the Arts, a Harlem-based nonprofit organization
dedicated to nurturing black performers.
The Mama Foundation this month is producing a brand-new version of Higginsen’s long-running off-Broadway show, Mama, I Want to Sing, a gospel musical loosely based on the life of the singer Doris Troy.
As someone who has worked in the entertainment industry for such a long time, do you think young people today encounter any special challenges as they attempt to break into the business?
The thing that strikes me most about the entertainment and
theatrical business is the level of commitment, hard work and a work ethic
involved. Very often it’s the entertainer who is working on weekends,
Christmas, Thanksgiving and New Year’s. I’m not so sure a lot of people want it
bad enough to give up those things. That’s what I encounter personally with
newcomers. They say, “Well, gee, I didn’t know I had to work that hard.” They
see the glamour without the heavy lifting.
Do you think that’s more true of performers today?
I do. Also, the opportunities on stage are not as available as the talent. So it’s easy to kind of fall by the wayside. One of the reasons that we founded the Mama Foundation is that we do see so much talent. We see very talented people working at their computers all day without being able to express themselves. It really bothers me.
What are your thoughts on the importance of being multi-disciplined in musical theater?
I think it’s important, of course. It’s easier to recognize a talent when they have multiple skills. But when a person can really, really, sing, and yet they just can’t dance, they shouldn’t just stop doing what they’re good at so they can learn to dance.
What is your greatest strength as a performer?
I think it’s the sound of my voice — that is, the power to tell a story and the power to set a mood with my voice. I’m only guessing, because that’s what people tell me as a radio personality and a broadcast journalist. I’m not a singer, so I can’t sing a note.
How did you get your start in show business?
I really got it accidentally. I wanted to be on a radio talk show, but when I went to the radio station, they hired me as a disc jockey. I was the first woman in prime time radio, so that was a big deal. And that gave me the access to the whole music, theater and movie industry. I was always on the fringe of entertainment through the radio station.
You produced Joe Turner’s Come and Gone on Broadway. Did you get to work with August Wilson?
I did. He was quite a character, a full-boned character. And it’s sad that his voice is no longer with us. I think it was a very powerful voice, and extremely descriptive of culture and lifestyle.
What are you working on now?
We’re doing lots of wonderful things, but our current version of Mama I Want to Sing is the biggest deal. It really is the next generation. The cast is amazingly ordained to do this show. We pick extraordinary voices in order to execute the music as it’s written. You have to be able to have incredible range and musical talent and ability.
Is the show being well received?
The audiences are on the edge of their seats. You know, a
lot of times you look around in the theater and people are sleeping. That
doesn’t happen with this show. It’s an amazing production.
Mama, I Want To Sing: The Next Generation, Through July 30, The Dempsey Theater (127 W 127th Street, between Adam Clayton Powell Jr. and Malcolm X Boulevards). Performances are every Saturday at 1:00 pm and 4:30 pm. General admission tickets are $35 and available at 212-868-4444. Box Office hours are Monday-Friday 12pm- 7pm and Saturday from 11:30am- 6:30pm.
