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Desiree Coleman played Doris Winter in the production at the Heckscher Theatre from 1983-1985. |
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Shirley Caesar performed the role of Mama Winter at The Theater at Madison Square Garden in 1994. |
Vy Higginsen realized that the story of her sister, Doris Troy, was similar to that of many R&B stars. Like Doris—whose 1963 hit single, "Just One Look," launched her to international fame and a successful career in London in the late 1960s and 1970s—many of our nation's most acclaimed R&B and jazz vocalists came out of the church. Aretha Franklin, Patti LaBelle, Donna Summer, Dinah Washington, and Sarah Vaughan all started their illustrious careers in church choirs.
In 1979, Vy Higginsen and her husband, Ken Wydro wrote the book and lyrics for Mama. It was rejected by every major producer in New York. Not one producer believed that the story was worth telling or that an audience could be found for a gospel-based production
Ahmaya Knoelle Higginson (center) in the role inspired by her aunt's life, Doris Winter, with other members of the cast of Mama I Want to Sing: The Next Generation, 2011.
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Saturdays, Mar. 16, 23, 30 |
Single ticket sales: SmartTix For more information visit : |
Proceeds benefit the groundbreaking Mama Foundation program:
Gospel for Teens
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In 1995, Mama was performed at the Gielgud Theater in London, England, with Stacy Francis in the role of Doris Winter.
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Vy and Ken invested their entire life savings in opening the show in East Harlem at The Heckscher Theatre, which had been closed for fifteen years. As the chains were lifted off the door, puffs of dust and dirt greeted Vy and Ken in the abandoned 632-seat theater. But standing on that dusky, silent dimly-lit stage, Vy envisioned the theater filled with senior citizens, church groups, school children, and hard-working black mothers and fathers who had spiritual values and loved soul-stirring music.
Charles Stewart (center) was known as Mr. Energy in his role of Minister of Music for the years 1985–1990.
Mama, I Want to Sing opened March 23, 1983 without fanfare and on a shoestring operational, promotional, and publicity budget. Word-of-mouth spread quickly through the black community as well as through the theatrical and traditional musical circles. Mama, I Want to Sing presented the passion, spontaneity and emotional uplift of the black church experience along with a universal message for anyone with a dream. Vy's original vision came true, and Mama, I Want to Sing played 2,500 performances in New York and another 1,000 performances throughout the United States, Europe, and Japan.
Photo credits: Ken Wydro
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