Entertainment

Noah Works South African Audiences Before ‘The Daily Show’

Published

11 years ago

June 23, 2015

In this photo taken Oct. 27 2009 South African comedian Trevor Noah is photographed during an interview. Trevor Noah, a 31-year-old comedian from South Africa who has contributed to “The Daily Show” a handful of times during the past year, will become Jon Stewart’s replacement as host, Comedy Central announced Monday March 30, 2015. (AP Photo/Bongiwe Mchunu-The Star)

CHRISTOPHER TORCHIA, Associated Press

JOHANNESBURG (AP) — Trevor Noah walked onto the stage and bantered with the South African audience, which whooped in appreciation. That was a cue for the next host of Comedy Central’s “The Daily Show” to launch into a slick riff on the absurdity of high-pitched shrieks of delight.

“When did we get to the point where we stopped using words?” Noah mused. Whooping, he said, was “not a natural black sound” because it “sounds eerily similar to a police siren.”

Noah is on a roll, performing sold-out shows in a 1,800-seat Johannesburg theater ahead of his Sept. 28 start in a job held by Jon Stewart since 1999. It’s a big leap to the big leagues or maybe a jump off a cliff for Noah, a South African who is not widely known in the United States. That’s just comic grist for Noah, who also makes fun of romantic relationships, obsessive cellular telephone use and even South Africa’s era of white minority rule in his stand-up routines at home.

The big question is whether his brand of humor will translate in the anchor’s chair at the parody newscast on the “The Daily Show,” where Noah has already appeared as a mock correspondent. Stewart lampoons American politics, media and culture, and international events are also on his menu. Noah, who built a career in South Africa and has toured internationally (he was in Dubai when he learned he would succeed Stewart), looks forward to broadening his appeal.

“I have to become more global,” he said this month on South Africa’s Radio 702. “I don’t ever dispute that South Africa is my home and that there is news coming from there, but now you have to really go, ‘What is globally newsworthy?'”

It helps that 31-year-old Noah, born to a South African black woman and a white, Swiss father during apartheid, comes across as a chameleon-like figure with a firm grip on all kinds of accents in his routines. An Associated Press reporter attended a recent show at the Montecasino entertainment complex, where Noah hit some topics that, while they might qualify as low-hanging fruit in a comic repertoire, have universal appeal.

“The older you get, the more you start to realize that you can’t win an argument in a relationship,” he said. “You can’t win a fight with your woman. Because if you lose, you lose. And if you win, you lose.”

Noah leaves for a North American tour that has yet to sell out after his five-week run in South Africa, which ends in early July.

In Johannesburg, he worked the audience for one hour and 45 minutes without an interval, and without a momentum-breaking lull. Some humor was physical: silly walks and gestures and bumbling behavior that other comics such as Rowan Atkinson, who played the character Mr. Bean, have used to great effect. Noah’s act was cheerful and generally wholesome, with little sign of the graphic humor noted in some of his past tweets.

Noah was self-deprecating about his new job, casting himself as a new kid on the block, an awkward extra in the glitzy world of superstars. He got a lot of material out of an invitation to the New York Met Gala, where he mixed with Beyonce, Rihanna and other celebrities he said he had “idolized” for years.

“I don’t know how to let loose when I’m dancing to the music and the people that made the music are watching me,” Noah said of a post-gala party. “I’ve never felt so much pressure in my life.”

He let rip on subjects that vex a lot of South Africans, including persistent electricity cuts and a scandal over state spending on the private home of President Jacob Zuma. In the South African parliament last week, an opposition lawmaker who was angry about the scandal complained that ruling party members in the chamber laugh “as if we’re in some Trevor Noah show.”

Some South Africans say Noah’s success will elevate their country’s image abroad. In the Radio 702 interview, Noah said he is heading into uncharted waters as host of “The Daily Show.”

“I’m not even ready for what people will say about me,” he said. The key, he said, is to “just keep doing your thing.”

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Art

Misty Copeland Shapes Ballet’s Tomorrow

THE POSITIVE COMMUNITY — Misty Copeland will curate the 2026 Joyce Ballet Festival, a two-week event in New York City from August 4-16. This role allows her to influence the future of ballet by showcasing a wide range of dancers, choreographers, and companies. The festival will present both established and contemporary works, blending classical traditions with new artistic expressions.

Published

5 days ago

August 9, 2026

bpusa-syndication

Misty Copeland at the 2026 Met Gala, wearing fashion in theme of "Costume Art" Date 4 May 2026, 19:39:21

This summer, Misty Copeland will step into a different kind of spotlight. Instead of taking center stage as a dancer, she will help determine what audiences see onstage as curator of the 2026 Joyce Ballet Festival. Taking place August 4 through August 16 at The Joyce Theater in New York City, the two-week celebration will bring together dancers, choreographers and companies representing a broad spectrum of ballet. The festival gives Copeland an opportunity to share not only her appreciation for ballet’s traditions, but also her vision for its future.

Copeland understands better than most how powerful a ballet stage can be. Her historic career with American Ballet Theatre changed the conversation about representation in one of the world’s most traditional performing arts. When she became the company’s first Black woman to reach the rank of principal dancer, her achievement carried significance far beyond a personal milestone. It gave young dancers of color a new image of what was possible and challenged the industry to reconsider who belonged at the center of ballet.

That history informs the perspective she brings to the festival. Copeland has spent much of her career moving between performance, mentorship, advocacy and storytelling. Her curatorial role allows her to bring those interests together by creating a program that does not treat ballet as a museum piece. Instead, the festival presents dance as an evolving language capable of carrying classical traditions into new cultural and artistic territory.

Audiences will encounter a mixture of established works and contemporary creations during the festival. Classical ballet vocabulary will share space with choreography that pushes dancers toward different physical, emotional and theatrical possibilities. The result is intended to give audiences a broader understanding of the art form while demonstrating that tradition and innovation do not have to be competing forces.

The lineup also provides an opportunity to see dancers from different artistic environments. Performers connected to organizations including American Ballet Theatre, New York City Ballet, Paris Opera Ballet, Houston Ballet, Dance Theatre of Harlem and Complexions Contemporary Ballet are among those represented in the festival. Each company carries its own history and artistic identity, making their participation part of a larger conversation about the many ways ballet can be performed and interpreted.

The presence of Dance Theatre of Harlem is particularly meaningful within the larger story of Copeland’s career and the evolution of Black representation in ballet. Founded during a period when opportunities for Black dancers were severely limited, the company helped demonstrate that excellence and classical training could flourish in a Black cultural environment. Its legacy continues to influence dancers and audiences, making its connection to a festival curated by Copeland especially resonant.

The program also reaches beyond a single definition of contemporary ballet. Choreographers with different backgrounds and artistic philosophies contribute to an evening that can move from recognizable classical structures to works shaped by modern dance, theater, popular culture and new approaches to movement. That diversity reflects a generation of artists who increasingly see ballet not as a rigid vocabulary but as a foundation from which they can explore.

For New York audiences, the festival offers something that is increasingly valuable: the opportunity to experience outstanding dancers in an intimate setting. The Joyce is known for presenting dance in a theater where audiences can see movement and artistry up close. That environment can make a familiar ballet work feel newly personal while allowing experimental pieces to communicate with unusual immediacy.

Copeland’s role as curator also sends a message about the importance of artistic leadership. The people who select performers and choreography help determine which stories receive attention and which artists receive opportunities. By bringing a range of voices into the festival, Copeland is using that responsibility to broaden the conversation around ballet. Her choices can introduce audiences to artists they may not otherwise encounter while encouraging longtime ballet followers to look at the form from a different perspective.

The 2026 Joyce Ballet Festival ultimately arrives at an important moment for the art form. Ballet is carrying centuries of tradition into an era defined by changing audiences, broader representation and increasingly adventurous choreography. Copeland’s festival reflects that transition. For two weeks in August, The Joyce will become a meeting place for the familiar and the unexpected—a celebration of where ballet came from and a preview of where it may be going. And with Misty Copeland helping shape the conversation, the future of ballet promises to be as expansive as the dancers who are defining it.

Based on reporting by The Positive Community.