Entertainment

Trevor Noah, Comedy Central’s Young ‘Daily Show’ Heir, Could Reverse an Aging Audience

Published

10 years ago

March 31, 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)

(Hollywood Reporter) – In designating 31-year-old contributor Trevor Noah as Jon Stewart’s heir to the Daily Show desk, Comedy Central is about to boast a network first: a late-night host who’s also part of its targeted demographic.

Beloved as Stewart might be, the 52-year-old aged out of the Comedy Central’s coveted men 18-34 demographic before he began his 16-year tenure. Noah’s anointment is a clear sign that youth remains a mandate at the network — even after the selection of Nightly Show host Larry Wilmore, 53, to occupy Stephen Colbert’s old half-hour.

“This is a network audience that’s about two-thirds male overall and half of them 18-34,” says Sam Armando, a senior vp at ad firm SMGx. “The Daily Show, in its success, has been on the upper end of that. Giving the show to a 31-year-old guy can really bring down that median age.”

While young, the Daily Show viewer has aged with Stewart and is still roughly a decade older than Comedy Central’s overall average age of 30. The battle for younger audiences, increasingly hard to woo across television, has been made more difficult by Jimmy Fallon’s wildly successful transition as the host of NBC’s Tonight. During the Jay Leno era, Stewart still handily topped all of late night with adults 18-49 and 18-34 — groups he’s since ceded to Fallon. (Stewart remains on top among adults 18-24 and all of the younger male groups.)

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Oakland Post: Week of December 18 – 24, 2024

The printed Weekly Edition of the Oakland Post: Week of December 18 – 24, 2024

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18 hours ago

December 20, 2024

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Promise Marks Performs Songs of Etta James in One-Woman Show, “A Sunday Kind of Love” at the Black Repertory Theater in Berkeley

“The (show) is a fictional story about a character named Etta, aka Lady Peaches,” said Marks. “She falls in love with Johnny Rhythm, leader of the Rhythm Players Band and headliners of Madam G’s Glitta Lounge.” Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

Published

3 days ago

December 18, 2024

Oakland Post

Photo Courtesy Of Promise Marks.

Special to the Post

It was “A Sunday Kind of Love” at the Black Repertory Group Theater in Berkeley on Saturday night, Dec. 7. The one-woman musical based on the music of Etta James featured the multi-talented singer Promise Marks

Marks, who wrote and directed the musical, also owns PM Productions.

Marks channeled the essence of Etta James, singing favorites such as “Sugar on the Floor” and “At Last.”

In between her soulful songs, Marks narrated impactful moments of the love story and journey of blues and forgiveness.

Marks sultry voice carried the audience back to an era that echoed with the power of Black music and a time of great change.

Marks said James shared love for the Black community by singing at gatherings during the Civil Rights Movement uplifting the people.

“She spoke to the movement, spoke to the people, and let her music speak for itself,” Marks said.

Backing the musical’s monologues, images and videos of Etta James are projected for the audience to view. While the production is fictional, Marks infused script with the unfairness and heartbreak James experienced while performing.

Marks performed gospel artist Donnie McClurkin’s “We Fall Down” as she narrated acts of reconciliation and forgiveness among the characters at Johnny Rhythm’s deathbed.

Marks, who regularly sings for the Miss America Pageant, was asked to perform as Etta James last year. “(At the event) a lady yelled out to me: ‘You’re Etta James!’ And then the audience went crazy. I said to myself, ‘I may have something here,’” she said.

Within 12 months, Marks created the musical production, which featured a dozen songs honoring “the great legacy of Etta James,” she said.

Marks says she was saddened to see how Etta James was often judged by the struggles in her life and wanted to offer attendees a more layered view.

“Etta’s life was so big. I want people to know that she was more than her drug addiction,” said Marks. “We can’t make that her legacy. Her catalog is too amazing. You can’t just be that and have the catalog that she (created). I don’t want the addiction to be the focus: I want her music, her element, her sassiness, and what she brought to be the focus – her woman-ness, that she was strong, and I wanted to honor that.”

Set Designer Nora Burnette says she created the set segments to mirror James’ life story. A set designer for BRG since 2016, she explained that her process of researching the scenario and the character serve as her inspiration for her design.

“I try to design a set as close to real life as possible so that the actress can deliver the performance sincerely,” said Burnette. “By creating the right setting, it helps the actors release the true essence of a character.”

The set brought the story to life and absolutely floored Marks. “Once Promise (Marks) saw the actual set, she understood my vision: ‘Wow, you get me. You get it,'” Marks told the designer.

Born Jamesetta Hawkins, Etta James, began her career in 1954 and gained fame with hits such “At Last” and “I’d Rather Go Blind.” She faced a number of personal problems, before making a musical comeback in the late 1980s with the album “Seven Year Itch.”

Co-producer and BRG Development Director, Sean Vaughn Scott, works with Overseer Production. According to producer Pamela Spikes, “Marks talent truly does Etta’s life story justice.”

Pam Jacobs of Hercules, a friend of Marks’ mom, Jackie Smith, said, Marks “was fabulous and sang all of those songs flawlessly.”

“I’m so proud of my daughter,” said Smith.

Marks, who has served as an instructor for BRG, will return on Feb. 21- 23 for an encore run of the musical.

“It’s an honor to be a part of the BRG (Black Repertory Group) family and continue our executive director Dr. Mona Vaughn Scott’s vision for the Black Repertory Group theater,” said Marks.

The Black Repertory Group Theatre is located at 3201 Adeline St., Berkeley, CA 94703. For information, visit: BlackRepertoryGroup.com