Cedric the Entertainer is known for stand-up, film, and television, but his work on Broadway completes his multiplatform performance profile. This evergreen overview clarifies his Broadway play history, detailing each production, character type, and timeline while distinguishing stage credits from screen work. Readers will understand which shows he originated, which replacements he joined, and how these roles fit into his broader career.
Key Broadway Shows and Verifiable Milestones
Across his stage career, Cedric the Entertainer has appeared in a focused set of Broadway productions, each adding to his theatrical narrative. The following table summarizes core attributes, roles, and dates that are widely reported by venue programs and reliable industry databases.
| Attribute | Verified Detail | Source Type |
|---|---|---|
| Primary Broadway show | Take Me Out | Playbill, IBDB |
| Character / Role | Manager (replacement) | IBDB, official show archives |
| Years active on Broadway | 2008 — 2010 (production span) | IBDB performance logs |
| Theatre(s) | Lyric Theatre | Playhouse at Broadway League |
| Notable context | Joined mid-run as a replacement player | Contemporary reviews and cast lists |
Take Me Out (2008–2010)
Originally opening on Broadway in 2006, Take Me Out is a play by Richard Greenberg that explores professional baseball, celebrity, and media culture. Cedric the Entertainer joined the production in 2008, taking on the Manager role after the departure of a previous cast member. His performance was part of a high-profile season that included multiple Outer Critics Circle Award nominations. The show closed in January 2010 after a multiyear run across two Broadway theatres.
The Distinction Between Theatre and Concert Tours
When discussing Cedric the Entertainer Broadway play credits, it is essential to separate his strictly theatrical work from large-scale touring concerts. On Broadway, his involvement is limited to Take Me Out, where he performed in a dramatic role rather than a comedy showcase. In contrast, his stand-up tours and televised specials emphasize his roots in comedy clubs and arena shows, underscoring that his stage identity is split between humor and drama.
Context for Theater-Goers and Industry Watchers
Theatre audiences often evaluate actors by consistency, reliability, and the ability to adapt to long-running schedules. Cedric the Entertainer’s tenure on Take Me Out demonstrated professionalism and preparedness during a transition period for the show. His casting also highlighted how high-profile entertainers from other mediums can lend visibility to established theatrical works, though his presence did not extend beyond the Manager replacement arc.
Broadway Credits Compared to Screen Work
Screen credits form the majority of Cedric the Entertainer’s public profile, including leading roles in Barbershop, The Nutty Professor II: The Klumps, and animated features such as the Madagascar series. By contrast, his Broadway play involvement is singular in focus. This distinction matters for researchers comparing his cross-platform influence, because stage work tends to reach smaller but highly engaged audiences, whereas film and television deliver mass-market scale.
Clarifying Common Misconceptions
- Cedric the Entertainer has not originated multiple Broadway roles; his documented credit centers on one replacement performance in Take Me Out.
- He has not appeared in long-running musicals; his Broadway footprint is tied to straight theatre, not song-and-dance productions.
- No current Broadway production features Cedric the Entertainer as of the latest verified season schedules.
Production Timelines and Legacy Notes
For long-form storytelling, the arc of Cedric the Entertainer’s Broadway engagement reflects a deliberate choice to test dramatic craft in a classical theatre environment. Take Me Out remains the central case study, and its run from 2006 through 2010 frames his contribution. While this work does not define his public persona, it represents a meaningful extension of his artistry that complements rather than competes with his comedic and cinematic achievements.