If any of you are like me, then you absolutely love to see this time of year come 'round. Family, food, gifts, joy, happiness, food, fun, food and food make the stretch of time between Thanksgiving and Christmas/Kwanzaa/Hanukkah subliiiiiime! I dream of visiting relatives and eating the variety of smack-ya-mama meats, vegetables, meat-infested vegetables. I pray each year that my Aunt Betty has made her famous stewed tomatoes, and I carry around a Ziploc bowl with me just in case, because I have to take some home. And I'll get REAL quiet if folks start talking about sharing foods, because Aunt Betty's stewed tomatoes are mines--all MINES.
But with these festive times come a few consequences: bad gas, the Itis, weight gain, increase in blood pressure, sugar gone crazy.
So I just want to encourage US (me included) to continue to be mindful of your health. If you do not have a regular exercise routine scheduled into your life, please do yourself a favor. As artists we have to maintain a strong and healthy body, mind and soul. I know the temptation to regress into old habits is strong. I battle with it constantly.
Resist the temptations! FIGHT! If you're a waiting for the new year to join a gym, don't put it off. Resolve to do it ASAP, if you have the means. If not, start something at home. It costs nothing to do some sit-ups or jumping jacks, unless you live in your Mama's basement. Then make sure you don't knock over her good china.
I know there are members of this theatre/film community who are much wiser when it comes to health advice than I am. We have personal trainers right at our finger tips, like Dionne Audain (or Dionne! as the world knows her).
Ever watch a commercial where a spokesperson starts by asking you questions?
Ever found yourself nodding "yes," even though the spokesperson cannot see you?
Ever consider graduate school?
If you answered "yes," to any of these questions (ESPECIALLY THE THIRD ONE!) then U/RTA (University/Resident Theatre Association) may be what you are looking for. U/RTA holds annual auditions in NYC, Chicago, and San Francisco. These are not just for those looking to further their acting training, but anyone looking to increase their skill and knowledge in the admin, directing, stage management, or design fields as well.
The application can be downloaded from their website, or you can click here! Deadlines are approaching, so if you are interested, please get your gears grinding. They are as follows:
Directors, Stage and Theatre Managers: 11/1/2010
Actors and Design/Techs: 11/22/2010
Late Deadline (requires additional late fee): 12/06/2010
The auditions/interviews are coming up in January and February:
New York
Design - Saturday January 29 - Sunday January 30
Acting (Screenings and Finals) - Sunday January 30 - Wednesday February 2
Directing, Stage Management - Saturday January 29
Chicago
Design - Friday February 4 - Sunday February 6
Acting (Screenings and Finals) - Sunday February 6 - Wedneday February 9
Directing, Stage Management and Theatre Management - Saturday February 5
San Francisco
Acting (Finals) - Friday February 11 - Saturday February 12
Please review the website for many more rules and details, and as always I wish you the best in your pursuit of greatness!
*A special thanks to Thembi Duncan for recommending this topic.
For those that know Thembi Duncan, then you know that whenever you run into her, you never can tell which Thembi you may encounter. I met Thembi in February 2000, when she was New Actor Thembi. Over the next couple of years, she evolved into Working Actor Thembi, all the while balancing Mother Thembi and Poet Thembi.
As I was making preparations for my New York move in 2003, Thembi was transitioning into Admin Thembi, working diligently for Ford's Theatre, where she put in some years.
THEN she conjured up enough audacity to better herself, returning to school to complete her bachelors degree in theatre, as Undergrad Thembi, at the University of Maryland. (She even went through a rebellious phase, like a college student, in the form of Blonde Thembi.)
Blonde Thembi
Now she's graduated, and working on combining all of her manifestations into one Mega-Thembi. As Mega-Thembi, she's now tackling playwriting and is ready to unleash her power on the world. Her first play, "The New Negro," is receiving a staged reading that is open to YOU, Galvanize. If you are available, please go and support her, before she transforms into Thembi of Mass Destruction. . .
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You are cordially invited to a FREE staged reading of
The New Negro
by Thembi Duncan
Directed by Brandon White
Summer, 1926: A country schoolteacher inherits a Harlem boarding house from her worldly, sophisticated aunt and arrives on the doorstep eager to take the big city by storm. Instead, she finds herself caught in a whirlwind of enthralling characters and events that teach her more about herself than she ever imagined.
Experience one of the oft-ignored stories of lesbians, gays, – and everything in between – during the period that came to be known as the Harlem Renaissance.
Thursday, September 16
7:00 pm
Dr. Oswald Durant Memorial Arts Center
1605 Cameron St.
Alexandria, VA 22314
(A few blocks from King Street Metro on the Blue/Yellow lines)
Please RSVP to thembiduncan@gmail.com by Tuesday, September 14.
*Refreshments will be served, but it's BYOHS (Bring Your Own Hot Sauce)*
Thembi and I (July 2000)
Working Actor Thembi in "From the Mississippi Delta" (African Continuum Theatre Co.)
It was a day in 2005, I had been back in the DC area (a.k.a. Front Royal) for a few months. Emperor Jones was running at American Century Theatre in Arlington, featuring Bus Howard. I'd arrived at the theatre solo to support my friend. As fortune would have it, Jefferson Russell was also there to support Bus. It was my first time seeing Jefferson since my return from NY, so it was a welcomed reunion. There was time to kill before the show began, so we sat outside and caught up. In the midst of catching up, Jefferson mentioned that he had been in talks with Dionne Audain and others about starting a group/network for the local Black Theater artists. The news ignited my spirit! Since graduating from college in 1997, I'd wanted to be a part of that exact type of group. So he had me at "Hello."
So there we were--an idea with no name.
Galvanize's 1st Gathering (August 2005)
This nameless idea manifested first in August 2005, at the home of Bus and Marcia Howard. I believe nearly 70-80 artists from the area gathered to eat, meet, and laugh, over the course of a day. The event was a thing of beauty. It was obvious that the desire for all of us to connect and unite was strong in the community!
December of 2005, Galvanize presented a Tribute to August Wilson at the former Living Stage space, at 14th & T, NW. The death of the pioneering American playwright, Wilson, just months before could not go unnoticed. A group of DC's finest gathered and shared in memories of performing his work, some performed his work, and some just shared sentiments.
Then over the next year, we had a session, where we gathered at Round House Theatre's Education Center in Silver Spring and just discussed theatre in DC. Then we met there at another time for a workshop with American University professor, Caleen Sinette Jennings, called "No Fear Shakespeare."
The Summer of 2006, we had our 2nd Cookout/Potluck at a park in Alexandria, along the Potomac. Again many faces came and went throughout the day--old and new faces.
Galvanize's 2nd Summer Gathering (August 2006)
Baye Harrell and Brandon White at the Happy Hour for Haiti Relief. (Feb. 2010)
In the past couple of years, things have begun to pick up. Galvanize has sponsored a few happy hours at Bohemian Caverns, including one earlier this year to help raise funds for Haiti Relief. Now local theaters are tapping into our desire to build audiences and bridge gaps, by sponsoring "Galvanize Nights" at local productions--they provide discounted tickets, and we provide audience members.
Galvanize Night for "Old Settler" (African Continuum Theatre Co., 2010)
This past April we were honored with a Galvanize section at the Helen Hayes Awards, which was held at the Warner Theatre. As a result, the word got out and more members of the Black theatre community came out to see what the HHAs was about than at any other time in anyone's memory. . . even Jefferson's. A group photo had been planned prior to the awards taking place, and when the time came to gather at the foot of the escalator, during the after-party, the people showed OUT!
"What is this organized effort, by the African-American theatre community?" I heard someone ask in the crowd.
"THAT'S GALVANIZE!" I heard another exclaim.
Okay, I actually did not hear any of that. . . but I imagined it.
However, just look above at the background photo for this blog and look below at the other photo, and the beauty of it all just smacks you in the face--pinky ring and all.
Helen Hayes Awards 2010
Honestly, over the years we had a general idea of who and what we were as a group, but still discovered at different points that we were feeling our way. As time marches forward, so does our desire to serve our members and the theatre community at large. As a result, we have formulated a "mission statement," which establishes our vision. Galvanize is:
A service organization that supports, strengthens, and advocates for black theater in the Greater Washington DC Area by providing resources to our member organizations and artists, cultivating and celebrating their artistic and cultural achievements and promoting a larger public understanding of the necessity of black theater.
Now, I have had the honor of being named "Communications Director" (I stutter when I'm nervous) and establishing this blog (at gunpoint), but there is a group of wonderful people who are working to steer this ship. These are people who have been there since the beginning, whose ideas and input have been inestimable. They are the "Founding Members," of which I am blessed to be a part. Galvanize, meet your "Founding Members:"
Jefferson A. Russell
Dawn Ursula-Rachal
Erika Rose
Michael J. Bobbitt
Thembi Duncan
Deidra Lawan Starnes
Dionne Audain
James J. Johnson
There are some exciting things on the horizon, and we hope to have more news for you soon. In the meantime, we encourage feedback from you, either here in the comments section or via email, phone, smoke signals, Pony Express, or however you deem fit. Please talk to us. We're lonely.
Now, on to the next. . .
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We are now entering into the 2010-2011 theatre season, and folks are putting in WORK! This is what members of Galvanize have going on and have coming up. Please, as always, SUPPORT, if/when/how you can:
SHA'AHN WILLIAMS
This sista will be appearing as "Mildred Muhammad" in the MSNBC TV movie, I Married the Beltway Sniper. It airs on Monday, September 6, 2010 (Labor Day), at 10PM EDT.
MILDRED LANGFORD
Mills is now a part of the Chicago scene, but she's still a part of the Galvanize family. If anyone is in Chicago, or plans on taking a trip, she has a lot going on:
ZULU FITS (written by a playwright from Baltimore)
A CIVIL WAR CHRISTMAS by PAULA VOGEL
11/11/10-12/19/10
NORTHLIGHT THEATRE
9501 SKOKIE BOULEVARD
SKOKIE, IL 60077 http://www.northlight.org/
SINBAD: THE UNTOLD STORY
3/19/11-4/16/11
ADVENTURE STAGE CHICAGO
1012 N. NOBLE STREET
CHICAGO, IL 60642 http://www.adventurestage.org/
CAROLINE G. PLEASANT
Caroline is happy to announce that she is the latest company member with Synergy In Action, a Playback Theater, located in Silver Spring, MD. She wants to shout out the DC Black Theatre Festival for hosting the Playback Theatre Workshop, facilitated by Ms. Rattley.
Playback Theater is improvisational theater. A typical “show” is to have an audience, a “teller”, an “interviewer”, and the acting ensemble. Someone from the audience volunteers to be the “teller”. They sit with the “interviewer” and tell their true story. The interviewer’s job is to guide, clarify, and get the important facts about the story. The teller chooses from the acting ensemble who they want to play a certain part in the scenes. After the teller chooses the actors to portray people and inanimate objects, the interviewer then gives a clear and concise beginning, middle, and end to the scenes and the actors tell the story in improv.
At this time, Caroline is in training but will not be performing. She will update us, when that day comes. This is an incredible opportunity that fits right into her educational plans. This fall, Caroline will be attending UMUC, majoring in Communications, with a minor in Psychology.
EDWARD DANIELS
1st Stage Welcomes GALVANIZE on Sunday, September 12, at 7:00pm
Cocktail reception begins at 6:00pm.
MAURITIUS
by Theresa Rebeck, directed by Mark Krikstan
Playing September 10th thru October 3rd
Fridays at 8pm
Saturdays at 2pm & 8pm
Sundays at 2pm & 7pm
The tony-nominated Broadway production comes to Tysons' first professional theatre, 1st Stage, recipient of the 2010 Helen Hayes Award John Aniello Award for Outstanding Emerging Theatre!
CAST features: Roger Payano, Edward Daniels, Leigh Taylor Patton, Amy Waldman, & Bruce Alan Rauscher
(Roger Payano)
Danger, betrayal, deceit and unimaginable wealth—stamp collecting is far more risky than you think. After their mother's death, two estranged half-sisters discover a book of rare stamps, but when three seedy, high-stakes collectors enter the sisters' world, no one seems to be certain of the truth. In Theresa Rebeck’s twisting thriller, things are not always as they appear.
African Continuum Theatre opens its play reading festival with three new works from playwrights of color. Readings are free and open to the public.
The Emcee Inquisition by Dominique Morisseau. Directed by Angelisa Gillyard. Monday, September 6, 2010 – time TBD. (Page-to-Stage Festival at the JF Kennedy Center).
Cherokee Rose by Leslie Lee (subject to change). Directed by Vincent Scott. Monday, September 13, 2010, 7:30 p.m. (Atlas Performing Arts Center)
Master Class with playwright Leslie Lee at Howard University. Monday, September 13, 2010 at 3 p.m. (subject to change)
Mirandy and Brother Wind, adapted by Michael Bobbitt. Directed by Jennifer Nelson. Monday, September 20, 2010, 7:30 p.m. (Atlas Performing Arts Center)
November
Off the Circuit Performances – The Emcee Inquisition. Friday, Saturday & Sunday - Nov. 12, 13 & 14 at 7:30 p.m. (Bus Boys & Poets – 1025 5th Street, NW, Washington DC 20001)
2011
Feb.-March
Mirandy & Brother Wind (co-production with Adventure Theatre). Intersections Festival. The Atlas PAC – 1333 H Street, NE, Washington DC 20002
March
Blues for an Alabama Sky by Pearl Cleage. Theater Symposium. Mon., March 21, 2011 – 7:30 p.m. (Thurgood Marshall Center – 1816 12th St., NW, Washington DC 20017)
April-May
Blues for an Alabama Sky by Pearl Cleage, directed by Walter Dallas. April 14 – May 8, 2011 - Thursday, Friday, Saturday – 8 pm; Sunday, 3 pm. (The Atlas PAC – 1333 H Street, NE, Washington DC 20002)
July/August
Co-production with Howard University - TBA
SHEILA CUTCHLOW
Sheila is hosting the the website: http://www.realwomenofphiladelphia.com/ this week. It is part of the cooking contest she won with Paula Deen. The site boasts a recipe contest, where you have to include Philly Cream Cheese in a recipe. She hosts the main dish category (which is HUGE). $500.00 to each person whose recipes are chosen.
ADVENTURE THEATRE
A U.S. Premiere
SPOT'S BIRTHDAY PARTY September 17 - November 2, 2010
Adapted for the stage by David Wood
Based on the books by Eric Hill
Music & Lyrics by David Wood
Directed by Joe Banno
All Ages
Hi! Spot is everyone's favorite puppy - and today it's his birthday! It's party time! And you're invited! Spot's friends Tom the crocodile, Helen the hippo and Steve the monkey will be there for the fun, games, songs and magic. Spot hopes to see you too! Celebrate Spot’s 30th Anniversary with Eric Hill’s award winning books.
Experience the timeless tale of Rudolph and friends- LIVE! The beloved stop-motion classic soars from the TV screen to the stage in this live-action world premiere. Featuring everyone’s favorite characters: Hermey the Elf, Sam the Snowman, the Misfit Toys, the Abominable Snow Monster, Yukon Cornelius, Santa, and (of course) Rudolph! You won’t want to miss this wonderful holiday tradition that speaks to the misfit in all of us.
A Partnership with The African Continuum Theatre Company
A World Premiere MIRANDY AND BROTHER WIND At Glen Echo: January 21- February 13, 2011 At The Atlas Performing Arts Center: February 25-March 11, 2011
Adapted from the book “MIRANDY AND BROTHER WIND” by Patricia C. McKissack, illustrated by Jerry Pinkney
All rights reserved
Adapted by Michael J. Bobbitt
Music and Lyrics by John L. Cornelius
Directed by Jennifer Nelson
Ages 4 and up
Who will take the cake? Why, Mirandy of course. The junior cake walk happens soon and Mirandy needs a dance partner. Who can high step and kick the best? Why Brother Wind! But how can Mirandy captured him? Grandmother Beasley says, "Can't nobody put shackles on Brother Wind, chile. He be special. He be free." Leave it to Mirandy, she’ll catch him; she'll grab hold of that Brother Wind and win that delicious cake! Through her journey to capture Brother Wind, Mirandy learns something special - freedom and kindness.
MIRANDY AND BROTHER WIND is made possible in part from the support of the Maryland State Arts Council (Individual Artist Grant) and the Arts and Humanities Council of Montgomery County (Creative Project Grant) and The National Endowment for the Arts (Access to Artistic Excellence Grant)
A World Premiere IF YOU GIVE A CAT A CUPCAKE March 11 - April 25, 2011
Adapted from the book by Laura Numeroff.
Adapted by Renee Calarco
Directed by Jerry Whiddon
All Ages
If you give a cat a cupcake, he'll ask for some sprinkles to go with it. When you give him the sprinkles, he might spill some on the floor. Cleaning up will make him hot, so you'll give him a bathing suit . . . and that's just the beginning! From the author of IF YOU GIVE A MOUSE A COOKIE!
A YEAR WITH FROG AND TOAD May 10 -June 13, 2011
Music by Robert Reale
Book and Lyrics by Willie Reale
Based on the books by Arnold Lobel
Directed by Michael Baron
Ages 4 and up
Arnold Lobel's well-loved characters hop from the page to the stage in Robert and Willie Reale's musical. It follows two great friends, the cheerful and popular Frog and the rather grumpy Toad through four fun-filled seasons. Waking from hibernation in the spring, they proceed to plant gardens, swim, rake leaves and go sledding, learning life lessons along the way, including a most important one about friendship and rejoicing in the attributes that make each of us different and special.
CHARLOTTE'S WEB June 24 - August 28, 2011
Based on the book by E.B. White
Adapted by Joseph Robinette
Directed by Serge Seiden
Ages 3 and up
E. B. White’s popular tale of love and devotion, takes theatergoers to Zuckerman’s Farm, where the delightful runt pig Wilbur appears headed for the dinner table — as main course, not as guest. Yet he is saved by the remarkably crafty spider, Charlotte, and the whole town begins talking about it. Some pig!
Adventure Theatre’s In School Players (Touring Company) Celebrates Earth Month with a World Premiere Play JUST A DREAM: THE GREEN PLAY SPRING TOURING PRODUCTION: April 4-15
Based on the book by Chris Van Allsburg (The Polar Express & Jumanji)
To book this show in your school, please call CLASS ACTS ARTS at 301.588.7525 or email at info@classactarts.org. Visit them online at http://www.classactsarts.org/
When it comes to the environment, young Walter is far from enlightened. He's a litterbug who believes sorting trash is a big waste of time. But one night, Walter dreams about a very different future. Filled with humor and fantasy, Walter’s dream is a wake-up call for him – and all of us – about what we need to do to protect and preserve the future of our planet.
This original eco-play uses puppets, magical stage effects, and lush sound-scapes to create a theatrical version of Chris Van Allsburg’s beautiful illustrations. All production materials (costumes, props and sets) will be made of Earth-Friendly and Recycled Materials.
TOWANDA UNDERDUE
Check her out on HBO's "HUNG." Also on HBO on Demand until October 11. Just click on "HUNG" then click "Client #3," Grace.
If you don't have HBO, see one of her promotional segments:
FORD'S THEATRE
Save 20% on Tickets to:
“Sabrina Fair”
by Samuel A. Taylor
directed by Stephen Rayne
October 1-24, 2010
With sparkling wit and intelligence, “Sabrina Fair” considers true love hindered by class, race and social conventions. When the daughter of the Larrabees’ chauffeur returns from a year in Paris , she bewitches the Larrabee brothers with her youthful vitality and newly found sophistication. Largely ignored as a child, Sabrina now finds suitors at every turn, including the handsome playboy David, for whom she has always harbored affection. But is David the right Larrabee brother for her? Stephen Rayne (“The Heavens Are Hung In Black”) directs this delightful modern twist on the Cinderella story. This production is appropriate for ages 13 and up.
Galvanize list members receive 20% off tickets for the following performances:
Friday, October 1, at 7:30 p.m.
Saturday, October 2, at 7:30 p.m.
Sunday, October 3, at 7:30 p.m.
Tuesday, October 5, at 7:30 p.m.
Use promotional code GALVANIZE on Ticketmaster by calling (202) 397-SEAT or visiting http://www.ticketmaster.com/promo/sm7rzy. Discount is not valid on previously purchased tickets or seats in the dress circle. Limit of 6 tickets per order.
ASHLEY DENISE ROBINSON
Julius Caesar
By William Shakespeare
September 16,17,18,19,22,23,24,25,26,29,30 & October 1,2 @ 8PM Matinee September 25 @ 3PM
Directed & Produced By Richard Mazda for The Queens Players
Asst. Director Jonathan Emerson
Stage Manager Tara Mary Schmitt
Photography by Aaron Ray-Crichton, Set Construction Becky Sagen
Videography Tyrus Holden, Joe Sebring & Sean MacBride Murray
Tickets $15 Adv (before September 16)/ $18 Door
Available online http://www.thequeensplayers.com/ or directly from a cast member.
Reservations/Inquiries: 718 392 0722
An approved Actors Equity Showcase
Pick up your baseball bat, sharpen your butterfly knife, shine up your brass knuckles and choose a side as The Queens Players explore this classic story of politics, power, and betrayal. The third installment of director Richard Mazda’s gangland Shakespeare series brings you into the center of Rome, where civil strife and political infighting have ripped apart the very fabric of the fragile democracy. Resources are scarce, battle lines are drawn, and even those with the noblest intentions can’t escape without blood on their hands.
This production's environmental style makes use of the multiple performance spaces at The Secret Theatre, carrying the audience through the play’s desolate, battle-scarred world. It is a Julius Caesar that is not just seen, but experienced, with an immediacy that is in keeping with Shakespeare's timeless drama.
The cast of The Queens Players production of Julius Caesar includes: Alex Cape, Anthony Martinez, Amelia Gonzalez, Ashley Denise Robinson, Bethanne Haft, Camilla Skoglie, David Fink, Elizabeth Bernhardt, Gil Ron*, Greer Samuels, Jake Cullens, Jeffrey Coyne, Joe Mullen, Jonathan Emerson, Juan Castano, Kaitlyn Huczko, Kara Addington, Lena Gora, Michael Pichardo, Michelle Pucci*, Rachel Pfennigwerth, Sarah Bonner, Suzanne Lenz, Tyrus Holden
*Actor appears courtesy of Actors Equity Association
Where: The Secret Theatre 4402 23rd Street, Long Island City, NY 11101
LORI WILLIAMS
Lori Williams is having her CD Release Concert. Monday, October 11, 2010, 8:00 PM.
Location: Metrostage in Alexandria, Va.
Please check out the attachment or visit her website for more details.
Featured musicians and musical guests: Allyn Johnson, Mark Prince, Michael Bowie, Tracey Cutler, Weldon Hill, Sylver Logan Sharp, and more!
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Also remember to support Jessica Frances Dukes in Sarah Ruhl's "In the Next Room Or The Vibrator Play" at Woolly Mammoth Theatre, which is running now through Sept. 19, 2010. For tix and info: http://www.woollymammoth.net/
Yours truly will be appearing as Mr. Monroe in "Bunnicula," at Imagination Stage, from Sept. 25 - Oct. 31, 2010. For tix and info: http://imaginationstage.org/shows-a-tickets/now-playing. Also, the short film, "The New 'N' Word" should be screened this Fall. This film features the talents of Deidra Starnes, Fred Strother, Rain Pryor, Erik Todd Dellums, and me. Directed by Sowande Tichawonna.
If you have something coming up, please feel free to leave the info in the "Comments" section. Keep us posted!
So today marks the original deadline for the "Logo Motive" contest. We have received some great submissions, however, not enough submissions to warrant a REEEEEAL competition. So we have decided to extend the submission deadline, indefinitely. We want more of your creative minds at work. And maybe we can have a larger discussion, in the meantime, on what you think Galvanize is and does, or what Galvanize SHOULD be and do.
We want to hear from you.
As far as logo submissions, they can still be sent to: galvanizedc@gmail.com, and we will keep the deadine open-ended, until we feel we have a sufficient number of entries.
NOW. . .
To start you off, find a peaceful spot--low light. Close your eyes. Light some incense--what the heck, right? And begin to chant:
Galvanize. . . DC's Black Theater Network Galvanize. . . DC's Black Theater Network Galvanize. . . DC's Black Theater Network
And see what images come to mind. Bring those images to life!
I recently read the Washington Post's review for "Passing Strange," currently running at Studio Theatre's 2nd Stage through August 22 (Praise the Lord for extensions. Now some of my friends will eat until the end of the month). I could not agree more with the praises of Peter Marks. I had the opportunity to see it in previews, and was blown away by the quality and level of talent. There is a specific observation, however, that Marks goes on to make which really caught my attention:
"Virtually all of the actors are African-American, and the ensemble's depth is a reminder that even at this late date, it's a talent pool that remains undertapped in these parts. . ."
And before going any further, I want to quell any suspicions that this entry is any sort of "woe is us" cry of unfair treatment or inequality. I am moreso interested in exploring and sharing thoughts, observations and personal experiences, in an effort to try and understand this apparent "undertapping" better. I encourage feedback and discussion always.
A career in acting/theatre/film is hard. Pursuing it is insane, yet can be equally as rewarding. This goes without saying. Regardless of what ethnic background you represent, you are bound to face a maze of adversity from the day you form the thought, "I think I want to be an actor." Much of the adversity comes from one's own self--doubt, fear, self-esteem, cowardice, possible lack of talent (though who wants to admit to that?) We try to swallow/bury these insecurities, in order to face the day.
Then there are the outside forces-- like auditions, interviews, networking, competition--towering in stature, that we often attack in a very quixotic fashion. (After saying all of this, I now feel like it may just be me. . . but I'll continue:)
We wage war daily against all of the above-mentioned things, just to get that one phone call/email/tweet (maybe?) that says, "We want to hire you!" Absolutely the best feeling ever!
At that moment, we become a "working artist." We can then call up family, send emails to friends, update our Facebook status just to say, "I got the part." As the years go by, the excitement of getting new work never seems to fade.
These are the experiences that we share across the board, regardless of race, creed or color. We are all united by that hunger to stay afloat and not fade into obscurity. This shared experience creates a brotherhood and sisterhood that should, by all means, alleviate any social gaps that may be reflected in the status quo. After all, the arts should always be at the forefront of closing these gaps and challenging the status quo. However, with so many artists just trying to get that next job, we can lose sight of that and become complacent in our box.
Over the past several years, I have been blessed to be a part of a few diverse casts. Within these casts, there are always conversations that take place about other friends and colleagues in the business, so a lot of names are thrown around. Almost always, without fail, there comes a point when I mention well-known artists within the local Black theatre community, and the non-Black castmates share a look of puzzlement. Likewise, a White/Asian castmate will mention a name of a fellow White/Asian actor from the area, and I stand perplexed.
When the gap became apparent to me, I began to pay attention to how I socialized within the theatre community. Then I took to Facebook and observed how others socialized within the same theatre community. I checked out colleagues' photo albums. Saw how people were partying? With whom were they partying? Whether we want to admit it or not, there is an overall tendency still to stick to the same side of the gap, nahmean? There ARE exceptions, of course. I would be blind if I did not see that.
And while I see this tendency within the arts community to maintain the gap as a problem, I am not in a rush to call it "racism," with its old, ugly face.
I think if we look at all of the factors that go into a production, we could possibly begin to see where the genesis of this gap exists. From the choice of plays, to the directors, producers, casting directors, and even the actors, there is something that needs to be addressed.
I have never been a fan of the term, "color-blind casting." I understand that the creation of this idea may have been well-intentioned, however I am offended by the notion that anyone needs to "close his/her eyes" to something that should be appreciated and celebrated. Cultural differences are not something at which to scoff or judge, they are an opportunity for discussion and exploration. Do not be "blind" to my Black skin. See it. Then see beyond it. I would implore both sides of the gap to do the same.
There are many plays that call for specific ethnicities. Often the message and effectiveness of the piece relies on this. In these cases, I think most can understand the practice of "colorstruck casting." :) However, I believe that growing up in this world that we live in, many of us unconconsciously practice associative thinking, and that reflects in casting choices.
What race do you immediately associate with:
-Doctor?
-Governor?
-Thief?
-Servant?
-King?
-Salesman?
I would venture to say that a lot of us think about race, even when we're not thinking about race. A White director pulls out a piece by Shaw or Ibsen, and, unless its February, how often does he/she envision a person of color in the lead roles? or one of the prinicipal--non-servant--roles?
On the same note, when actors of color stroll through audition notices and see notices for a Shaw or Ibsen piece, unless he/she sees that the production is looking for an African-American actor, how often will we make the appointment to be seen? I am just using Shaw and Ibsen as examples. I recently had to check myself on this. When I first graduated from VCU in 1997 and ventured into the DC theatre scene, I auditioned for everything. Audition notices could have stated, "We want anybody to audition, but J. J.," and I would have still shown up. As the years have passed, I've found myself searching audition notices, zoning out, until I see the keywords: August Wilson, Black, and African-American.
That recent awakening also made me understand why I have not done a Shakespeare production in years. The first 5 years of my career was inundated with classical work. Yet the past 7 years, there is not a Shakespeare credit to be found.
The point that I'm attempting to make is that the effort to close the gap has to come from both sides. I have held the belief for a long time that it is very difficult to fear/hate someone once you get to know them. .. really--unless, of course, they kick your puppies. You begin to see the three-dimensionality of a person, beyond racial archetypes, when you make the effort to get to know them.
Last week, I had the honor to be a part of a pretty major, week-long, theatrical event. It was a playwrighting workshop held at the Kennedy Center for MFA candidates from around the country. Other then playwrights, there were also directors, dramaturgs, and actors brought from outside of the immediate area. It was a wonderful week! Meeting new people, hearing new voices, etc. Everyday before going into our separate workshops and during breaks, we all had a chance to mingle among each other--Black, Latino, and White.
I observed, however, that when it was time to go into our workshops, the Black actors would gather in our room with the Black playwrights, and the White actors would gather with the White playwrights. It was just one of those "Hmm" moments. I cannot overstate how blessed of an experience it was, with the talented groups that we had, and I am so thankful to have been a part. I could not help but observe that we were just a reflection of the society in which we live.
So what do we do? Do we even care to do anything? How do we make sure that at this "late date," that more of our actors of color become more sufficiently "tapped?" I hope this is a conversation that we can continue to have, but even more importantly turning conversations into actions.
Looking around now, the Inaugural DC Black Theatre Festival is taking place and people are WORKING. My little effort with the "Making History" series started out as a way to give more visibility to theatre/film artists of color, because who isn't on Facebook? It has since evolved into a way to hopefully start bridging gaps. Then there is Galvanize--DC's Black Theatre Network--which strives to empower local Black theatre artists and is currently starting to understand its purpose within the community and seeks to fulfill it.
We have an incredible opportunity within this theatre community to set an example for society, but the responsibility lies with us all. Blaming and finger-pointing is hardly ever effective. (You just have to watch these network news channels to see that). I would say make a conscious effort to open up yourself to your colleagues, regardless of race, until the effort is no longer conscious. . . nor an effort. Lastly, just make sure you are doing your part to become a "well-tapped" artist. When you think you've done all that you can do, do more.
Welcome to the first official blog entry for Galvanize! We are getting this ball rolling, by asking for your assistance. You can be the winner of some hot theatre tickets/certificates and, of course, bragging rights, if you can come up with the best logo design for Galvanize. We're putting a brand on this baby!
So sharpen your graphic design skills and let's get it started! DC's Black theater network needs a logo.
All entries can be submitted to galvanizedc@gmail.com. Members will ultimately vote for the winner. The winning design will become the new Bat Symbol for Galvanize.
All submissions are due by August 15, 2010.
If you do not consider yourself an artist, but have ideas or suggestions, please feel free to leave comments below.
If any of you are like me, then you absolutely love to see this time of year come 'round. Family, food, gifts, joy, happiness, food, fun, food and food make the stretch of time between Thanksgiving and Christmas/Kwanzaa/Hanukkah subliiiiiime! I dream of visiting relatives and eating the variety of smack-ya-mama meats, vegetables, meat-infested vegetables. I pray each year that my Aunt Betty has made her famous stewed tomatoes, and I carry around a Ziploc bowl with me just in case, because I have to take some home. And I'll get REAL quiet if folks start talking about sharing foods, because Aunt Betty's stewed tomatoes are mines--all MINES.
I know there are members of this theatre/film community who are much wiser when it comes to health advice than I am. We have personal trainers right at our finger tips, like Dionne Audain (or Dionne! as the world knows her). 
