In preparation for Hands Up: 6 Playwrights, 6 Testaments, which is being presented by ArtsCenter Stage and Common Ground Theatre with the support of MOJOAA Perfoming Arts Company and in conjunction with the Ladies of the Triangle Theatre (LoTT), I had a chance to speak with playwright Eric Holmes, author of “Walking Next to Michael Brown”, about his writing process, inspiration for the play, and the power of theatre to serve as a tool for social change. Please enjoy this wonderful interview! Jacqueline Lawton: Why did you decide to get into theatre? Was there someone or a particular show that inspired you? Eric Holmes: “Six Degrees of Separation” by John Guare was the first play I saw, at 14, that introduced me to a world of storytelling that popular entertainment had sheltered me from. It made me uncomfortable. I felt like I was in the presence of something beautiful and unknowable and very dangerous. I hunt for that danger every time I see a new play. JL: Next, tell me a little bit about your writing process. Do you have any writing rituals? Do you write in the same place or in different places? EH: I have to write from my apartment because I scream and kick things. JL: Why was it important for you to be a part of the New Black Fest’s Hands Up: 6 Playwrights, 6 Testaments? EH: Because it’s so rare that advocacy work is combined with a clear artistic focus. “Hands Up” defies the false-choice many theaters force audiences to make. All the playwrights I’m honored to share the stage with possess smart, nuanced, politically engaged minds – they are also gifted craftsmen who love the art of theatre. JL: Tell me about your play. What do you hope the audience walks away thinking about after experiencing it? EH: “Walking Next To Michael Brown: Confessions Of A Light-Skinned Half-Breed” asks questions about my complicated relationship with racial profiling. As someone who “passes,” how do I contribute to the conversation if I’ve never been arrested for the color of my skin. And how do I balance my privilege while honoring the psychic-wounds of my inheritance? JL: What role does theater have in advocacy work? EH: I think every play is making some kind of social critique whether the playwright thinks it does or not. Even if the play doesn’t present or take a side on this or that political issue, ambivalence or omission is still an argument – perhaps the most persuasive kind. I could argue that the decision to make art in the first place is a social gesture. In “Hands Up,” all of us were inspired to make art in response to a series of racial injustices in the past year but I think audiences might be surprised by how unique each of our responses are – and how each of us, as individuals, are rattled by conflicting views and intensions. Our outrage and humor, our victimhood and complicity, and our moments of clarity and profound confusion, all play a role in advocacy. About Eric HolmesEric Holmes is currently a second year MFA Playwriting candidate at University of Iowa’s Playwrights Workshop. Former residencies and fellowships include Space At Ryder Farm (The Stick Up) and LaGuardia Performing Arts Playwriting Lab (Falls For Jodie.) His work has been seen and developed at New York Theatre Workshop (Nimpsey Pink), Lark Play Development Center, Ensemble Studio Theatre, Manhattan Theatre Source, Sonnet Repertory, Stony Brook Southampton Playwriting Conference, Space 55 in Phoenix, and University of Washington where he was a guest artist. His monologue, W.F.C., is published by The Good Ear Review. Holmes co-founded Team Play, a theatre-for-young adults education program at Primary Stages Theatre Company and served on the LARK Play Development Center’s LitWing. Event Details
HANDS UP: 6 Playwrights, 6 Testaments Written by Dennis Allen, Idris Goodwin, Glenn Gordon, Eric Holmes, Nathan James, and Nathan Yungerberg Directed by Monet Noelle Marshall Dramaturgy by Jules Odendahl-James and Jacqueline E. Lawton Featuring Malcolm Evans, Kenny Lampkin, Jordan Marshall, Justin Peoples, CJ Suitt and Marcus Zollicoffer Stage Manager: JaMeeka Holloway Produced by ArtsCenter Stage Plan Your Visit What: HANDS UP: 6 Playwrights, 6 Testaments When: February 5-7 at 8:00 pm Where: Common Ground Theatre, 4815B Hillsborough Rd, Durham Cost: $8.00 RSVP: (919) 384-7817 Online Tickets: https://www.artful.ly/store/events/4916 Directions/Parking: http://www.cgtheatre.com/directions *HANDS UP: 6 Playwrights, 6 Testaments is produced in association with the New Black Fest.
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In preparation for Hands Up: 6 Playwrights, 6 Testaments, which is being presented by ArtsCenter Stage and Common Ground Theatre with the support of MOJOAA Perfoming Arts Company and in conjunction with the Ladies of the Triangle Theatre (LoTT), I had a chance to speak with playwright Dennis A. Allen II, author of “How I Feel”, about his writing process, inspiration for the play, and the power of theatre to serve as a tool for social change. Please enjoy this wonderful interview! Jacqueline Lawton: Why did you decide to get into theatre? Was there someone or a particular show that inspired you? Dennis A Allen II: My mother would take me to see broadway shows when I was younger and I distinctly remember going to see August Wilson's Piano Lesson and it having an emotional effect on me that no other show I had seen previously had. In hind sight I realize it was the first time I saw a play with an all black cast and that was focused specifically on the African American experience. I didn't make the decision consciously that theatre would be my career goal but that show definitely planted the seed. It wouldn't be until I was 27 years old and fired from a corporate job that I took the chance at pursuing theatre as a profession. I always loved the written word and performing but I bought into the lie that the entertainment business is not a reliable source of income and therefore not a logical life pursuit. JL: Next, tell me a little bit about your writing process. Do you have any writing rituals? Do you write in the same place or in different places? DAAII: If waiting until the last minute can be considered a ritual, then that is mine. I tend to be a perfectionist procrastinator, so unless I feel the pressure of a deadline I find myself avoiding the act of sitting and writing. That being said, once I have an idea for a play I am constantly drafting scenes and dialogue in my mind so by the time I sit down I have a pretty clear vision of the world and characters. I don't have one set location but It does need to be outside of my home to avoid distractions. JL: Why was it important for you to be a part of the New Black Fest’s Hands Up: 6 Playwrights, 6 Testaments DAAII: I believe in the work that Keith does as a artist and through the New Black Fest. I think it is always work that is crucial to the black community and the theatre community overall so it was important to me because he made the call JL: Tell me about your play. What do you hope the audience walks away thinking about after experiencing it? DAAII: If I can briefly get the audience to experience physically and emotionally the frustration and exhaustion and pain that black men experience living in a land based in white supremacy then I think I was successful. JL: What role does theater have in advocacy work? DAAII: To influence decisions within political and social systems and institutions one must be able to change the heart and minds of individuals and in my experience theatre is the perfect vehicle to spark that sort of change. JL: What next for you as a writer? Where can we follow your work? DAAII: March 20th I have a new play being read at the Lark through the New Black Fest. March 22nd I have a ten minute play going up through Working Theater's Directors Salon. And in August Atlantic Theater company will present a reading of a new play that they commissioned me to write. dennisaallenii.com About Dennis A Allen IIDennis A. Allen II was born and raised in Hempstead, New York. His play The Mud is Thicker in Mississippi was a winner at the 35th annual Off Off Broadway Samuel French festival in 2010 directed by Dennis’ frequent collaborator Christopher Burris. He’s been the recipient of the Himan Brown Creative Writing Award two years running, and has developed and produced plays with Sanctuary NYC, Variations Theatre Group, The Bowery Poetry Club (Sticky), JACK, Liberation Theatre, National Black Theatre and the Classical Theatre of Harlem. He has kept up his cutting exploration of racial interaction and black identity in plays like Where the Sun Don’t Shine, a new work inspired by Raisin in the Sun at the Harlem9!s 2013 48 hours in Harlem, MOTHER at the 2013 Fire This Time festival, collaborative writing projects with The American Slavery Project’s 2012 Unheard Voices, 2014 Schomburg Junior Scholars theatrical reading of Dr. Martin Luther King, Jr.'s “Letter from Birmingham Jail”, and The New Black Fest's Hands up: Six Playwrights, Six Testaments. He is a recipient of Atlantic Theater Company's inaugural 2014-15 Launch Commission. Dennis received his MFA in playwriting from Brooklyn College in 2013. Event Details
HANDS UP: 6 Playwrights, 6 Testaments Written by Dennis Allen, Idris Goodwin, Glenn Gordon, Eric Holmes, Nathan James, and Nathan Yungerberg Directed by Monet Noelle Marshall Dramaturgy by Jules Odendahl-James and Jacqueline E. Lawton Featuring Malcolm Evans, Kenny Lampkin, Jordan Marshall, Justin Peoples, CJ Suitt and Marcus Zollicoffer Stage Manager: JaMeeka Holloway Produced by ArtsCenter Stage Plan Your Visit What: HANDS UP: 6 Playwrights, 6 Testaments When: February 5-7 at 8:00 pm Where: Common Ground Theatre, 4815B Hillsborough Rd, Durham Cost: $8.00 RSVP: (919) 384-7817 Online Tickets: https://www.artful.ly/store/events/4916 Directions/Parking: http://www.cgtheatre.com/directions *HANDS UP: 6 Playwrights, 6 Testaments is produced in association with the New Black Fest. In preparation for Hands Up: 6 Playwrights, 6 Testaments, which is being presented by ArtsCenter Stage and Common Ground Theatre with the support of MOJOAA Perfoming Arts Company and in conjunction with the Ladies of the Triangle Theatre (LoTT), I had a chance to speak with playwright Idris Goodwin, author of “They Shootin! Or I Ain’t Neva Scared…”, about his writing process, inspiration for the play, and the power of theatre to serve as a tool for social change. Please enjoy this wonderful interview! Jacqueline Lawton: Why did you decide to get into theatre? Was there someone or a particular show that inspired you? Idris Goodwin: I have always been drawn to live performance. I do hip hop music, spoken word as well---words in the air being caught by an audience is exciting to me. I didn’t really have an appreciation for the theatrical medium until I moved to Chicago for college and started meeting working theater artists. Once I began to see behind the curtain a bit, I got curious “could I write a play?” JL: Next, tell me a little bit about your writing process. Do you have any writing rituals? Do you write in the same place or in different places? IG: It’s pretty straight forward for me. I walk around with lots of ideas ping ponging around my head. One of them fights their way to the forefront. I write my first drafts very swift and decisively---then I spend many months revising. But I never stop working and I often juggle multiple projects. They begin to sort of influence and inform one another. JL: Why was it important for you to be a part of the New Black Fest’s Hands Up: 6 Playwrights, 6 Testaments? IG: The New Black Fest is an entity I have longer admired and wanted to be a part of. Much of my activism and response to the issues of the day is via my creative work. After first laying eyes on the images from Ferguson I immediately began writing a song, then another and within months I had a rap album called RHYMING WHILE BLACK. This project gave me the opportunity to respond in a theatrical mode. JL: Tell me about your play. What do you hope the audience walks away thinking about after experiencing it? IG: My piece They Shootin’ or I aint neva scared: a reverberation in three parts is a monologue written in my own voice but for an actor to play. Which is to say, I wrote myself as character but don’t really intend to perform this piece myself. It’s about the paranoia one feels when considering America’s violent history toward the black body. JL: What role does theater have in advocacy work? IG: Theater sparks conversation. To me theater is about what happens before, during and after the show. JL: What next for you as a writer? Where can we follow your work? IG: So as I mentioned RHYMING WHILE BLACK was just released and is available via my Bandcamp page and CDbaby. I am doing small concerts around the country. I just opened AND IN THIS CORNER: CASSIUS CLAY, a play based on the young life of Muhammad Ali, at Louisville’s StageOne. THIS IS MODERN ART, a play co written with Kevin Coval, is based on the true exploits of an outlaw graffiti crew. That is going up at Steppenwolf Theater in Chicago in late February. My latest “break beat play” THE REALNESS, a romantic comedy about class and hip hop, is receiving a reading in the Ruth Easton series at The Playwright Center in Minneapolis this March. And in April my black psycho drama play BLACKADEMICS, is being produced at Crowded Fire Theater in San Francisco. And finally in the late summer my jazz play BARS AND MEASURES will world premiere at B Street Theater in Sacramento. About Idris GoodwinIdris Goodwin is a playwright, Hip Hop artist, spoken word performer and essayist. He is the author of the award winning and widely produced play How We Got On (Playscripts, 2013) and the pushcart nominated essay collection These Are The Breaks (Write Bloody, 2011). He’s performed on HBO and Sesame Street. His two latest plays And in this corner....Cassius Clay (for StageOne Family Theater) and This is Modern Art (for Steppenwolf, co-written with poet Kevin Coval) will have world premiere productions in 2015. Idris teaches performance writing and Hip Hop aesthetics at Colorado College. Event Details
HANDS UP: 6 Playwrights, 6 Testaments Written by Dennis Allen, Idris Goodwin, Glenn Gordon, Eric Holmes, Nathan James, and Nathan Yungerberg Directed by Monet Noelle Marshall Dramaturgy by Jules Odendahl-James and Jacqueline E. Lawton Featuring Malcolm Evans, Kenny Lampkin, Jordan Marshall, Justin Peoples, CJ Suitt and Marcus Zollicoffer Stage Manager: JaMeeka Holloway Produced by ArtsCenter Stage Plan Your Visit What: HANDS UP: 6 Playwrights, 6 Testaments When: February 5-7 at 8:00 pm Where: Common Ground Theatre, 4815B Hillsborough Rd, Durham Cost: $8.00 RSVP: (919) 384-7817 Online Tickets: https://www.artful.ly/store/events/4916 Directions/Parking: http://www.cgtheatre.com/directions *HANDS UP: 6 Playwrights, 6 Testaments is produced in association with the New Black Fest. From February 5th to 7th, ArtsCenter Stage and Common Ground Theatre with the support of MOJOAA Perfoming Arts Company and in conjunction with the Ladies of the Triangle Theatre (LoTT) will present Hands Up: 6 Playwrights, 6 Testaments, a collection of monologues by African-American playwrights featuring a wide range of perspectives on being a black man in America in the 21st century. Each performance will be followed by an interactive post show discussion that will culminate in the collection of ideas and individuals across all spectrums of identity, profession, and location to create a new work to be performed in late June at The ArtsCenter in Carrboro. Here's more information about the panelists and themes for each evening: Thursday, February 5th
PLEASE NOTE: Audience members are asked to bring an object/picture/story that represents one of the following per performance:
You can follow us at #LoTTRiseUp on Twitter. Event Details
HANDS UP: 6 Playwrights, 6 Testaments Written by Dennis Allen, Idris Goodwin, Glenn Gordon, Eric Holmes, Nathan James, and Nathan Yungerberg Directed by Monet Noelle Marshall Dramaturgy by Jules Odendahl-James and Jacqueline E. Lawton Featuring Malcolm Evans, Kenny Lampkin, Jordan Marshall, Justin Peoples, CJ Suitt and Marcus Zollicoffer Stage Manager: JaMeeka Holloway Produced by ArtsCenter Stage Plan Your Visit What: HANDS UP: 6 Playwrights, 6 Testaments When: February 5-7 at 8:00 pm Where: Common Ground Theatre, 4815B Hillsborough Rd, Durham Cost: $8.00 RSVP: (919) 384-7817 Online Tickets: https://www.artful.ly/store/events/4916 Directions/Parking: http://www.cgtheatre.com/directions *HANDS UP: 6 Playwrights, 6 Testaments is produced in association with the New Black Fest. As you all know, I moved to Chapel Hill in December to teach at UNC and dramaturg at PlayMakers Rep. It was a big move ... quite daunting. In advance, I researched the theatre community in my new home and was invited to be a part of the Ladies of the Triangle Theatre. I was inspired by the conversation around gender parity and racial equity that was taking place, and was impressed to learn of the commitment to new play development and community engagement. And within three weeks, I found myself working with six extraordinary women--Kathryn Hunter-Williams, Monet Marshall, Jules Odendahl-James, Ana Radulesu, Jeri Lynn Schulke, Devra Thomas--to produce Hands Up: 6 Playwrights, 6 Testaments and create a performance-based, community response to critical questions regarding race, equity, and social justice. It all came together quickly and in true collaborative spirit. From February 5th to 7th at 8:00pm each night, ArtsCenter Stage and Common Ground Theatre with the support of MOJOAA Performing Arts Company and in conjunction with the Ladies of the Triangle Theatre (LoTT) will present Hands Up: 6 Playwrights, 6 Testaments, a collection of monologues by African-American playwrights featuring a wide range of perspectives on being a black man in America in the 21st century. Each performance will be followed by an interactive post show discussion that will culminate in the collection of ideas and individuals across all spectrums of identity, profession, and location to create a new work to be performed in late June at The ArtsCenter in Carrboro. You can follow us at #LoTTRiseUp on Twitter. Over the past couple of weeks, I connected with the amazing women to hear their thoughts on why this play was so important and the impact they hope it will have. Thoughts from Devra ThomasCommon Ground Theatre--as implied by the name--is a venue where artists can come together, not only to try out new or rarely-seen work, but to produce work that is socially relevant to our community, for us all to find some common ground to discuss issues and contemplate solutions. Supporting that work is part and parcel of the theater's mission. Personally, from the LoTT perspective, this project is a great example of what the great Tina Fey said, "Say yes and figure it out afterward." Maybe if we all said "yes" to each other more, we wouldn't need testimonials like this. Thoughts from Jeri Lynn SchulkeRacism is evident in tragic and painful ways in our communities. The accountability and responsibility to end racism rests with all members of our communities. Theater is a natural environment for members of a community to gather, share a common experience, examine our history, our present and envision our future. Theater artists to must provide opportunities for our community to gather, to exam, reflect, question, dream, hope and shape our common destiny. Thoughts from Monet MarshallThis project is important because we, our community, our state, our country, needs to talk. And when successful, theatre can serve as a safe space to have hard conversations. Ultimately, I want action. I want HANDS UP to have an impact here in the Triangle. But I'm excited to spark and continue conversations. Thoughts from Jules Odendahl-JamesIn the final monologue of HandsUP, Dennis A. Allen II challenges the limits of endurance both figuratively and literally. Literally, keeps his arms in the "Don't shoot" posture for the entirety of his speech. Figuratively, he demands that we try to understand the everyday life experiences for men of color in America today. Even men with some measure of privilege -- artistically, intellectually, economically -- feel unsafe in their own country. Too often this fear is magnified by encounters with those whose job it is to protect and serve but whose training carries a mass incarceration mindset where certain bodies are seen as objects of threat above all other understanding. Even in the face of pain and exhaustion, Allen's speaker refuses to quit. He may not be sure of the finish line but he will not abandon the race toward something better than this. In that same way, I hope that the experience of HandsUP for the audience would be a similar test of our endurance. An opportunity to 'check-in' with ourselves about stories, bodies, and actions in our community. A chance to call out injustice without apology. And yet, there is another hope that beyond that naming, beyond the catharsis of telling stories of struggle, the HandsUP pieces can be a catalyst for us to work towards something better for our specific place and space here in the Triangle. To do that means we asks questions that go beyond these pieces. Whose voices don't we hear in these monologues that have similar experiences in our communities? What artistic forms should our responses take to state violence and institutionalized racism? How might the dialogue that emerges out of those forms influence specific social change in our communities? And how do we find a way to sustain these efforts beyond a few nights at the theater? Because while Ferguson might fade from memory, the conditions which made those events possible endure. And so must we. Thoughts from Kathryn Hunter-WilliamsThe voices represented in the Hands Up monologue are part of creating change. It is time for our community to join the chorus for change and envision the world we’d like to live in. I am thrilled to be a part of this collective. Thoughts from Ana RadulescuThis project is really important because it proves that the theater community is ready to respond. The fact that these artists are ready to start an inclusive conversation that does not necessarily promise answers, but does promise specific questions prooves to me just how important the medium of theater is. Not a lot of people outside this community know how or are ready to respond...but it is important that someone starts talking...and I think this project hands the microphone over to a person who is not only ready to share a story but it also hands the opportunity to a community who is ready to talk about its experience. Event Details HANDS UP: 6 Playwrights, 6 Testaments Written by Dennis Allen, Idris Goodwin, Glenn Gordon, Eric Holmes, Nathan James, and Nathan Yungerberg Directed by Monet Noelle Marshall Dramaturgy by Jules Odendahl-James and Jacqueline E. Lawton Featuring Malcolm Evans, Kenny Lampkin, Jordan Marshall, Justin Peoples, CJ Suitt and Marcus Zollicoffer Stage Manager: JaMeeka Holloway Produced by ArtsCenter Stage Plan Your Visit What: HANDS UP: 6 Playwrights, 6 Testaments When: February 5-7 at 8:00 pm Where: Common Ground Theatre, 4815B Hillsborough Rd, Durham Cost: $8.00 RSVP: (919) 384-7817 Online Tickets: https://www.artful.ly/store/events/4916 Directions/Parking: http://www.cgtheatre.com/directions *HANDS UP: 6 Playwrights, 6 Testaments is produced in association with the New Black Fest. Hands Up in RehearsalArtsCenter Stage and Common Ground Theatre with the support of MOJOAA Performing Arts Company and in conjunction with the Ladies of the Triangle Theatre (LoTT) invite audiences to join us in building a performance-based, community response to critical questions regarding race, equity, and social justice. We begin with three nights of performances at Common Ground Theater in Durham of HANDS UP: 6 Playwrights, 6 Testaments* a collection of monologues by African-American playwrights featuring a wide range of perspectives on being a black man in America in the 21st century. In light of the recent police shootings of Mike Brown in Ferguson, Missouri and John Crawford III in Beavercreek, Ohio, among others, The New Black Fest commissioned 6 emerging black male playwrights to write 10-15 monologues that explore their feelings about the well-being of black men in a culture of institutional profiling. The six “testaments” to be featured are: “Superiority Fantasy” by Nathan James, “Holes in My Identity” by Nathan Yungerberg, “They Shootin! Or I Ain’t Neva Scared…” by Idris Goodwin, “Abortion” by Glenn Gordon, “Walking Next to Michael Brown” by Eric Holmes and “How I Feel,” by Dennis Allen II. The New Black Fest was founded in 2010 with a mission to develop and support new work among playwrights from the African diaspora. Directed by Monet Noelle Marshall of MOJOAA Performing Arts Company, HANDS UP: 6 Playwrights, 6 Testaments will feature Malcolm Evans, Kenny Lampkin, CJ Suitt, Justin Peoples and Marcus Zollicoffer, each performance will be followed by an opportunity for discussion with the creative team and a range of community leaders (religious, political, academic, artistic). These discussions will culminate in the collection of ideas and individuals across all spectrums of identity, profession, and location to create a new work to be performed in late June at The ArtsCenter in Carrboro. From February to June, LoTT will collaborate with interested participants to develop stories that may take a variety of performance forms (e.g., theater, dance, visual art). The goal is to identify the breadth and depth of our own, local experiences; determine how these experiences connect or diverge from the national conversation; and ultimately map a path to positive and sustainable changes in our communities. #LoTTRiseUp Event Details HANDS UP: 6 Playwrights, 6 Testaments Written by Dennis Allen, Idris Goodwin, Glenn Gordon, Eric Holmes, Nathan James, and Nathan Yungerberg Directed by Monet Noelle Marshall Dramaturgy by Jules Odendahl-James and Jacqueline E. Lawton Featuring Malcolm Evans, Kenny Lampkin, Justin Peoples, CJ Suitt and Marcus Zollicoffer Stage Manager: JaMeeka Holloway Produced by ArtsCenter Stage Plan Your Visit What: HANDS UP: 6 Playwrights, 6 Testaments When: February 5-7 at 8:00 pm Where: Common Ground Theatre, 4815B Hillsborough Rd, Durham Cost: $8.00 RSVP: (919) 384-7817 Online Tickets: https://www.artful.ly/store/events/4916 Directions/Parking: http://www.cgtheatre.com/directions *HANDS UP: 6 Playwrights, 6 Testaments is produced in association with the New Black Fest. About ArtsCenter StageArtsCenter Stage at The ArtsCenter showcases the work of emerging and established artists hailing from next door to around the world. Jeri Lynn Schulke, Artistic Director of ArtsCenter Stage says, “ArtsCenter Stage is community-oriented, professional theatre with a commitment to developing new artists, supporting new work and engaging audiences.” About Common Ground TheatreCommon Ground Theatre is a performance space in the Triangle area of North Carolina. We are committed to the growth of lively arts, and our performance space is utilized by many of the best young and small theater companies in the region. CG Theatre is also a great new spot to see local music and various other entertainment alternatives. About Ladies of Triangle TheatreThe Ladies of Triangle Theatre (LoTT) is a group of powerhouse women dedicated to promoting, facilitating, and otherwise encouraging the work of all female theatre artisans in the Triangle, NC area. We find quality opportunities, provide solutions where there are problems, and actively support the work done by each other. About MOJOAA Performing Arts CompanyMOJOAA Performing Arts Company is the Black theatre company of the Triangle run by a Black family in the Triangle. MOJOAA stands for Monet, Jordan and Aaron, the progeny of Robin and Bryan Marshall. MOJOAA is committed to to telling Black stories for the community with the community. About the New Black FestivalThe New Black Fest is a theater organization committed to celebrating, advocating and showcasing diverse and provocative work from throughout the Disapora. It is a convening of visionaries who are determined to reintroduce the way black theater is perceived, who are ready to chart out resolutions and promote action through panel discussions, workshops, and putting both artists and community members on the hot seat. |
My BlogI'm a playwright, dramaturg, and teaching artist. It is here where you'll find my queries and musings on life, theater and the world. My posts advocate for diversity, inclusion, and equity in the American Theatre and updates on my own work. Please enjoy!
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