Tomorrow, I leave for Miami. It'll be a my first time in Florida and I'm making the most of my time while I'm there. On Sunday, in addition to attending rehearsals at FIU Theatre and taking part in the From Swastika and Jim Crow: Lessons and Legacies panel discussion at the Coral Gables Museum, I'll be meeting with Katie Christie Bereng, TCG Young Leader of Color and founder of Voices United, to learn more about the intergenerational work that she and her organization are doing around Diversity, Inclusion and Equity in the South Florida theatre community. More on all of that soon. For now, here's more information about the play and this extraordinary, passionate, and talented company of artists!

About the Play
The Hampton Years explores the relationship between art professor Viktor Lowenfeld and his students, John Biggers and Samella Lewis. Lowenfeld joined the Hampton Institute in Virginia in 1939 as assistant professor of Industrial Arts and studio art teacher. Burgeoning artist John Biggers, who went on to become an internationally acclaimed painter, sculptor, teacher and philosopher, was his student. As was Samella Lewis, artist, printmaker and educator, with whom Lowenfeld had a contentious, but respectful relationship. The Hampton Years examines the impact of World War II on Jewish refugees living in the United States and their role in shaping the lives and careers of African American students in the segregated south.

Presented by Florida International University's Center for Humanities in an Urban Environment in collaboration with FIU's Department of Theatre and GableStage, a staged reading of THE HAMPTON YEARS will take place on Monday, October 20th at 7:00pm as part of the Beyond Swastika and Jim Crow exhibit.  Click here to learn more.

Jacqueline E. Lawton was named one of 30 of the nation's leading black playwrights by Arena Stage’s American Voices New Play Institute. Her plays include: Anna K; Blood-bound and Tongue-tied; Deep Belly Beautiful;The Devil’s Sweet Water; The Hampton Years; Ira Aldridge: the African Roscius; Lions of Industry, Mothers of Invention; Love Brothers Serenade (2013 semi-finalist for the Eugene O’Neill Theater Center’s National Playwrights Conference); Mad Breed; Noms de Guerre; and Our Man Beverly Snow. Ms. Lawton received her MFA in Playwriting from the University of Texas at Austin, where she was a James A. Michener Fellow. She is a 2012 TCG Young Leaders of Color award recipient, National New Play Network (NNPN) Playwright Alum, and member of Arena Stage's Playwrights' Arena. She is also a proud member of the Dramatist Guild of America.

Phillip M. Church (Director) holds an M.F.A. from the University of California at Irvine and a graduate of the London Academy of Music and Dramatic Art. He has professional and extensive experience in acting, directing, and stage management in England, South Africa, and America. He is presently working on establishing an exchange program in performance between the FIU Department of Theatre and the Southampton Institute and Southampton University in England, a Shakespearean series for schools, in partnership with WLRN and is developing a new film program at FIU. He is the Artistic Director and President of WhatIfWorks an interative theatre, film and music company that aims to give recent graduates professional experiences in their chosen fields. He currently serves as the Chair of External and Community Engagement.

Aaron H. Alpern (Viktor  Lowenfeld), grew up in Ann Arbor, Michigan.  He has worked as a professional actor throughout the Midwest including, Detroit, Chicago, Milwaukee, and Pittsburgh, performing at  First Folio, Chicago Shakespeare, Writers Theatre, Timeline Theatre, Next Act, Northern Stage, and Quantum Theatre.   Recently, he played Michael in Tipping Point’s production of Fiction. Other credits include, George –Same Time Next Year at Two Muses Theatre, Mr. Dark – Something Wicked This Way Comes at Meadowbrook, Sharkey – The Seafarer at Performance Network, Frederick - Enchanted April at Meadowbrook, Cooper – Denial at the J.E.T., and Prospero and Cymbeline, as the Equity Guest Artist for Hillsdale College and the Grand Valley Shakespeare festival respectively. Aaron has appeared in several industrial films as well as an independent feature film and on TV, Aaron was seen in various commercials, the Magic Door Children’s Theatre and The Colbert Report. Aaron has taught and coached in California, Illinois and Michigan. He received his M.F.A. in Acting from The California Institute for the Arts and his Bachelors from the University of Michigan.

Rebecca Covey (Margaret Lowenfeld) is an Equity actor and a designated Linklater Voice teacher.  She earned her BFA in Theatre and BA in French from the University of California, Santa Barbara and her MFA from the Professional Theatre Training Program at the University of Wisconsin.  In Chicago, she taught at the Theatre School at DePaul University, Northern Illinois University, and Columbia College.  Favorite Chicago acting credits include Simone de Beauvoir in Nelson and Simone (Live Bait Theatre), Hermione in The Winters Tale, Romeo in Romeo and Juliet, Lady MacBeth in MacBeth, Hester in The Scarlet Letter and Anka in Hunting Cockroaches  (Footsteps Theatre), Sarah in The Lover and Jane inBenefactors  (Writers Theatre Chicago), Lady Windermere’s Fan, The Devil’s Disciple, and Back to Methusela (Shaw Chicago).  Regional credits include Sarah in The Substance of Fire and Viola in Twelfth Night (The Northern Stage – Milwaukee), All My Sons (New American Theatre), Quake  and ID (Quantum Theatre – Pittsburgh), Mothers Day (Boarshead Theatre), Lady MacBeth in MacBeth (Theatre at the Center), Relatively Speaking (Next Act Theatre Milwaukee), Abigail in Denial (Jewish Ensemble Theatre), Something Wicked This Way Comes(Meadowbrook Theatre) and  Eleemosynary (Williamston Theatre).  Rebecca is interested in International Theatre and has performed in Scotland, Australia and France. Additional interests include: the intersection of gender, culture and voice; accents and dialects; and  heightened language including Shakespeare, Moliere and Shaw.

O'Neil Delapenha (John Biggers) is a South Florida native and professional actor. He holds a Bachelor's of Fine Arts degree from New World School of the Arts. He is currently playing the role of Bobby Franklin in Sunshine Theatre Company's production of "Run for Your Wife", now touring the South Florida area. He is also involved in several shows with Fantasy Theatre Factory, for which he is the production manager. He is happy to be apart of this process and is thankful for the opportunity.  

Wayne E. Robinson, Jr. (Dr. Malcolm McLean) is a graduate of Phillips Academy (Andover), Northwestern University, The National Theatre Conservatory and American Conservatory Theatre (STC). After many years as an actor and director, he joined the Theatre faculty at FIU where he is currently Associate Professor. His theatre career, which includes acting and directing in over 60 productions, has taken him to Chicago, Denver, San Francisco, Los Angeles and now Miami. At FIU, he has directed Eleemosynary, The Rose Tattoo, All in the Timing, Talking With…, Sylvia, 5th of July, The House of Blue Leaves, Glengarry Glen Ross, The Hot L Baltimore, As You Like It, Balm in Gilead, Anna in the Tropics, Electricidad,Pericles and the Musicals Company, Gypsy, Hair, and The Last Days of Judas Iscariot. In South Florida, professional projects include directingLine, All in the Timing, and Frag, as well as Acting in Betrayal, Talley’s Folly, King Lear, Never the Sinner, The House of Seven Gables, Electra,Wit, The Weir, Hamlet, Othello, and Twelfth Night.

On Monday, October 20th at 7:00pm, Florida International University's Center for Humanities in an Urban Environment in collaboration with FIU's Department of Theatre and GableStage will present a reading of THE HAMPTON YEARS as part of the Beyond Swastika and Jim Crow exhibit. 

The Hampton Years examines the impact of World War II on Jewish refugees living in the United States and their role in shaping the lives and careers of African American students in the segregated south. It explores the relationship between Austrian painter and sculptor Viktor Lowefeld and his students, John Biggers and Samella Lewis, both of whom go on to become a prominent twentieth-century arts, scholars and educators. Directed by Phillip M. Church the staged reading will feature Aaron Alpern, Rebecca Covey, O’Neil Delapenha, Madeleine Escarne, Makeba Henry, and Wayne Robinson. Click here to learn more.

This is the second time that THE HAMPTON YEARS had been programmed as part of the Beyond Swastika and Jim Crow exhibit. The first was back in February of 2013, when Theatre Ariel presented it as part of their salon series and at the National Museum of Jewish History. Since that time, the play has received a world premiere production at Theater J and has gone through extensive revisions in development at Virginia Stage Company. This will be my first time hearing the new draft and I can hardly wait to experience with a new community of artists, scholars, historians, and audience members. 

The Coral Gables Museum in collaboration with Florida International University's Center for Humanities in an Urban Environment and the Department of English, presents a traveling exhibit titled “Beyond Swastika and Jim Crow: Jewish Refugee Scholars at Black Colleges,” created by the Museum of Jewish Heritage – A Living Memorial to the Holocaust. On Saturday, I'm heading to Miami to take part in a panel discussion and staged reading of THE HAMPTON YEARS. Here''s more information about the exhibit and panel discussion:

"Beyond Swastika and Jim Crow tells the story of Jewish academics from Germany and Austria who were dismissed from their teaching positions in the 1930s. After fleeing to America, some refugee scholars found positions at historically black colleges and universities in the Jim Crow South. The exhibition explores what it meant to the students to have these new staff as part of their community, how the students were affected by their presence, and what life was like for white, European Jews teaching at black colleges and universities. The exhibit looks at the empathy between two minority groups with a history of persecution, some of whom came together in search of freedom and opportunity, and shared the early years of struggle in the Civil Rights movement." Click here to learn more about the exhibit.

“This exhibit explores the deep relationships that formed between two disenfranchised groups that each experienced racism firsthand — Jews fleeing Nazi Europe and African-Americans in the South living during Jim Crow,” said Christine Rupp, executive director of the Coral Gables Museum. “The exhibit and its surrounding activities and programs will give the South Florida community an opportunity to learn about these remarkable teachers and students and how they reacted to the discrimination they faced.”

FIU has created a series of panels, screenings, lectures, and other events, including a panel discussion on Sunday, October 19 from 4:00pm - 6:00pm, titled From Swastika to Jim Crow: Lessons and Legacies at the Coral Gables Museum. Moderated by Dr. Michael P. Gillespie (Professor of English and Director of the Center for Humanitities in An Urban Environment), this panel will examine the evolution in American thinking about race based on the experiences highlighted in the exhibit. Panelists include Dr. Alan Berger(Raddock Chair of Holocaust Studies, Florida Atlantic University), Dr. Guy Stern (Director, Institute of Altruism. Holocaust Museum in Detroit and Provost (emeritus) Wayne State University), Ms. Jaqueline E. Lawton (Playwright, author of Hampton Years), and Dr. Tometro Hopkins (Director of the Linguistics Program, Florida International University). This event is co-sponsored by the Center for Women's and Gender Studies. Click here or see the flyer below to learn more:.

Tomorrow, October 12th at 3:00pm, Hampton University Museum will present a student reading of my play, THE HAMPTON YEARS, as part of their Homecoming Festivities and in conjunction with the opening of The Diane Whitfield-Locke & Carnell Locke Collection: Building on Tradition. RSVP for both today by calling 757.727.5308. 

This will be my first time at Hampton University and I can hardly wait. I'll be sure to take lots of pictures and share them here..

Hampton University Museum events for Saturday, October 12, 2013
3:00pm -THE HAMPTON YEARS: A READING written by Jacqueline E. Lawton, directed by Artisia Green at Little Theater, Armstrong Hall). Come hear the reading by HU students and meet the playwright!

About the Play
The Hampton Years explores the relationship between art professor Viktor Lowenfeld and his students, John Biggers and Samella Lewis. Lowenfeld joined the Hampton Institute in Virginia in 1939 as assistant professor of Industrial Arts and studio art teacher. He was later appointed as Chairman of the Art Department and in 1945, he was named curator of the distinguished collection of Black African Art at the Hampton Institute. Burgeoning artist John Biggers, who went on to become an internationally acclaimed painter, sculptor, teacher and philosopher, was his student. As was Samella Lewis, artist, printmaker and educator, with whom Lowenfeld had a contentious, but respectful relationship. The Hampton Years examines the impact of World War II on Jewish refugees living in the United States and their role in shaping the lives and careers of African American students in the segregated south.

Then, be sure to stop by the Hampton University Museum for the opening reception of the exhibit. More details below:

6:30pm - Opening Reception and Music by the Jason Jenkins Trio
7:30pm - Comments & Special Presentations
8:30pm - Opening Receptions Ends

The Diane Whitfield-Locke & Carnell Locke Collection: Building on Tradition

The exhibition will include master artists from both the 19th Century including Henry O. Tanner, Robert Duncanson, and Grafton Tyler Brown; from the Harlem Renaissance period with pieces from Aaron Douglass, a rare work by William H. Johnson, as well as works by Palmer Hayden, Jacob Lawrence; and from the modern tradition like Benny Andrews, Gwen Knight and Faith Ringgold. Additionally, the exhibition will also reflect the Locke's move towards collecting contemporary artists such as Clarissa Sligh, Betye Saar and James Phillips and feature twenty sculptures including works by Richard Hunt, Augusta Savage, Beulah Woodward, Richmond Barthe, and art historian and artist, Dr. David Driskell have been selected.

Co-curator, Woodson Reid states, "The Dianne Whitfield-Locke and Carnell Locke collection of African American art can be seen as a product of these groundbreaking years of research and inventiveness," begun by the many art historians and institutions that have focused on collecting African American art.

Vanessa Thaxton-Ward is the curator of collections at the Hampton University Museum and Shirley Woodson- Reid is a noted artist, educator and curator. Woodson-Reid resides in Michigan.

Click here to learn more.

JACQUELINE LAWTON: To begin, why did you decide to get into theater? Was there someone or a particular show that inspired you?
JULIAN ELIJAH MARTINEZ: Theater has been the vehicle that has gotten me through many trials in my life. It was theater that helped me through High School, and Theater got me into college. I’ve followed theater thus far, and much of my success in life I have to equate to this field I’ve chosen.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
JEM: Better than were we were, but not were we should be. As we find ourselves having more cases of colorblindness, each of our prejudices are brought to light. Instead of embracing our differences, we are trying to ignore them in passive aggressive ways, which isn’t a good thing as much as we like to trick ourselves into believing it is.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences? 
JEM: Everyone knows the pursuit of something his or her passionate in. It's this story that I think resonates with audiences. We become invested in the story of these artists because we hope that through perseverance we will have the impact that these artists had.

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
JEM: I am playing John Biggers.  John and I value truth in our work. We want to be uncompromising in how we approach our art. We hope that we our pursuit of truth will lead us to making lasting change in our world and we hope to showcase the beauty of our culture. 

JL: What’s next for you as an actor? Where can we follow your work? 
JEM: I will be joining the Yale School of Drama in the fall. I am also the Assistant to the Director for Theater Alliance’s production of Broke-ology, opening this august.  You can follow me at my twitter handle @julianelijah even though I tend to tweet a lot about nerd culture. My website julianelijahmartinez.com is going to be updated in the near future. Look for an announcement soon.

JULIAN ELIJAH MARTINEZ (John Biggers) is a teaching artist based in Washington DC and a graduate of Elon University. DC Credits include:Locomotion (John F. Kennedy Center); Jekyll and Hyde (Synetic Theater Company); Romeo and Juliet, Pride and Prejudice, Cymbeline, and A Midsummer Nights Dream (Chesapeake Shakespeare Company); and Lyme Park (the Hegria). Regional Credits include: Hamlet and All's Well That Ends Well (Orlando Shakespeare Theater) and Man of La Mancha (Hangar Theater). Elijah would like to thank Theater J for the opportunity to play and perform with them, and is infinitely proud of this amazing cast. julianelijahmartinez.com

JAQUELINE LAWTON: To begin, why did you decide to get into theater? Was there someone or a particular show that inspired you?
SASHA OLINICK: When I was nine years old, my parents took me and  to see a production of WAITING FOR GODOT. We hadn’t yet covered absurdism or alienation in fourth grade, so clearly a lot of it went over my head. But I was mesmerized but what was happening on stage, so transfixed in fact that I stood up for the whole second act, completely unaware that I was on my feet. Fortunately I was a pretty short kid and didn’t block anyone’s view.

I did some acting in high school and with the community theater in my hometown but opportunities were pretty limited. By the time I got to college I’d put the idea of being an actor on the back burner, but I was fortunate to attend Brown University when Paula Vogel was on the faculty, and I saw a professional production of THE BALTIMORE WALTZ that blew my mind. A semester later, a student director had the chutzpah to direct the play on campus- I wasn’t really part of the theater community at Brown at this point and had no clue that this guy had more or less alienated most of the actors on campus. So I showed up to audition with just a handful of other people and got the role of The Third Man. I’d say it was playing that role that really got me hooked.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish Immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts academia and military. Where do you feel we are in terms of race relations in the U.S.?
SO: That is such a challenging and important question! I’m trying to avoid the clichéd answer of “we’ve come a long way, but we still have a long way to go”, but I’ll probably end up with something along those lines. Given our country’s history, it is impossible to over state the significance that we have now twice elected an African American President and put an African American family in the White House. In each of the categories you mention above: the arts, academia, and the military we have seen African Americans achieve at the highest levels and ascend to the highest positions of leadership. This reality deserves recognition and celebration. Nevertheless, there’s a danger of conflating the success of individuals with the notion that we’ve somehow achieved a meaningful level of equality. I think it has somehow become easier to ignore the fact that the economic disparity between African Americans  and White Americans and the disparity in academic achievement between these same two groups has been widening in most parts of the country over the past twenty years. In many ways, vibrant and powerful symbols of success, as important as they are, tend to blind us, or at least blind white America, to the reality of more disturbing trends. While we’ve removed most of the legal barriers to equality, we struggle as a country to recognize and address the fact that legal equality does not necessarily translate to equal access to resources and opportunities.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists such as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today’s audiences?
SO: Let me answer this question just from the perspective of the character I’m playing- and in a way that I think can relate to your previous question. One of things that most interested me about the play and made me want to play Viktor Lowenfeld, was his own complicated views on race. Clearly he was progressive for his time, and he forcefully challenged Hampton’s institutional views of what its students were capable of.  He encountered the unique form racism in the Jim Crow south for the first time as a highly educated intellectual, unencumbered by an American upbringing, and this allowed him to see his students through a different lens. Nevertheless, his thinking still revealed a degree of racial prejudice- prejudice that he may have construed as being positive, but a prejudice that limited his perspective. The play deals to some degree with his growing awareness and acknowledgement of this. The portrayal of Viktor demonstrates to audiences that an individual can hate racism and still be to some degree racist- that I may be simultaneously fighting to create opportunities for others while still, perhaps unconsciously, restricting the terms of those opportunities. If we really hope to dismantle racism in this country then we have to look deeply inward at our own prejudices and biases- which are often subtle, complicated and hard to discuss. I think THE HAMPTON YEARS can be a catalyst for this kind examination and conversation.

JL: Which character are you playing? What, if, anything, do you have in common with this character’s passions, values, intentions or belief systems?
SO: I am playing Viktor Lowenfeld. When I‘m not on the stage, (and often even when I am on the stage) I’m in the classroom, so I connect most strongly with Viktor’s passion to teach and inspire others. I have experienced that powerful moment of watching something suddenly click for a student, so I think I get how the hope for that result motivates Viktor to push John and Samella throughout the play.

Although I don’t know the first thing about visual arts we talked as a cast during the rehearsal process about the many parallels to teaching and studying acting. The theoretical difference between haptic and visual artists that fascinated Viktor and led him to encourage his students to explore the physical sensation of painting and sculpting as a way of accessing and expressing the self, reminds me a lot of movement exercises we did in my conservatory training. These exercises were primarily about getting us out of our heads and into our bodies, to listen to and honor our genuine impulses. In working with acting students as a teacher, I try to emphasize that emotional truth is often more easily and effectively found through a physical or physiological process than through an intellectual one. That was a hard pill for me to swallow as a student so I try to be sensitive but insistent about it as a teacher.

One of Viktor’s lines that resonates most deeply with me as a teacher comes very close to the end of the play. In the final scene, as Viktor is preparing to leave Hampton he is simultaneously urging Samella Lewis (then Sanders) to apply for a teaching position there. Samella worries that she doesn’t know enough to teach others. Viktor responds by saying “Well, beyond technique and history, there’s nothing else you can teach. You can only encourage your students and help them develop their vision.” This feels very similar to something I say to my students. I begin the semester by telling them that I can’t teach them how to be actors- that this is something they will have to teach themselves.  I can give them some technical training to make their physical and vocal instrument more responsive and expressive- but my primary job is to create a challenging and safe environment where they can discover through trial and error, failure and success, the power and delight of doing the work of the actor: which stated in an overly simplistic way is to live the moment to moment action of a fictional event in an honest and compelling way.

JL: What’s next for you as an actor? Where can we follow your work?
SO: I’m excited to be part of the last reading for Theater J’s Locally Grown festival this season.  Come check out PEOPLE OF THE BOOK by DC playwright Renee Calarco, Monday, June 24th @ 7:30 pm!

SASHA OLINICK (Viktor Lowenfeld) is pleased to be performing at Theater J for the first time this season in both The Hampton Years and Our Class. Recent Washington credits include: Charlie Cowell/Constable Locke in The Music Man at Arena Stage, Mozart in Amadeus, Will in The Book Club Play, and Freddy Miles inThe Talented Mr. Ripley, Passpartout in Around the World in 80 Days at Round House Theatre, George Washington in Chasing George Washington, at the Kennedy Center Theatre for Young Audiences,  Mr. Toad in Wind In the Willows, at Imagination Stage,  Murk in Savage in Limbo at MetroStage, and Guy in God’s Ear at Rep Stage.  Regional credits include work with Maryland Shakespeare Festival, American Shakespeare Center, Trinity Rep, Vermont Stage and the Merry Go Round Playhouse. Mr. Olinick has an MFA from the Trinity Rep Conservatory, and teaches at Montgomery College, the National Conservatory of Dramatic Art, and with the Educational Theatre Company.

JACQUELINE LAWTON: To begin, why did you decide to get into theater? Was there someone or a particular show that inspired you?
CRASHONDA EDWARDS: I was first introduced to theater from my forensics and debate coach when I was in the 10th grade. I had been staying after school for the debate team and needed something else to do on the days we didn’t have practice, so she suggested helping build the set for the next school production. After I helped build the set I auditioned for the next production and landed a lead role. After that I had the bug.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
CE: I believe we have come along way and still have so much work to do. Race relations are no longer black and white, and until this country can have healthy discussions about race and gender relations, we will continue to have issues.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
CE: I feel this play is so relevant to today’s audiences because everyone has faced adversity at some time in their life and this show is a brilliant example of human resilience.

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system? 
CE: I play Samella Lewis in The Hampton Years and her sass and drive are things that we share. She has inspired me to chase after my dreams and never ever give up. 

JL: What’s next for you as an actor? Where can we follow your work?
CE: You can keep up with what’s next for me at www.CrashondaEdwards.com.   

CRASHONDA EDWARDS (Samella Lewis) most recently appeared as Castabella in The Atheist Tragedy and Marianna in All’s Well that End’s Well at the Shakespeare Theatre Company and George Washington University’s Academy for Classical Acting program’s repertory showcase. At the age of 17, she was accepted to the prestigious North Carolina School of the Arts high school. Upon graduation, she pursued a BFA at Savannah College of Art and Design and during the summer studied at the New York Theatre Intensive. Following graduation, she went on to pursue her MFA at Shakespeare Theatre Company and George Washington University’s Academy for Classical Acting program. With an abundance of talent, drive, faith and skill, the next chapter of her life is sure to inspire.

JACQUELINE LAWTON: To begin, why did you decide to get into theater? Was there someone or a particular show that inspired you?
SARAH DOUGLAS: Honestly, I think it all started from watching the Carol Burnett Show as a kid!

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
SD: I think that a racial divide still influences almost every aspect of American life and culture.  The challenge of this time is to identify first and foremost with absolute equality, which is the most basic truth of the human race, without being deluded that that is enough.  We are such a short way out from institutionalized racism, the only way we can continue towards a balanced society is to be aware that social and economic segregation still shape our world, and take responsibility for making choices against that trend.  The idea of post-racial america is a dangerous falsehood.   I recognize racism embedded in people's language and behavior regularly, along with a pervasive lack of awareness, or fear of being exposed as being imperfect, which we all are.  We've come a long way, and have a long way to go.   

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
SD: I love how this play reveals the deeply personal and soulful process that these artists went through to create their work.  It is a good reminder, because we are so success-oriented nowadays.  In The Hampton Years we learn that, rather than beginning with success as the goal, if one begins with profound self-exlploration and then conveys that with integrity, success may well come along with many other personal benefits.  

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
SD: I play Margaret Lowenfeld, Viktor's wife.  I think I have a lot in common with her.  She was a nurturing mother-figure, not only to her own son and husband, but to so many of Viktor's students. She loved to entertain, and bring people together to enjoy food and music in a warm environment.  And she was very supportive and invested in the endeavors of her husband and those she cared for.  I like to think I play a similar role with my family and friends. 

JL: What’s next for you as an actor? Where can we follow your work?
SD: Website coming soon... send casting inquiries to douglas.sarahmay at gmai dot com!!!

SARAH DOUGLAS (Margaret Lowenfeld) is an actress, teaching artist, and therapeutic theatre facilitator.  She received her MFA from The American Repertory Theatre/Moscow Art Theatre School’s Institute for Advanced Theatre Training at Harvard University.  In New York City, she was a lead artist and the Artistic Producer of The Mud/Bone Collective theatre company, and developed Impossible Country, a performance project that focused on the under-told stories of an asylum seekers currently living in New York City. Her credits include: The Public Theatre, Walkerspace, Studio 54, The Ontological theatre, The Vineyard Theatre, University Settlement, Studio 889, and Theatre Trouve.  Following her recent move to the DC area, Sarah played the role of Lydia in the Hub Theatre’s production of Big Love.  She is delighted to be a part of the world premier of The Hampton Years, at Theatre J.

JACQUELINE LAWTON: To begin, why did you decide to get into theater? Was there someone or a particular show that inspired you? 
LOLITA MARIE: My mother took my brother and I to see our first stage play ever – Shout Up a Mornin’ when I was about 13 years old. We took a special trip from Hampton VA to the Kennedy Center in Washington DC (the big city) to see it. The way that I recall this play about John Henry is that it featured a 30+ person strong cast and was filled with high drama, beautiful songs, and fabulous costuming. That it made me at some points want to cry and then others to jump out of my seat to shout in triumph made an impression on me. I wanted to be a part of that magic one day. Some 17 years later, I had an opportunity to dip into my wish list and tried out for my first show.  I haven’t been off the stage for more than a season ever since. It is my passion.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.? 
LM: We still struggle with race relations in the U.S. This is clearly evidenced with stories that plague the news every day, though it is certainly not as overt as lynchings. What is even more disturbing to me however is the bigotry that exists within the African American community against ourselves.  It saddens me that in some instances we have bought in to the prevailing stereotypes and perpetuate them often without even realizing it.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences? 
LM: This play remains relevant because at its heart it is simply about people striving to better themselves against adversity.  This is a universal theme that applies to anyone and everyone trying to create a better world for themselves, their family, or the world. What do you do when you face obstacles? Are you a trail blazer like Samella? Someone who works within “the system,” to create your reality like Victor? Or, perhaps someone who is willing to fight (literally and figuratively) for the cause like Charles? 

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system? 
LM: I play Elizabeth Catlett, a Gleaner, and the Creole woman.  The research indicated that Elizabeth was very concerned with creating art that was reflected the “real” world. She often sculpted bodies of women that were curvey, with proportions to scale, likewise with children. When acting I attempt as well to not create a caricature but to infuse each person that I play with “realness” and “truth.”

JL: What’s next for you as an actor? Where can we follow your work? 
LM: I have nothing lined up yet, however, please feel free to stay in touch at www.lolitamarie.com.

LOLITA-MARIE (Elizabeth Catlett) There is only sweet nostalgic joy in being a part of The Hampton Years.  Lolita-Marie was born and raised in the Hampton Roads area. Her son Brandon, along with many family and friends are proud to have been a part of the Hampton University collegiate family over the years.  Recent acting credits include: Hard Bargain Players: Hoodoo Love, The Colonial Players: Going to St. Ives, Constellation Theater: Blood Wedding, Elden Street Players: Ain’t Misbehavin, Port City Playhouse: No Niggers, No Jews, No Dogs, andTheater J: Something You Did.  For a full resume please visit www.lolitamarie.com.

JACQUELINE LAWTON: To begin, why did you decide to get into theater? Was there someone or a particular show that inspired you?
COLIN SMITH: I got into theater in college as a Film student.  I fell in love with collaborative aspects of theater and the immediacy of it.

JL: Set in Hampton, Virginia in the 1940s, THE HAMPTON YEARS examines the impact of World War II on Jewish immigrants living in the United States and their role in shaping the lives and careers of African American students in the segregated south. This play investigates the various ways in which racism and bigotry negatively impact the arts, academia and military. Where do you feel we are in terms of race relations in the U.S.?
CS: Race relations is always a difficult question for me to get a grasp on.  I suppose I like to believe that we are making great progress, but then I see or hear or read something that makes me realize how far we have to go.  There are so many layers of racism from the overt to the supremely subtle and though we may not be peeling them away entirely we are at least exposing more of the less apparent levels, at least I hope so.

JL: THE HAMPTON YEARS also celebrates and honors such extraordinary artists as John Biggers, Elizabeth Catlett, Samella Lewis, Viktor Lowenfeld and Charles White for their bold and courageous ability to overcome these challenges and create beautiful, powerful and lasting works of art. Why do you feel this play is relevant to today audiences?
CS: I think the play is relevant because it talks about being truthful, both to yourself and to others.  A big part of this is understanding who we are and what we believe.  The primary characters of the play struggle with this understanding and that is a universal and eternal struggle.

JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system?
CS: I play president Maclean and the Navy Admiral.  I think the trait I have most in common with both characters is a stubbornly practical view to the world that supersedes any idealism.  I wish this were not the case as I then tend to accept things as they are as opposed to pushing for change,  look at that maybe I just gained a little more understanding of myself, thanks Jacqueline.

JL: What’s next for you as an actor? Where can we follow your work?
CS: The next show I will be doing is "Neverwhere" with Rorschach Theatre which will open in August.  

COLIN SMITH (President Malcolm McLean and Southern Admiral) has appeared at Theatre J as the understudy for Crick in Photograph51.  He is a company member with Keegan Theatre where his acting credits include: August Osage County (Bill), Spring Awakening (Swing), Twelve Angry Men (Juror 8), The Crucible (Reverend Paris; Ireland/US), Noises Off   (Tim), The Graduate (Mr. Robinson), Dancing at Lughnasa (Michael), Translations (Manus; Helen Hayes nomination-outstanding ensemble), Glengarry Glen Ross (Williamson; Ireland/US)  and others.  Other D.C. credits include productions with The Washington Shakespeare Company, Forum Theatre, American Century Theatre, Charter Theatre and Journeyman Theatre.  His directing credits include Laughter on the 23rd Floor (Keegan Theatre) and Fool for Love (Keegan Theatre; Ireland/US).  Colin is a graduate of St. John’s College, The National Conservatory of Dramatic Arts and The Actors Repertory Theatre.