On Saturday, April 13th at 2:00pm Theater J and The Phillips Collection will present a staged reading of THE HAMPTON YEARS. Directed by Shirley Serotsky with dramaturgy by Otis Cortez Ramsey-Zoe, the reading will feature Peter Birkenhead, Edward Christian, Sarah Douglas, Crashonda Edwards, Lolita-Marie, Julian Elijah Martinez, Colin Smith, and David Lamont Wilson and will be followed by a post show discussion. Set at Virginia’s Hampton University during World War II, THE HAMPTON YEARS explores the development of African American artists John Biggers and Samella Lewis under the tutelage of Austrian Jewish refugee painter and educator Viktor Lowenfeld. Here is your opportunity to be part of the artistic process, by attending a reading of a new play in development that will have its world premiere at Theater J on May 29. The Phillips Collection's Director of Communication, Ann Greer joins director Shirley Serotsky, dramaturg Otis Cortez Ramsey-Zoe, and myself for a post-show discussion following the performance. The Phillips Collection is located at 1600 21st Street, NW Washington, DC 20009. Tickets to the reading will be included with the cost of museum admission. Click here to learn more and here for directions. Meet the Artistic TeamJACQUELINE E. LAWTON received her MFA from the University of Texas at Austin, where she was a James A. Michener Fellow. 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, Mad Breed and Our Man Beverly Snow. She has received commissions from Active Cultures Theater, Discovery Theater, National Portrait Gallery, National Museum of American History, Round House Theatre and Theater J. Her play, Cinder Blocks, was published in Experiments in a Jazz Aesthetic: Art, Activism, Academia, and the Austin Project (University of Texas Press). A 2012 TCG Young Leaders of Color, she has been nominated for the Wendy Wasserstein Prize and a PONY Fellowship from the Lark New Play Development Center. In 2012, she was named one of 30 of the nation's leading black playwrights by Arena Stage’s American Voices New Play Institute. She resides in Washington, D.C. and is a proud member of the Dramatist Guild of America. SHIRLEY SEROTSKY (Director) is the Associate Artistic Director at Theater J, where she directed the 2010 production of Mikveh, the 2009 production of The Rise and Fall of Annie Hall (which received a 2009 Helen Hayes Nomination for Best New Play), and the 2011 production of The History of Invulnerability. She began her theater education as a performance major in the musical theater program at the University of Michigan, but soon detoured into directing which she studied at the North Carolina School of the Arts. After graduation she moved to New York, where she worked at the Women’s Project and Productions; interned for the Cherry Lane Theater; and was employed as an editorial assistant for a Jewish organization. In August 2001 she moved to Washington, DC to fulfill a nine-month Kenan Fellowship at the John F. Kennedy Center for the Arts. There she worked as an assistant director and dramaturg on several productions. Since 2002 she has worked as a freelance director and dramaturg in the Washington, DC area and beyond, directing for the Source Festival, Theater Alliance, Catalyst Theater, Rorschach Theater, Catholic University, the National Conservatory of Dramatic Arts, Journeymen Theater, and on several out-of-town productions, including at the Humana Festival of New Plays at Actors Theater of Louisville. She has taught young people and adults at The Actor’s Center, the Musical Theater Center, and Theater Lab. She co-founded Bouncing Ball Theatrical Productions with Shawn Northrip (which aims to develop and produce new and innovative musical theater works). Training: BFA, North Carolina School of the Arts. Member of The 2002 Designer/Director Workshop with Ming Cho Lee and the 2003 Lincoln Center Director's Lab. OTIS CORTEZ RAMSEY-ZOE (Dramaturg) is a Lecturer of Theatre Arts at Howard University, Future Classics Program Coordinator at The Classical Theatre of Harlem, Series Editor for NoPassport Press’s Dreaming the Americas Series, a freelance dramaturg, and a Company Member of banished? productions. He has developed new works with such organizations as The Sundance Institute, Kennedy Center, Arena Stage, Centerstage and Black Women Playwrights’ Group and by such writers as Colman Domingo, Tarell McCraney, Noah Haidle, Kirsten Greenidge and Tim Acito. He has directed readings including Jacqueline E. Lawton’s The Hampton Years and Blood-bound and Tongue-tied, James Webb’s The Contract and David Emerson Toney’s Kingdom. Previously, he was Literary Manager and First Look Coordinator at Centerstage and an Allen Lee Hughes Dramaturgy and Literary Senior Fellow at Arena Stage. Mr. Ramsey-Zöe holds degrees from New York University and the University of Notre Dame. Meet the CastPETER BIRKENHEAD (Viktor Lowenfeld) was last seen on stage at Theater J in Mamet’s Speed the Plow. As a writer, Peter is a regular contributor to Salon.com, where he does cultural criticism, and has been published in GQ Magazine, HoBo Magazine, Marie Claire, The Chicago Tribune , and The Los Angeles Times, among other publications. His play Gonville was performed at Ensemble Studio Theater in New York, Theater J in Washington D.C., and Theater 150 in Ojai, Ca. As an actor, his credits include: Broadway: Brighton Beach Memoirs, Broadway Bound, and Laughter on the 23rd Floor. National Tours: Brighton Beach Memoir, Biloxi Blues, Broadway Bound and Angels in America. Off Broadway: The Motel Plays and Love; Yearning, Driving Lessons Regional Theater The Substance of Fire (Dallas Theater Center); The Real Thing (Stage West); A Christmas Carol (McCarter Theater); Prelude to a Kiss (Philadelphia Theater Co.); Ghosts (Portland Stage); Only Kidding; Conversations With My Father (Cleveland Playhouse); Oh, The Innocents; The Closer; What is Art?; Barbecue in 29 Palms; (GeVa Theater) The Not-For-Profits (Ojai Playwright’s Conference) Television: “House;” “NCIS;” “Gray’s Anatomy;” “Crossing Jordan;” “Six Feet Under;” “The West Wing;” “The Guardian;” “ER;” “Judging Amy;” “Jesse;” “Ally McBeal;” “NYPD Blue;” “Law and Order;” “You’re The One;” “Becker;” “Brooklyn South;” “Chicago Hope;” “Family Law;” “Profiler” and “Murder One.” EDWARD CHRISTIAN (President Bridgman and New York Art Critic) recently appeared in the Folger Theatre's The Taming of the Shrew. Other regional credits include Forum Theatre: The Language Archive. He's also performed extensively with Perseverance Theatre: This Wonderful Life, Doubt, How I Learned To Drive, Hamlet, The Tempest, Macbeth, The Laramie Project, Twelfth Night, Much Ado About Nothing, A Streetcar Named Desire, Hedda Gabler, The Cherry Orchard, The People’s Temple, Equus, The Crucible, The Waiting Room, The Rocky Horror Show, Blithe Spirit, and As You Like It. Upcoming productions include: Henry V at Folger Theatre and The Hampton Years at Theater J. www.edwardchristian.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. 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. 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. 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 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. DAVID LAMONT WILSON (Charles White) is thrilled to have the privilege of working on this exciting new work by Jacqueline Lawton. Mr. Wilson was last seen performing Factory 449’s Washington premier of “The Saint Plays” and “All That Glitters” for Restoration Stage. Favorite productions include roles in the critically acclaimed Charter Theatre production of “Am I Black Enough Yet?”, “The Oedipus Plays” at The Shakespeare Theatre, “Heaven” and “Big Love” for the Woolly Mammoth Theatre Company, “American Buffalo”, “Inns & Outs” and “Edmond” at Source Theatre; “Invisible Disability” and “The Boy Who Walked Backwards” at the Kennedy Center; and the European Tours of “The Cutting Edge” for Imagination Stage and “Julie” for Scena Theatre. His resume also includes productions at Arena Stage, Olney Theatre, and the Folger Shakespeare Theatre, as well as a featured role on NBC's award winning Homicide: Life On the Streets and HBO's The Wire. He is currently shooting the new independent film “Flesh To Flesh” by Lee Hayes, and can be seen later this season in “The Saint Plays” for Factory 449. David would like to thank Daniel Wallace for bringing additional sunshine into his existence! The Phillips Collection is an "intimate museum combined with an experiment station."–Duncan Phillips, 1926. The Phillips Collection is an exceptional collection of modern and contemporary art in a dynamic environment for collaboration, innovation, engagement with the world, scholarship, and new forms of public participation.
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Early Sunday morning, Shirley Serotsky headed back to DC to participate in Theater J's Race In America: Where Are We Now? Presidents Day Weekend Symposium, which was presented in conjuction with their current production of David Mamet's Race. However, I was not without Theater J support and representation. The wonderfully supportive, Elaine Reuben, Theater J Council member and supporter of the Locally Grown Festival, traveled up for the occasion. We met at the Beyond Swastika and Jim Crow exhibit at the National Museum of American Jewish History and had just enough time before the reading to explore. Deborah joined us as did Rob Hargraves, Ian Lithgown, and Miriam White. Now, as I shared in my last post, Theatre Ariel's Artistic Director, Deborah Mozes explained that learned aboutTHE HAMPTON YEARS when searching online for plays that addressed the Black and Jewish relationship. As it happens, when I was looking for research/inspiration to write a play about the Black and Jewish relationship, I stumbled across the Beyond Swastika and Jim Crow exhibit. It was here that I that learned about art professor Viktor Lowenfeld and his student John Biggers and became intrigued about what life was like for Blacks and Jewish people in the Segregated South. I searched around and found this essay entitled, Jewish Refugee Scholars at Black Colleges, by award-winning journalist, speaker, and singer, and author of Apples and Pomegranates: A Family Seder for Rosh Hashanah, Rahel Musleah, who speaks to how delicate and transforming this time period was for Blacks and Jewish people: “Sometimes the Jewish professors and their black students were made aware of the distinctiveness of their own people's experiences. For example, when Lowenfeld received a letter from the State Department detailing the tragic fate of his family, he said to his student Biggers, with whom he had forged a close relationship: 'John, you are segregated. You have to ride on the back of the bus. You can't drink water in any building. You don't have toilet facilities. But they are not burning you en masse. They are burning these members of my family and these people did not commit any crime. They were just born, that's all.' Years later, Biggers reflected on how this conversation made him understand and the extent of racial prejudice beyond his own experience: ‘I realized it went beyond black and white. I realized this was one of the truly great tragedies of the human family.’” This story really struck me and led me to dig even further. Later, I learned about artist Samella (Sanders) Lewis and that Elizabeth Catlett and Charles White were in residence at Hampton. Slowly, the play developed around these five artists, each of whom very much deserve their very own play. Soon, it was nearing 2:00pm, so we all made our way to the theatre. My dear friend Anisa Haidary surprised me, which was so lovely. We had a nice sized audience as well. In attendance were several board members who had seen the reading the night before and even brought a few friends with them. For whatever reason, I wasn't as nervous as I was the previous night and so was able to enjoy the experience fully. The cast looked wonderful on the stage and did such an excellent job. They seemed even more embodied of their characters and in tune with the circumstances of the world of the play. The post show discussion was filled with praise for the script and a deep appreciation for the examination of these artists. The cast spoke about how the play had impacted them, which had a great deal to do with art and self-expression, with speaking/not compromising the truth and the ability of theatre to be tool of social justice, empowerment and positive change in the community. It was really wonderful. I learned so much from our rehearsal and these two readings. I am so thankful to Deborah and everyone at Theatre Ariel for bringing together such a smart, talented, funny, and passionate cast to help me tell this story. I'm excited to incorporate all that I've learned into the next draft ahead of its reading at the Phillips Collection on Saturday, April 13 at 2:00pm. More details anon. For now, here are some photos from the reading at the National Museum of American Jewish History directed by Theatre Ariel Artistic Director Deborah Baer Mozes and cast Taysha Canales, Akeem Davis, Khris Davis, Stephen Hatzai, Robert Hargraves, Ian Lithgow, Ashley B. Spearman, and Miriam White. Enjoy! This past Saturday evening, THE HAMPTON YEARS received a reading as part of Theatre Ariel's Salon series. As Pennsylvania’s only professional theatre dedicated to illuminating the rich social, cultural and spiritual heritage of the Jewish people, Theatre Ariel entertains, enriches and educates audiences of all ages and cultures through the telling of Jewish Stories, celebrating the laughter and lessons of the shared human experience. When much of the American Theatre, specifically regional theatres, lends itself to the mainstream and doesn’t necessarily reflect the diversity of its community, it's a truly worthwhile and ambitious mission to operate a culturally specific theatre. Theatre Ariel's Artistic Director, Deborah Baez Mozes directed and the cast included Taysha Canales, Akeem Davis, Khris Davis, Stephen Hatzai, Robert Hargraves, Ian Lithgow, Ashley B. Spearman, and Miriam White. The reading was hosted in the beautiful, elegant and spacious home of Maureen Pelta, Department Chair and Professor of Art History at Moore College of Art, and Alan M. Feldman, Chancellor of the Philadelphia Bar Association. The walls of their home were adorned with original works of art that showed a refined taste and interest in African, Jewish, European and American culture. This was the perfect setting for THE HAMPTON YEARS. Deborah, Shirley Serotsky (Theatre J’s Associate Artistic Director and director of the world premiere of the The Hampton Years), and I arrived along with the cast at 7:00pm to figure out the space and set up music stands. It was an oversold event, but we ended up having enough seats for everyone. We all settled in quite comfortably a little after 8:00pm. Speeches of gratitude and recognition were made. I loved hearing these speeches, because I was instantly made aware of all the people who came together to make this reading happen. I was filled with such appreciation for their efforts. Deborah spoke and then shared that she had learned about my play while looking online for plays about Black and Jewish relations. She found my blog, Staging Strife and Solidarity: Black-Jewish Relations in American Drama, and then reached to me through Theater J. After the speeches, the reading commenced and I started to feel quite nervous. I so wished that I had had a glass of wine. But the cast was really wonderful and soon, the laughter, nods of resonance and the leaning in to listen more intently began and I felt myself relax. At intermission, I got my glass of wine and then mixed and mingled. Many members of the audience wasted no time speaking to me and asking questions about the play. I didn’t mind at all. In fact, it got me really excited about the post show discussion, which was quite riveting. The reading ended and the audience applauded. I took my seat before this room full and began to take questions. I spoke about what inspired the play, my research process and the new play development path that the play has been on. I was told by an audience member, that if he had not met me, he would never know if the play had been written by a Jewish person or a Black person, which for me speaks to the play’s balance of themes, evenness of tone and richness of characters. Then, a rather interesting, provocative and compelling conversation emerged. Two members in the audience felt that Jewish values weren’t represented, because religion was not at the forefront of the play. Conversely, several others audience members felt that the Jewish values portrayed in the play allowed Jewish people to be seen as more than just a religion. Here’s the reason all of this came about: THE HAMPTON YEARS is a play about race and ethnicity and specifically, about how racial prejudice and ethnic discrimination impact the lives of individuals in the arts, in academia, and in the military. It 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 art students in the segregated south. My research began with a deep investigation of Jewish history, culture, art and religious. I soon learned that Viktor and Margaret Lowenfeld, our Austrian Jewish characters, were not religious. Instead, they were upper-class, part of the Intelligentsia and quite assimilated into Austrian culture. As such, we don't see religious rituals taking place in the play. It was truly enlightening to participate in this discussion and I imagine this question will come up again and again. While I won’t dishonor the characters by adding religious ritual to the play, it might be interesting to have President MacLean or perhaps even Elizabeth observe the absence of a religious practice in the lives of Viktor and Margaret. Something to ponder in the days, weeks, and rewrites ahead. For now, let's enjoy some photos from the reading: On Saturday morning, we a had read-through of The Hampton Years at the home of Theatre Ariel's Artistic Director, Deborah Baer Mozes. My wonderfully brilliant and talented cast included Taysha Canales, Akeem Davis, Khris Davis, Stephen Hatzai, Robert Hargraves, Ian Lithgow, Ashley B. Spearman, and Miriam White. Oh, I learned that Seth Rozen, Artistic Director of Interact Theatre, assisted Deborah in bringing our cast together and I couldn’t be more appreciative of his efforts and generosity. You should know that this was their second rehearsal. They met on Thursday evening, only I wasn’t able to join them. However, I did send along a dramaturgy packet and video links to songs that appeared in the play, which I’m told was helpful in their preparation. As we sat around Deborah’s dining room table, she guided us through an intensive, thoughtful and incredibly productive 4 1/2 hour rehearsal. In addition to their passion, energy, and talent, what I needed most from our time together was their inquiry, insight and immediate response. Working with a cast and director who was new to this play was really quite useful. It really allowed me to hear the script anew. No question was to too small, no observation was slight. This current draft came as a result of the new play development workshop and Tea at Two reading in October at Theatre J, and the subsequent script meeting in December with director Shirley Serotsky, dramaturg Otis Cortez Ramsey-Zoe and artistic director Ari Roth. I did rewrites in January that focused on the following:
Hearing this new material for the first time was really exciting, informative and inspiring. I was able to see where I need to dig deeper and where I could pull back. What helped is that Deborah and the cast created a space where we were all in service of the script. There were no egos in the room. It was really beautiful. When we finished rehearsal, I felt really good about the work we were presenting and was excited to hear it in front of the audience. Of course, I’ll share more on how those two readings and the post show discussion went in my next two posts. For now, please enjoy these pictures from my time with director Deborah Baer Mozes and my cast Taysha Canales, Akeem Davis, Khris Davis, Stephen Hatzai, Robert Hargraves, Ian Lithgow, Ashley B. Spearman, and Miriam White. Theatre Ariel Reading of The Hampton Years - Interview with Deborah Baer Mozes, Artistic Director2/15/2013 JACQUELINE LAWTON: Why did you decide to get into theater? Was there someone or a particular show that inspired you? DEBORAH BAER MOZES: My parents took me to the theater and opera at a young age. There were children’s theatre productions in the Village, Leonard Bernstein conducting Children’s concerts. I saw Shakespeare productions in NYC and at the Shakespeare festival in Conn. They had a good friend who as an opera singer/performer at the Amato Opera Company on the Lower East Side. Theatre, all the arts, were an ever present part of my family’s life or growing up. My grandmother took me to see musicals on Broadway. I can’t say that any one production inspired me. But I was always putting on shows for my parents. In fact, when we would have family friends over I made all the kids do shows – I remember once telling them, "They didn’t get dessert, if we didn’t do a show." They were all new works – I created and directed. So I think I was born to be both a director and dramaturg. JL: What excited you about directing the reading of THE HAMPTON YEARS? What made you say yes? DBM: I have many points of connection with your play. My mother was a refugee from Nazi Germany, she came here alone at age 16. My grandparents never got out and perished in the Shoah. So the story of this refugee family connects. Margaret’s letter writing is a familiar story: my mother often told me of writing letters to Germany, of trying to get her parents out and later trying to find out what happened to them. The other point of connection is the civil arts movement. My parents were civil rights activists. In fact, they were involved in block busting. When I was little, I remember going to civil rights rallies. My dad went on the March on Washington. I wanted to go with him but my mom was concerned that I was too young, especially if it became violent. I remember sitting glued to the T.V., hoping to see my father in the crowd. Dr. Martin Luther King was one of the heroes of our home as was Paul Robeson. Our circle of friends was very multi-ethnic and cultural. Sadly, I’m afraid that my life is more white now than when I grew up. I also love your ear for dialogue. This is such an important and unknown story. I am thrilled to be sharing it with our Theatre Ariel audience. Also, it’s a wonderful intersection of timing that I discovered your play at a time that we could present this reading in conjunction with the National Museum of American Jewish History’s BEYOND THE SWASTIKA and JIM CROW exhibition. 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.? DBM: That’s a long conversation. On one hand, we have an African American President, amazing. Dr. King’s dream come to true. On the other hand, I think that most of us live side by side culturally, but don’t interact. As I said, my life is much “whiter” than when I grew up, which was with racially, ethnically diverse friends and when I was active in the National Conference of Christians and Jews. My daughter went to Temple University, considered one of the most diverse universities in the US, Yet, she always commented that it was a diverse student body, but the social circles were at the end of the day separate. The Asian students hung out with the Asian students, the African American students with the African American students etc., etc. Is this the result of racism and bigotry? I do think that yes, racism, anti-Semitism, and sexism continue to live below the surface of American society. But it's nothing like it used to be and it's not that way not everywhere. After all, we twice elected an African American President and I read somewhere that Obama got 45 percent of the vote in Georgia! 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? DBM: Before I go to the relevance to our audiences, I want to thank you for introducing me the works of these four African America artists. The power of John Biggers work, how he captures the working man, incredibly moving work. It reminds me of some other Kathe Kollwitz’s work, a German printmaker and sculptor, whose work depicted the struggles of the working men and women, of the harshness of the human condition in the 30’s and early 40’s. As to the relevance to our audience, THE HAMPTON YEARS is like a tapestry (which in fact is the way women create art) weaving many themes and issues – so I think there are many entry points – places of relevance:
These are questions your play raises and whether one is an artist or a parent these questions will arise. All relevant to our audiences. JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be? DBM: What is identity? And as the caterpillar says to Alice – and WHO ARE YOU? How to you give that YOU out in the universe. I want them to come out of the theatre and google the work of Bigger, Lewis, White and Catlett. JL: What’s next for you as a director and your company? DBM: I am doing a project that is very out of the box for me. I am working with Marcus Stevens on a cabaret – which will have its first draft showcase at our next Salon in April. It’s very exciting for me to venture into this genre and world. This summer, I plan on returning to a very personal project that I started two years ago, at the suggestion of my friend and rabbi, David Ackerman. My mom, who passed away almost three years ago, wrote two novels about her life in Nazi Germany. I did a first draft, transforming her work to the stage, I needed to step back. I hope to have the time this summer to work on this script. Down the road, I would like to do co-productions with other Philly theatres to bring new works of Jewish theatre to their audience. JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today? STEPHEN HATZAI: I have been involved with the theatre for a long time, since the Punic Wars I think. I got my formal baptism in a musical production of “A Connecticut Yankee in King Arthur’s Court” as a member of the chorus. It was at Fels Junior High School (now a senior high) in Philadelphia. My mother made my costume, a tunic, and I had to wear tights underneath it - at 13 it was a difficult challenge. Being a part of a group working to create something special was a wonderful experience and being on stage in front of an audience was both frightening and exhilarating. JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you? SH: I continued being involved in shows throughout high school and college even though I was specializing in chemistry. The right side of my brain needed exercise and math and science were not providing it; later in life that changed. I became a former scientific and began to focus on the theatre as an educator, actor, director and technician. I started a theatre program and helped found an arts academy in Allentown, PA while I participated in theatre in the Lehigh Valley and Philadelphia. I am currently an Equity actor based in Philadelphia. 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.? SH: We have come a long way, but we still 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? SH: Art is always relevant. Struggle in the face of obstacles is always present. The works of these brilliant artists speak to me, move me, and would have done so even if I was not familiar with their story. I can only imagine what their impact must be on people of color who see them. I was also fascinated by the ideas in the play dealing with how art is created. Should art be created haptically or visually. Can a work of art exist for beauty alone? How much of themselves must an artist “put into” the work of art? JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system? SH: I am playing the Anonymous Art Critic and President Bridgman. Both are dealing with something that they do not fully understand or appreciate. The Critic denigrates the art in the show because it does not fit his model of what good art should be. Bridgman is working for the betterment of the institution which employs him and is having trouble understanding the value of an art program in the grand scheme of things. I have been in situations where I have not liked a play or piece of art. I have to prod myself to really look at my prejudices and ingrained beliefs to see how they might be influencing my opinion. JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be? SH: That good art transcends the race, gender, ethnicity and culture of the artist who creates it. The race, gender, ethnicity or culture of the artist will inform a work of art but can never diminish or negate it. The race, gender, ethnicity or culture of an observer may enhance an encounter with a work of art, but I should never never diminish or negate it. JL: What’s next for you as an actor? Where can we follow your work? SH: I will be doing several short reading with Philadelphia Theatre Collective in early March. JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today? KHRIS DAVIS: I have been acting since I was a young boy. When I was six I told my mother I wanted to be an actress. She said sharply "You want to be an actor". I replied with genuine honesty and naïveté, "No I want to be an actress". After a brief discussion about the differences between the two, I willingly seceded. So she began to write plays for me to perform in church. Once I got to the Creative Arts HS, in Camden, NJ. My first actual play that I was in was Othello. Its because of that production I have a love for theatre. JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you? KD: I decided to be a theatre artist after I played Othello in high school. I was inspired to act because I liked what I saw on TV. As a child I would lay down and repeat everything the actors on TV were saying. The curse words and sexual references were a spoken silently though. I continued forward and graduated from Cheyney University of Pennsylvania, With a B.A. in theatre arts in 2009. 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.? KD: Race relations in the U.S. is always a sensitive topic to discuss. There is a ideology that is prevalent in our society, where everything is fusing into one. Music, art, fashion, races, religions etc. However, undeniably there are still major strides that need to be taken when it comes to earnest relations between races. I believe there is an issue with closet racism that we are dealing with here in the U.S., not just black and white. So, as artists it is our duty, I believe, to be active players in changing any form of racism, or inequality, that may continue to plague us here in the U.S. through the power of art. 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? KD: I feel this piece is relevant simply because we all, at some point, are dealing with the progression of our environments. If that be overcoming oppression, war, famine, or sociopolitical propaganda. Art, as it is, is one of the most prolific forms of activism and change. As we seen over the course of many generations. It doesn't matter if the work is from 1302bc as storytelling and finger painting on cave walls, or 2013ad. with theatre, digital film, new colors to canvas, or new electronic forms of music. It all helped to move a society, a world, forward. JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system? KD: I am playing the character of Charles White. What I feel this character and I have in common is a passion to rise above. Especially as an artist, one cannot help but to stand up and out in some way, or risk losing the integrity of the art form. Charles likes to observe everything from the outside and help others make rational decisions, and to question the status quo. I feel as though we both share that sentiment. JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be? KD: When audiences walk away from the reading. I want them to be unafraid to reject the whatever an institution has designed to oppress ; Unafraid to take the big steps and swim against the tide. I want them to decide to leave a legacy. Even if it be to just assist someone build theirs. Change takes a collaborative effort, and none of us can do it alone. JL: What’s next for you as an actor? Where can we follow your work? KD: Next I will be a part of the Quintessence Theatre' "The Chocolate and Champagne Repertory" this spring. It will consist of George Bernard Shaw's "Arms and the Man", and Moliere's "The Misanthrope". The production will be mounted April 24-May 26. You can follow me on Facebook. I would be delighted to receive support from audience members and colleagues. JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today? TAYSHA CANALES: I’ve been acting since my first year in High School, about 10 years ago. The first play we presented was an adaptation of The Orestia that we created with the help of Epic Theatre Ensemble, in NYC. That was when I first realized that I really enjoy creating art. It felt powerful to perform scenes that I helped devise. It made me really fall in love with theater. JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you? TC: I was a really shy young girl, but for some reason I was very interested in the stage. In elementary school I wanted to be a part of every dance show, every chorus, even part of the color guard because it meant getting up on that stage. I didn’t know anything about theater until I applied and was accepted into a performing arts High School. I just assumed they would teach me how to act and I could get to the movies later. After 4 years of study in H.S., I knew that theater was where I belonged. 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.? TC: We definitely have a ways to go. Many are trying to leave race out of the equation; I think race is something that should be brought up and addressed. We should be able to talk about differences in cultures, not completely ignore them. The media is one source that does not help the problem. Too many stereotypes embedded in commercials, TV shows and Movies and either people are oblivious to it or just accept it. I find that I have a harder time accessing plays from multicultural playwrights. Why is that? I have yet to find a play that completely speaks to my soul. I’ve been out of school for almost two years now, and I have yet to play a Hispanic role. I am Puerto Rican. I’ve played and staged-read a handful of plays where I’ve played an African American. I’d have to do an extensive search in North Philly to find an outlet where I can work on a show that reflects my own culture. FAR AWAY from Center City where the arts lives. I wish people weren’t so afraid to talk about race. My culture defines a part of who I am. I don’t want people to ignore me. 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? TC: John quotes a lecture delivered by Viktor, “Art is able to reflect the truth of society.” I think art does just that. Many people are afraid to really look at the truth that’s in front of them. We try to clean things up to make them look beautiful- conflicts in our lives that we struggle with, our appearance, or personalities, wars, politics. Today’s society is very superficial. What would happen if we were faced with our own realities, our own truths? I think this play is very relevant to today’s audiences because we all have tried to hide from ourselves at some point in our lives. JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system? TC: I am reading for Elizabeth. Elizabeth is a very strong woman. She remains passionate about her art and won’t let the world hold her back. I’ve gotten a lot of advice to stay away from theater. People have tried to detract me into a profession that would be more promising, guaranteed success and financial stability. Elizabeth’s demeanor reminds me of my ability to persevere. The success I’ve gained in the short time I’ve been a part of Philly’s theater community tells me I’ve made the right choice. JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be? TC: I have to quote from the play again, “You must not compromise your truth.” JL: What’s next for you as an actor? Where can we follow your work? TC: This April I will be working with Simpatico Theatre Project on a newly adapted version of Lysistrata. I don’t have a website yet but it’s coming soon! JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today? IAN LITHGOW: I have been acting professionally since I was in my early 20s. What I learned first and foremost from my early experiences as an actor was the importance of listening. Some of my favorite productions I did as a young actor are The Tempest, The Three Sisters, Hedda Gabler, The Foreigner, and Largo Desolato. JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you? IL: Whatever initially inspired me, I was probably too young at the time for me to remember now. I do know that in my formative years I traveled the country with my parents when my father was in a touring production of My Fat Friend with Lynn Redgrave. 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.? IL: There are about 1 million African Americans who are incarcerated. I don’t think we’re doing so good. 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? IL: Freedom of artistic expression I would think is an important and relevant issue at present. JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system? IL: I am playing Viktor Lowenfeld. What appeals to me about Viktor is his sense of loyalty, and his belief in the importance of beauty and artistic expression. JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be? IL: I would hope audiences would think of the play as an inspiring true story of courage and resilience. JL: What’s next for you as an actor? Where can we follow your work? IL: I work mostly in Philadelphia and New York City. JACQUELINE LAWTON: To begin, can you tell me how long have you been acting? What was the first play that you ever worked on as an actor? What did you learn from that experience that remains with you today? MIRIAM WHITE: Well, I suppose I can’t remember a time I haven’t been acting. I started as a ballerina at 3. When the ballet world transitioned from an emphasis on tutus to perfect body image, I realized that ballet was in fact, not my medium and began focusing on my future career as an actor. I performed in middle school, high school and went to college to earn my degree in Theatre. I remember playing Audrey in Little Shop of Horrors. I must have been in 7th grade?!?! Never had I ever experienced the joy of having so much fun on stage… which serves as a good reminder today. No matter what the role, genre, etc…. always have fun. JL: Why did you decide to get into theater? Was there someone or a particular show that inspired you? MW: Embarrassingly enough, Les Miserables started my theatre addiction. I must have been 8 or 9 years old, maybe even younger. I saw the touring production at the Kennedy Center and was a goner. I remember singing Castle on A Cloud on the streets, certain that a producer would discover me. Ohhhh… man. Embarrassing. 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.? MW: I just finished performing a show for children at the Arden Theatre in Philadelphia. Our weekday performances were performed predominantly for school groups. I also had the opportunity to visit the classrooms of many visiting schools as a teaching artist. While I would love to bask in the many strides we have made in terms of race relations in America, I’m reminded how far we have to go when I visit classrooms. I’m amazed at how segregated the public school system still is today. Recognizing that school systems are a reflection of neighborhoods only further proves that in some ways, we still have miles to go towards a de-segregated society. 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? MW: This beautiful script tells the story and exposes audiences to brilliant but lesser known artists. The play also deals with racial issues and paints a historical picture of what the racial landscape looked like in the 40’s, told through an uncommon lens. JL: Which character are you playing? What, if anything, do you have in common with this character’s passions, values, intentions or belief system? MW: I’m playing Margaret, Viktor’s wife. While Margaret does not practice her art professionally, she is a singer and cook. She believes in and supports her husband’s vision and is willing to sacrifice to make his dreams a reality. She is a strong woman, who listens and provides critical support to her partner. I hope that I embody the strength and resiliency of this character. JL: If there is one thing you want audiences to walk away knowing or thinking about after experiencing THE HAMPTON YEARS, what would that be? MW: I want the audiences to think about the power of art: both for the individual and the community. JL: What’s next for you as an actor? Where can we follow your work? MW: Currently, I’m recharging after a 3-month stint at the Arden. In the spring, I’ll be performing in a new adaptation of Lysistrata at Simpatico Theatre in Philadelphia. |
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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