Unpacking in P'town

Unpacking in P'town

New Conservatory Theatre Center March 2024 

                                            Matt Weimer ("Scotty"), Stephen Kanaski ("Anando"), 

                                            Desiree Rogers ("Minty"), Awele ("Lydia)  photo by Lois Tema

We had a fabulous run at New Conservatory Theatre Center and I have only great things to say about the cast, crew, support staff and audiences. I learned so much from everyone about developing a comedy for the stage. I again experienced how hard actors will work to fulfill the characters they're playing. My respect for all of the team members is deep and lasting.

We had only one unfortunate event connected to the play; which I mention because other writers and performers of colour will probably face the same perpetrators. A review from one of the local queer newspapers was so ill-informed and inaccurate that I would call it racist. I don't want to name names because ultimately the reviewer is not someone who will be remembered in the annals of gay journalism. What is important is that the queer community and the artists' community hold reviewers to high standards. I studied journalism, especially critical writing with some of the best known journalists of their time but I'd say my standards are even more stringent than theirs. When I write I'm aware that the world is looking at me as a lesbian of colour and what I say reflects on not just me but on an entire community; several communities in fact.  People (especially this reviewer) are sharpening their knives on the words I write; on any pronouncements I make.

When a reviewer doesn't like my work and expresses it intelligently I'm interested in the opinion. I might learn something that improves my writing. When a white male reviewer lies about what was on stage I'm furious at him and at his white male editor. This one starts with this lie about these retired performers:

                             "...and there's virtually nothing said about how these old friends have 

                            spent the past three decades." 

In fact it's stated in more than one bit of dialogue that one character works at a local bar, another is an antique dealer and another teaches young kids tap dancing. This is the first of several errors he commits. It may seem unimportant until you see that the remainder of his piece rests on other inaccuracies and his totally biased assumption: 

                                "...Gomez simultaneously piles their dialogue high with identity politics 

                                from times yet to come."

He believes that African Americans had no political consciousness until when? Has he read no history? He writes:

                            "How likely that a mixed-race character of the period would eloquently 

                           articulate a sense of feeling othered by both the African- and 

                           Native-American communities..."

   

Awele in rehearsal for 'Lydia' who ponders

her Wampanoag/African identity.

White folx easy disbelief that African American women can be "eloquently articulate" about anything at all is notorious. And our ability to come to that articulation about multi-ethnic identities did not just begin.  We've been thinking and talking about it ever since the first intermarriage. 

                                            Matt Weimer & ShawnJ West rehearsing for their 

                                            roles as 'Scotty' & 'Buster,' who face interracial hurdles.

Two other characters, interracial couple Scotty and Buster, must work through their ethnic differences before Scotty's father visits. Toward the end of the play, as they resolve their disagreement, Buster tells Scotty not to refer to their bedroom as the 'master bedroom.' So the reviewer writes:

                                How credible is it for a Black character in 1959 to object to the term 

                            "master bedroom"?

Why is the reviewer so ignorant that he can't imagine that Black people have been sensitive about the word 'master' ever since masters controlled our lives?

The reviewer's lack of imagination/education weighs down every line of his review. How is it possible that he believes African Americans only started reflecting on the racism of language recently?  It's an embarrassment for queer journalists and editors to see his piece in print. How likely is it that a queer writer would publish such ill-informed and insulting opinions in the 21st century? Very likely apparently; I just didn't expect it in the Bay Area. The reviewer is so focused on spewing his misinformation he never actually assesses anything about the actors, the story, the dancing, singing, the sensitive lighting, the glorious set, charming costumes, delightful direction, etc.

                                                    My grandmother, Lydia and her dance 

                                                     partner in the 1930s.

The play is based on my maternal grandmother, Lydia, and her group of gay friends who spent summers in Provincetown so I can attest to the reality base of the ideas and issues. But I shouldn't have to. At this point I and other playwrights should be able to rely on the education and non-bias of others in our communities. 

The play has finished its successful run but the reviewer and editor will go on to taint theatre audiences with their racist and sexist opinions about other writers of colour. So be wary of spurious opinion writers wherever they come from.  And complain when they splash their ignorance on your work and that of others. As Audre said: "Your silence will not protect you."

And did he ever mention it's a comedy?  Not to worry, there's a gnome and a Wampanoag ghost named Miss Queppish who have that reviewer in their sights.

                                                                            ***

                                            

                                              And so it begins...again! 

                                                                    'Sonny & Sis'

I've made it through the first 8 months of the Coronavirus pandemic and so far personally: not bad.  The world on the other hand is badly damaged: 12 million cases and more than 250 thousand people dead!  I feel lucky that me and my spouse have enough patience to keep to the recommendations of Dr. Fauci and other people w/expertise in the field. (I have spent more time in my back yard than ever in my life!) When I get annoyed w/wearing a mask, I buy a new one!  Kind of like new earrings.  And even though #45, like the virus, doesn't seem to go away even when he's lost the election I'm taking a sanguine attitude.  We can outlive him; I hope democracy can.

During this tumult some good things have happened.  I was invited by Ed Decker(artistic director of New Conservatory Theatre Center) to work with 4 other playwrights--Laurel Ollstein, Eric Loo, Tim Pinkney and Elyzabeth Gregor Wilder-to create a pod cast about a queer theatre surviving during the beginning of the pandemic and then the murder of George Floyd by the police. Ed wrestled, I mean directed, the piece which we (strangers to each other) worked on over ZOOM. The story centers around a queer theatre, its black, lesbian director and her company as it spirals into crisis in the midst of rehearsals for a play by an idiosyncratic, elusive playwright. You can find the 10 episodes on the New Conservatory Theatre Center Website: In Good Company  I'm especially fond of the Tennessee Williams quoting parrot, Brick.

In between the fun I have been working on the final play in the trilogy which was commissioned by New Conservatory.  "Unpacking in Ptown" is kinda about my grandmother who was part of the dance team 'Sonny & Sis.' Or at least she is the starting point for the story. Just as in my Alberta Hunter play, "Leaving the Blues," the story grew out of my imagining a tap dancing duo (one black/one white) who pretend they're cousins when in fact they are lovers.

In this new play Lydia (who is straight) provides the entre into the world of retired vaudevillians who are her closest friends. She and three gay artists are figuring out what to do with their lives now they find themselves not famous. But they are still filled with passion and talent.  And with the upcoming ubiquitous gay, beach town talent show they need to tame some of those passions and get to practicing!

Please stay safe and healthy.  Happy Native American Heritage Day!

More news to come!

11.23.20

I Salute You

When I was much younger (not as young as in my picture)I was a stage manager. And the cycle of auditions, casting, rehearsals, performances then closing usually took from 3 to 4 months for what was then called a 'showcase.'  The experience was and still is a very intense one in which everyone involved is usually quite vulnerable.  Whether standing under the lights as an actor and listening to someone tell you how to do what you do; to the designer coming up with the lights hoping they work for a scene and then has to wait for the response to the work. 

There are weeks of intimate connections--from daily embraces at the top of rehearsals; simulated emotional experiences on stage; or after work intimate revelations over a drink (you think the director hates you or your lover walked out) just to wind down before going home.

Then the production is over and everyone goes their separate ways!  When I was in my 30s my therapist told me to stop being a stage manager because the separation at the end of a production was too traumatizing for me; it replicated the abandonment feelings I had from childhood.  I'd be plunged into a depression that I bathed in drinks and drugs until the next show came along. Fortunately it was the late 70s so nobody noticed!

Now I'm better prepared for that emotional roller coaster and I like to think that I can carry in my heart the people and experiences that I've had during the show.  I still get to be friends w/the director and the company that produces me.  I try to follow the work that the actors and designers are doing so I feel connected.  I decided to frame it like friends from school--you don't see them regularly even though you've had a very intense relationship for 4 years. But when you see each other-at the reunion or on the street or on Instagram-you are thrilled.

I understand why some companies (more in the past than now) worked with a group of actors consistently.  You learned short cuts to the work and you never had to say goodbye.  

With the world turned upside down as it has since  the TOSOS production of LEAVING THE BLUES  closed in New York that sense of separation is even more dramatic!  I can't make the cast and company send me regular updates so I'm not anxious about my peeps.  But I will keep searching them out on social media (not stalking, I swear!).  Theatre is about human contact so social distancing is a great hardship.  

But here's hoping we still feel connected. And here's a suggestion of a more emotive way to greet people when you do bump into each other rather than simply clunking their elbows.  Tap your heart which lets folks know you care.  You do it for the pledge of allegiance do it for friendship.  You can even pat a bunch of times in place of that giant bear hug.

Meanwhile stay safe and I do salute you for the wonderful work you all have and will do. And I pat my heart many, many times.

Leaving the Blues is one of the most successful shows I've ever done and that's thanks to: the original commissioner, Ed Decker at NCTC as well as the current producers, TOSOSNYC, the director, Mark Finley, the cast Rosalind Brown, Michael Michele Lynch, Cooper Sutton, Benjamin Mapp, Joy Sudduth, Ameera Briggs, Tsebiya Mishael Derry and pianist Erik Ransom.  And then there's the TOSOS board (especial my brother Michael Zegarski)and all of the folks who contributed their art -- from costumes, to musical arrangements, to sound & set design and lights and stage management.  

But the key to success is for me the sense of community that is created when all of these people come together and open to each other's talents and value each other as individuals and artists. How can the audience resist?

That's what I like about the collaboration of theatre.  It tells us so much about what we need in our daily lives.  If we can't open up to each other and take in the talents and needs of others; if we don't value and respect each other there's little hope for a happy personal life or much of a future on the planet if I may be so global!

I take that lesson from any production I work on or any play that I see--big or small.  That collaboration, value and respect is the only way to go!

A LEAVING THE BLUES benefit performance for TOSOS is on Feb 1 to celebrate Black History Month. The evening will feature, in addition to the play, a panel with me, Roz Lee and Malik Gaines AND cocktails! There are tickets still available! It closes Feb 8th.  

Here's a link to a little taste of heaven!

https://www.ny1.com/nyc/all-boroughs/news/2020/01/28/off-broadway-show--leaving-the-blues--showcases-late-blues-and-jazz-singer-alberta-hunter#

Alberta Lives!

                     Rosalind Brown as Alberta

After so many years of missing Alberta Hunter it's such a joy for me to see her brought to life on stage with the work of the marvelous actress Rosalind Brown.  Being a Black, female creative person is a conundrum to many people.  The view of who African American women are is often kept in quite narrow boxes-sultry Beyonce or Aunt Jemima or Bitch famous in hiphop songs are the usual.  

Hunter was a complex, talented, self-sufficient, vulnerable, sensitive, tough woman.  Writing songs for herself and many others including Bessie Smith, keeping the rights to her work, standing on a tiny stage when she was 80 years old was not common for Black women of her generation. But Hunter broke the mold. My favourite thing about Alberta I learned doing research was that she regularly donated to charities from the NAACP to the Y to the Indian schools that always solicited by mail.   

In trying to reveal a full Alberta I decided to give her foil to help bring out her extraordinary qualities as well as mirror some of the difficult parts of a personality that develop when the world is not ready for you.  It's not a simple matter to be tough and one can't just be tough in one aspect of one's life.  It often carries over into other aspects.  If you're walling off a part of yourself for protection how do you know when it's safe to break that wall down?

                    Michael Michele Lynch as Will


In order to explore that secret, sensitive place I created the character of Will, the ghost of a vaudevillian who is the uncle of Alberta's lover.  It does parallel the real Bert Williams but he's a fictional creation.  Top hatted and poetic he challenges Alberta to look at her life, her love for his niece(even though he originally tells her to 'not throw kerosene on the fire' of racism) as well as relive her accomplishments.

The two characters give us an insight into what it meant to be African American artists at a time when lynching was still a local sport and they needed a 'Green Book' to tell them where they were allowed to sleep at night when they were on the road.  I think the cast has captured the energy and excitement of those days as well as caution it took to survive them!

Here's the first review!
http://www.curvemag.com/Culture/New-Lesbian-Play-Leaving-The-Blues/#.XiZLV6fzeOE.facebook
     

Mystery Love

When I started doing research for my play LEAVING THE BLUES I realised that I would be creating a good bit of it from my own head.  Hunter's one biography is a bit sparse, especially when it comes to her love life in general and her long term relationship with Lottie Tyler. And I found only one picture!

I searched on the internet and in libraries but found very little.  And in some ways that was a gift because it meant I could be as creative as needed to make the dramatic action work.
      Lottie Tyler                      

                                                  I did find a website (see below*)that asked the
                     same question I had: Where was the info on 
                     Lottie Tyler?  
                     She was the niece of a very famous song
                     and dance man, Bert Williams, but there was so little it could have only been a deliberate effort to hide her and her life; perhaps by her family; perhaps by writers not ready to explore lesbian relationships.  The only way I found more info was in conversations with the late music journalist Chris Albertson, who'd been a friend of Alberta's at the end of her life

Joy Sudduth
Whatever the reasons for Tyler's invisibility it  increased a sense of urgency to tell a story in which she was not forgotten as so many lesbians have been through out history. It's also one of the reasons I write plays that take place in earlier years.  People of colour and lesbians didn't just pop up out of nowhere.  We've had long, courageous and creative histories in this country and I love to explore how that looked and felt. 

With this production by TOSOS at The Flea (performances start on January 16, 2020) the role of Lettie (based on Lottie) Alberta's lover is play by the amazing Joy Sudduth.  Joy was electrifying in our earlier production of "Waiting for Giovanni." I eagerly anticipate no less in LEAVING THE BLUES next week! Once characters are alive inside of us their memories never fade and the terrorism that made them invisible can't be repeated!


LEAVING THE BLUES performs at THE FLEA -January 16th-February 8th.
 Get tickets:     https://www.tososnyc.org/events/leaving-the-blues

*https://ubleproject.tumblr.com/post/31419751452/whither-lottie-tyler


Please enjoy our Leaving the Blues playlist: https://open.spotify.com/playlist/1b1qXMMW7QeFJOb5GsNlXD?si=wwofVsV4SwOdeZEqlEWQrw

The Paper Bag Test

Alberta Hunter worked hard and long to grow her reputation.  She was a prodigious songwriter and that included writing Bessie Smith's first big hit, "Downhearted Blues."  

My grandmother Lydia was slightly younger than Alberta but told great stories about the vaudeville circuit and confirmed the issues of skin colour that were always thrown at Alberta.  Lydia played the piano, sang and maintained her love of music and the theatre although she did not perform as she got older.  We saw many shows and plays together and seeing Alberta Hunter together at the Cookery was one of the best memories of my life.

Doing research for the play it was heartbreaking to read how such a significantly talented person such as Alberta was, as they say, "damned with faint praise."  Critics-black and white-who said she could sing 'despite her dusky appearance' set a certain standard for women of colour.  And the less colour the better.

My grandmother who was part Ioway and Wampanoag Indian said she was often the darkest woman on the chorus line.  African American women dancers had to be light and bright even when dancing on the 'Negro' theatre circuit.  When the June Taylor Dancers of Jackie Gleason fame finally hired a woman of colour she was as light as the white dancers so she wouldn't be noticed (and break the symmetry of the line they said).  The Rockettes at Radio City Music Hall are now figuring out they are in the 21st Century! 

https://nypost.com/2019/04/27/the-rockettes-race-to-reverse-long-history-of-excluding-black-women/?utm_source=url_sitebuttons&utm_medium=site%20buttons&utm_campaign=site%20buttons

The dominant culture's obsession with homogeneity remains true today.  When you look at films the skin tone of the African American male can be as varied as it is in nature.  However, casting directors for films, photo shoots and television still see the beauty in African American women only when they can pass the 'paper bag test,' meaning their skin tone is lighter than a supermarket brown paper bag!

"Leaving the Blues," my play about Alberta Hunter, explores this sad and insulting perspective that has damaged so many of us.  Read Toni Morrison's 'The Bluest Eye' or 'Negroland' a memoir by Margo Jefferson or 'Don't Play in the Sun' by Marita Golden or a long list of books, mostly by African American women, who have observed and/or suffered from this ignorance.  And it is not just African Americans-almost everywhere you go--from China to Cuba--you can see the subtle and not so subtle colourism.

Celebrating the full spectrum of our existence has been my life's joy whether it's skin colour, sexuality, gender, or diverse cultures.  Don't waste time on a narrow view of what's beautiful when you can have the world.

"Leaving the Blues opens at The Flea produced by TOSOS.

Seats available January 15-February 8th www.tososnyc.org