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