Edwin Lee Gibson Joins Cast of 'Air Bud Returns'

 

Edwin Lee Gibson

LOS ANGELES, CA — The Bear’s Edwin Lee Gibson continues to expand his creative landscape. In September, he joined the cast of Air Bud Returns, the newest chapter in the beloved family film franchise. This month, he unveiled the teaser for his directorial debut, a pink and red dress, made of satin... covered in flowers, mostly roses. (APARD) Both projects explore legacy in their own language. In Air Bud Returns, Gibson plays Jack, the guiding force for Jacob, a kid navigating grief and self-discovery. Directed by franchise creator Robert Vince, the film features a cast including Aydin Artis, Tracy Ifeachor, and Tyler Labine. Air Bud Returns wrapped production in Vancouver, British Columbia, last week.   APARD, filmed on location in Tucson, Arizona, explores memory, mysticism, love, and loss. Set in a sleepy border town, the 15-minute short includes stage and screen veterans Erica Tazel, A. Russell Andrews, and Victoria Rowell, along with newcomer Juliette Ortega and Hip Hop Artist, Buddy.   These projects, along with his two-episode turn in Amazon Prime’s Fallout, Season 2, further reveal Gibson’s dynamic range and his artistic philosophy that truth is uncovered when you allow the story to tell itself. The teaser is a pink and red dress, made of satin... covered in flowers, mostly roses. is now live at thespisbrownlaboratory.org/apard.   Air Bud Returns is set for a Summer 2026 theatrical release. Season 2 of Fallout debuts December 17, 2025, on Amazon Prime.   ABOUT EDWIN LEE GIBSON A self-described “theatre rat,” Gibson began performing professionally at 16 and has since appeared in over 100 productions. He earned a 2006 OBIE Award for Outstanding Performance for his radical portrayal of Oedipus in The Seven at New York Theatre Workshop—a role critics could not forget: •           “Most spectacularly, there’s Edwin Lee Gibson’s Oedipus, an outrageous, comically toxic blend of Superfly, B.B. King, and Al Jolson.” — Village Voice •           “Mr. Gibson’s Oedipus is the show’s presiding spirit: smooth of tongue, limber of leg and always in your face.” — The New York Times   International acclaim followed when he was invited by the late Peter Brook to join his legendary company in residence at London’s National Theatre Studio and Paris’s Théâtre des Bouffes du Nord.   His layered, genre-defying work has been profiled by The New York Times, Village Voice, The Wall Street Journal, The LA Times, and The Washington Post. Of his current role, The Wall Street Journal wrote:   “Then someone like the meat chef Ebraheim (a terrific Edwin Lee Gibson) says something dryly hilarious and the pressure is released from the cooker.”   Off-stage, Gibson has written and performed in nationally commissioned solo works, contributed to The Moth, and written multiple pilots and screenplays. He is an alum of the Sony Pictures Television Writing Program and a member of SAG-AFTRA, Actors’ Equity, and New York Theatre Workshop’s Usual Suspects.

CeCe Winans to Perform National Anthem at Detroit Lions Thanksgiving Day Classic

CeCe Winans
photo by Hannah Corwin

The Detroit Lions announced today that their 86th annual Thanksgiving Day Classic on November 27 against the Green Bay Packers will feature electrifying singer and guitarist Jack White as part of the Thanksgiving Halftime Show powered by Verizon. Renowned gospel musician CeCe Winans will perform the national anthem. Additionally, the club will be supporting a donation-based initiative with Feeding America® that will be featured throughout the game. The Detroit Lions Thanksgiving Classic presented by Ford will be nationally televised on FOX at 1 p.m. EST.

Multi-GRAMMY® Award-winning artist and Detroit native Jack White rose to international fame in the early 2000s, with his innovative guitar work and raw vocal style earning him critical acclaim and a dedicated worldwide fan base. The solo artist and creative heartbeat of the legendary groups The White Stripes and The Raconteurs, White’s illustrious career was recently honored with his induction into the Rock and Roll Hall of Fame on November 8.

The winner of 17 GRAMMY® Awards and 33 Dove Awards, music icon CeCe Winans will return to her hometown of Detroit to perform the national anthem. An inductee of the Gospel Music Hall of Fame and the Hollywood Walk of Fame, Winans is also the recipient of multiple Soul Train Awards, Essence Awards, and NAACP Image Awards.

“I grew up in Detroit in a house with Mom, Dad, 7 brothers, and 2 sisters.  Every Thanksgiving was all about Gratefulness to God, family, food, and Football!! The Lions' games were on all the time in our home.   The idea that my family and I are part of such a rich musical heritage from our hometown is so amazing, and we thank God every day.  I am so honored to come home and be a part of a very special Thanksgiving tradition.  It’s going to be awesome.”

OPPORTUNITY TO GIVE BACK TO THE LOCAL COMMUNITY, ALL ACROSS THE COUNTRY

For the first time, the Detroit Lions will partner with Feeding America and invite people watching at home to participate directly in the holiday celebration by making a monetary donation that will help ensure neighbors have access to the food they need to thrive. Viewers will be encouraged to text the keyword ‘TACKLE’ to 97955 to receive a link to the donation form. Nearly 50 million people in the U.S., including almost 14 million children, experience food insecurity. The Detroit Lions and Feeding America aim to raise enough funds to provide 10 million meals, ensuring every family can share the warmth, comfort, and joy of a full table this holiday season. 

A PARTNERSHIP FOCUSED ON CONNECTION

Verizon is tackling food insecurity by giving fans the chance to pack hunger-relief kits outside of Ford Field on gameday. Volunteers race against the clock to pack donation bags faster than Verizon’s ultra-fast network. The high-energy activation will be in the Detroit Lions pregame tailgate space, Pride Plaza on Brush Street, and open from 10 a.m. to 1 p.m..

"Paranormal Activity": Don't Go In There

By Darlene Donloe

I’m not one to gossip, so you didn’t hear from me – but something terrifying is going on at the Ahmanson Theatre in downtown Los Angeles. 

Things disappear, there’s creepy noises, doors open and shut on their own, lots of scary music, stuff is flying off the wall – and that’s only for starters. 

This is "Paranormal Activity" live on stage at the Ahmanson. 

This terrifying new play, written by Levi Holloway and directed by Felix Barrett, is an original story set in the world of the iconic film franchise. 

The story, which opens in present day, London, follows James and Lou, a couple who move from Chicago to London to escape their past, only to discover that places aren't haunted, people are.

As they settle into their new home, they soon realize that they're not alone, and the haunting they've been trying to escape is a part of them. 

Holloway, known for his Tony Award-nominated play "Grey House," and Barrett, founder of Punchdrunk, have joined forces to create an unforgettable experience. 

"Writing Paranormal Activity for the stage, collaborating with Felix Barrett in London—working to create an actual nightmare—has been a dream," Holloway said.

 

(l-r) Cher Álvarez and Patrick Heusinger

The production features breathtaking illusions by Tony Award-winner Chris Fisher, and a talented cast, including the leads Patrick Heusinger (James) and Cher Álvarez (Lou), who both give fantastic performances. Shannon Cochran, who plays James's mother, and Kate Fry, who plays a spiritual advisor named Etheline Cotgrave, are both outstanding. 

The nothing-short-of-incredible set design by Fly Davis is a two-story, hyper-realistic dollhouse that will make you feel like you're right inside the haunted home. 

Critics are raving about the show, praising its ability to blend heart and horror and create an immersive experience that will leave you gasping and screaming. 

As he was exiting the theater, one audience member was heard saying, “At one point, I actually had goosebumps.’ 

Kudos to everyone involved in this production. It’s a must-see. 

Rated R for disturbing content and horror. 

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likeable), O (oh, yeah), and E (excellent), “Paranormal Activity” gets an E (excellent). 

"Paranormal Activity," Ahmanson Theatre, 135 N. Grand Avenue, Los Angeles, 7:30 p.m. Tues-Thur., 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1 and 7 p.m. Sundays, no Sunday evening performance on Dec. 7, special 2 p.m. Wednesday matinee, November 26, special 2 p.m. Thursday matinee, December 5, through December 7, 2025, 213 628-2772.

 

 

Love and Life Lessons Served At 'Table 17'

(l-r) Biko Eisen-Martin, Michael Rishawn, Gail Bean 

By Darlene Donloe 

On the outside, "Table 17" is a deliciously witty and romantic play. But on the inside, there’s a lot more going on in this rom-com than meets the eye, namely a whole bunch of life and love lessons.

This refreshing production, written with panache by Douglas Lyons and directed with precision by Zhailon Levingston, is a heartfelt exploration of love, loss, and second chances. And while it might look like there are some easy and obvious solutions and decisions to be made, Lyons has written a thought-provoking digest that, beyond the laughs, deserves an honest, deep dive. 

Before the show begins, the audience is encouraged to give the actors on stage honest, verbal feedback on what they are watching.

Several audience members were strategically placed on stage in a restaurant setting, creating a sense of being part of the action, as if sitting at a neighboring table. 

Gail Bean

The story follows Jada and Dallas, ex-fiancés reuniting for dinner to untangle their past.

The play jumps back and forth from the time they met to the present. We see Jada, a flight attendant, and Dallas, a would-be Kanye at the beginning of his music career. 

Things are going great until Dallas starts spending more time in the music studio than at home. Feeling neglected, Jada begins a friendly relationship with a co-worker that quickly turns amorous. The affair leaves everyone breathless – but for different reasons. 

Flash forward – two years after their breakup, Jada and Dallas meet at an upscale restaurant called Bianca’s for dinner. Both bring their own share of tension and unresolved feelings, each not wanting the other to know how much they miss them, or that the love is still there.

With cheeky waiters, old wounds, and a palpable spark between them, their "casual" reunion becomes anything but.

Biko Eisen-Martin

The cast, featuring Gail Bean, Biko Eisen-Martin, and Michael Rishawn, delivers standout performances that bring depth and nuance to the characters. 

Bean’s Jada is stimulating as she fills the stage with each strut and third-wall gaze. At the same time, Eisen-Martin’s Dallas shows depth and range, as does Rishawn’s portrayal of both a self-proclaimed ‘gay’ but full of personality maître-d and a ‘straight’ and hella sexy flight attendant, both of whom are applause-worthy. 

The play's unique blend of humor, drama, and intimacy makes for an unforgettable experience, serving up romance, regrets, and the unexpected possibility of second chances. 

The quick changes the actors make throughout the show are fascinating and fun to watch. The dialogue's realness and the chemistry among all the actors keep the play on fire. 

‘Table 17’ is fresh off its hit Off-Broadway debut. 

Michael Rishawn

Kudos to the scenic designer (Jason Sherwood), the costume designer (Devario D. Simmons), the lighting designer (Ben Stanton), the sound designer (Christopher Darbassie), and the hair and wig designer (Nikiya Mathis). 

‘Table 17,’ written by Douglas Lyons and directed by Zhailon Levingston, stars Gail Bean, Biko Eisen-Martin, and Michael Rishawn. It’s produced in association with Mark Cortale.

On the DONLOE SCALE: (d) don’t bother, (o) oh, no, (n) needs work, (l) likeable, (o) oh, yeah, and (e) excellent. ‘Table 17’ gets an E (excellent).

‘Table 17,’ Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles, Monday, Tuesday No performance, Wednesday, Thursday 7:30 p.m., Friday 8 p.m., Saturday 3 p.m. and 8 p.m., Sunday 2 and 7 p.m., through Dec. 7, 2025, $36-$139, 310 208 2028 or online at www.geffenplayhouse.org 

*There will be one performance on Tuesday, November 25, 2025, at 7:30 p.m.

WARNINGS

Strobe Lighting Effects • Loud Music • Aisles Used for Actor Entrances & Exits 

Content Advisory: This production contains profanity. Age Recommendation: 12+

All Geffen Playhouse productions are intended for an adult audience; children under 10 will not be admitted. 

Running time: 85 minutes, no intermission

 

 

Danyel Fulton and Trisha Jeffrey Star in 'SUFFS'

(l-r) Danyel Fulton and Trisha Jeffrey star in
'SUFFS'

By Darlene Donloe

SUFFS, the powerful and inspiring musical that tells the story of the American women who fought tirelessly for the right to vote, is set to open on November 19, 2025, at the Pantages Theatre in Los Angeles. 

Created by Shaina Taub, the first woman to ever independently win Tony Awards for Best Book and Best Score in the same season, the show explores the triumphs and failures of a struggle for equality that's far from over. The subjects in the show are all based on real-life people.

SUFFS has garnered acclaim for its thought-provoking narrative, stunning score, and outstanding cast, earning it a spot on Broadway and now, a national tour.

The cast of 'SUFFS'

With a blend of humor, drama, and music, SUFFS brings to life the trailblazing stories of suffragists like Ida B. Wells and Mary Church Terrell, both Black, highlighting their determination, passion, and resilience. 

The musical features two accomplished actresses, Danyel Fulton as Wells and Trisha Jeffrey as Terrell, who share the stage with an all-female cast and crew that effectively delivers a message of empowerment and activism. 

Appearing in the musical was a no-brainer for the seasoned actresses, who both have an impressive list of credits.

“I was fortunate to be a part of an early development process in New York,” said Fulton, who said she’s been acting her entire life. “I was there to standby for the woman playing Ida at the time. I was introduced to SUFFS there. I didn’t have any details about the titan she actually was. By playing this role, I gained a lot of information. I learn something new about her every day – both on stage and by reading her work. To play her is an immense responsibility. I am introducing her to people like me. The show is important because a lot of our history is lost.”

Before taking on the role, Jeffrey, who began her career as a singer, had never heard of Terrell. 

“I didn’t know who she was,” said Jeffrey, one of the founding members of the Classical Theater of Harlem. “I found out when I joined the SUFFS class in New York for the national tour. It's great to play this civil rights activist.”

Jeffrey said she is still learning about Mary Church Terrell. 

“She was more than just an heiress,” Jeffrey said.  “She saw some terrible things. She saw the lynching of her friend. She actually saw her father get shot in the back of his head. She was an educator. She helped found the NCW and NAACP. She worked alongside Frederick Douglass. She helped with Ida’s investigations. It’s an honor to play her. I didn’t know Black women were part of the SUFFs movement. Who knew?”

Taub’s powerful production shines a spotlight on the fearless women who fought tirelessly for the right to vote, and the setbacks of a struggle that remains relevant today.

Fulton and Jeffrey bring a poignant juxtaposition to the stage, embodying the parallel struggles of Wells and Terrell, two Black women navigating a suffrage movement that often excluded them. 

As Ida B. Wells, Fulton channels the fiery spirit of a journalist and activist who fought for racial and gender equality, while Jeffrey's Mary Church Terrell embodies the elegance and determination of a prominent educator and clubwoman.

'SUFFS' opens at The Pantages on November 19, 2025

“Ida has a song in the show called ‘Wait My Turn’, a response to the leader of the march, when they tell her she can’t march in the front, she has to march in the back so she doesn't ruffle the feathers of donors,” Fulton said. “She’s told to wait her turn. Black women have always been told to wait their turn. Ida wasn’t going to wait. Look at what’s happening today. We see Roe v. Wade. We see Black women not getting their due medically. The fight is not over.  I’m personally not going to wait my turn either. We have to speak up for women who can’t.”

“Why is it we still, like they did, have to wait?” Jeffrey said. “I’m not waiting either.  When we’re doing the show, you can hear the difference in how they respond to Ida’s entrance and Mary’s entrance. Some people are uncomfortable about the conversation. They should be uncomfortable. Black women are often overlooked. Mary, a prominent educator and activist, was pissed off at President Wilson and started a petition to advocate for our right to vote. These women didn’t wait, and we shouldn’t either.”

Jeffrey said there is something ‘special’ about seeing two Black women on stage.

“What I appreciate is them showing our differences,” she said. “Ida and Mary were different, but they wanted the same things. They show how we’re different and the love we had for each other.”

Fulton said when it comes to navigating the complexity of Wells’ radical activism and her personal life, her goal is to ‘show the full scope of who a character is – both their hardness and softness.’

“People like seeing the truth on stage,” she said. “Ida was very much loved. She had six children, two of whom were from her husband’s first marriage. She had sisters. She was loved in her family and her community.  How do we show sisterhood? Even between Ida and Mary. Any time I get to smile, I try to take it. It’s a touchy balance beam, but I try to find the possibilities in the character.”

Jeffrey said exploring Terrell’s relationships and friendships was stimulating.

“Getting to know Mary was interesting because on stage she has limited time,” Jeffrey said. “I had to work hard at learning about her being a lover of the arts and being wealthy. She was fun but she was also an unseasoned militant. Trying to find the balance for the love of the movement and balancing her relationship with Ida was important. It’s an ongoing battle. The relationship between Ida and Mary was beautiful and complex.”

Through stimulating performances, SUFFS sheds light on the complex, often fraught experiences of Black women during this pivotal moment in history, revealing the painful truths of a movement that struggled to include them.

Fulton, 38, a Brooklyn-born storyteller, brings her impressive resume to the role. With credits like Ruby (Broadbend, Arkansas, Transport Group) and Dorothy (The Wiz, The Muny), Dionne (Hair, second national tour), and Shayla (Watch Night, The PAC), a powerful performance is imminent.

Jeffrey, too, is a seasoned actress with a remarkable track record that includes Little Shop of Horrors, All Shook Up, Rent, Motown, Sister Act, Caroline, or Change, and more.

Both Jeffrey and Fulton said they are ready to bring to life the stories of two powerhouse Black female historical figures.

“When given a talent, it’s your duty to use that talent in the world,” Jeffrey said. “I don’t think about what I get out of acting. For me, it’s more about what I can do through acting. I can tell Mary’s truth.”

“Acting is part of my calling,” Fulton said. “I hope to inspire people with Ida’s story. I want to tell important stories, especially for my people. To be part of the lineage of those who told our stories before me is very special.”

SUFFS, Pantages Theatre, 6233 Hollywood Blvd., Los Angeles, 7:30 p.m. Tues-Thur, 8 p.m. Fri-Sat., 2 p.m. Sat., 1 p.m. and 6:30 p.m. Sunday, November 18 – Dec. 7, tickets start at $66, 323 468-1700.

Traversing Time and Memory: Lonnie Holley & Moor Mother's Afrofuturist Reckoning

 

Lonnie Holley and Moor Mother

By Darlene Donloe

Lonnie Holley and Moor Mother, two visionary artists, will ignite the Bram Goldsmith Theater at the Wallis Annenberg Center for the Performing Arts in Beverly Hills on November 20 at 7:30 p.m., conjuring a sonic reckoning that traverses time and memory, fueled by the Afrofuturist vision of Sun Ra.

Together, they speak of tenderness, grief, and resistance. They invite their audience into an intimate act of creation—crafted live, shaped by the room, the people, the moment.

“I hope they experience my depths of doubt,” Holley said during a recent interview. “I want them to go into the ocean of thought to receive the spiritual information that I have to feed back out to them.”

Asked why there is doubt, Holley said he wasn’t quite sure how to explain it.

“All I know is that when I take the stage, my music is like Siamese twins,” he said. “If I’m building a piece of art or a rehearsal, the words will come the same way. The words come with the art.”

Holley said that when he performs, nothing is planned. He doesn’t write a script. He follows his spirit.

“We leave certain amounts of energy,” he said. “It's the most relevant teacher of our experiences. I analyze it and speak about it. Whatever comes out, comes out."

Moor Mother

Moor Mother, whose real name is Camae Ayewa, performs the same way.

“See the truth of our experiences, of what we see and feel in the world,” Moor Mother said. “What we care about. We move through spirit. The spirit will guide us to do what we’re going to do.”

Moor Mother said she wanted to work with Holley because she loves his music.

“I fell in love with his music,” she said. “We finally got together and then, over the years, we just kept performing together. We toured Australia and Europe. It’s a kinship. He’s a mentor, a friend, an uncle, and a brother. It’s beautiful to have this collaboration.”

Moor Mother has a song called “Vera Hall,” a slow funk number on the album Black Encyclopedia. It’s a tribute to Lonnie Holley because his

Industriousness is evident throughout his 40 years of home-recorded improvisational music, stone carvings, and found-object sculptures.

Moor Mother said she sees a lot of herself in Holley’s work. 

Their music moves toward you with open arms. From free jazz to spoken word, from survival to liberation, these two prophets open a portal.

Those lucky enough to attend their performance will experience the stunning, evocative, and haunting gifts of Lonnie Holley and Moor Mother.

Their music moves toward you with open arms, pulling you in, insisting you listen and respond.

Moor Mother, aka Camae Ayewa, has been called a seismic voice of haunted histories and imagined freedoms. She’s known for her multitude of instruments, voices, and cacophony, which explore themes of Afrofuturism and collective memory.

“I don't know what 'a seismic voice of haunted histories and imagined freedoms' means,” said Moor Mother, a poet, visual artist, and Professor of Composition at the USC Thornton School of Music. “One part is that I do uncover unheard, untold stories. I’m called Moor Mother because I care about mothers. I’m a historian. I like taking huge historical moments and bringing them to the forefront.”

Lonnie Holley and Moor Mother

Moor Mother has several monikers, as Pitchfork magazine dubbed her "the poet laureate of the apocalypse." Her music is a testament to the power of Black life as freedom.

Internationally known Moor Mother, who specializes in practical concepts but also works in speculation and historical thought, draws inspiration from the past to inform her present work.

“The past is still here with us,” she said. “There are different degrees of past. The past is yesterday, 10 years ago, 50 years ago. It’s a nonlinear concept folded into the present. It’s about our capacity to extend the timeline. Sometimes it’s nerve-wracking. You go into a process. You don't just go willy-dilly; you do that work before you go onstage. I like to prepare by working, reading, and sitting in nature.”

Moor Mother creates soundscapes from field recordings and archival sound collage to map sonic journeys to our buried histories and futures.

She is an artist who, through writing, music, film, visual art, socially engaged art, and creative research, explores personal, cultural, familial, and communal cycles of experience, and solutions for transforming oppressive linear temporalities into empowering, alternative temporalities.

Lonnie Holley

Lonnie Holley is a well-known multidisciplinary artist and improviser of raw spirit and sound, who has devoted his life to creativity since 1979.

Since then, he has devoted his life to the practice of his improvisational creativity. His art and music, born out of struggle, hardship, but perhaps more importantly, out of furious curiosity and biological necessity, have manifested themselves in drawing, painting, sculpture, photography, performance, music, and filmmaking.

Born in Birmingham, Alabama, Holley's art and music are born out of struggle, hardship, and curiosity, manifesting in various forms, including drawing, painting, sculpture, photography, performance, music, and filmmaking.

Holley said he sings from what he feels and experiences in his life.

“Momma had 27 children out of 32 pregnancies,” he said. “My grandmother didn't have the education to do it in a written manner.  I grew up learning how to communicate, especially. I’m the seventh child of the 27.  I’m singing about my experiences and trials and tribulations that I carry – for those who have not spoken. Some think speaking is in vain. I choose to sing about it instead of getting out there with a shotgun – and shoot my way through life.”

Holley, who is also known for his sculptures, said he prefers freestyling when he performs because he wants to feel free.

“I’m an improviser of raw spirit and sound,” said Holley, who has released six critically acclaimed albums. “I do freestylin’. I go into my mind to create something. If you’re going to protest, do so with love, rather than getting into a deeper argument. Do it in honor of love. You have to feed love. I sing nothing else but the truth – in an old-fashioned manner. Sometimes I fall into a trance. Sometimes it’s so deep, I don’t know what I said.”

'Lonnie Holley & Moor Mother,' Bram Goldsmith Theater, Wallis Annenberg Center for the Performing Arts, Beverly Hills, November 20, 2025, 7:30 p.m., $22.

Bootsy Collins Unleashes 'Metal Health' With Buckethead & Victor Wooten

By Darlene Donloe

Bootsy Collins is the coolest man on the planet! 

In what can only be described as the ultimate supergroup collaboration,

Bootsy Collins, the legendary funk icon, has teamed up with guitar virtuoso Buckethead and bassist extraordinaire Victor Wooten to funkify everyone’s life with the release of a game-changing new single, "Metal Health"! 

This isn't your average track—it's a sonic explosion that blends funk, rock, and cosmic vibes into a truly out-of-this-world experience. 

And it's not just about the music—it's about a mission to raise awareness of mental health, especially in the creative community. 

Bootsy Collins is dropping the truth: "Mental Health is for real, y'all!" 

And with "Metal Health," the first official single from the project and the first-ever direct musical collaboration between Bootsy and Buckethead.

Bootsy Collins and Buckethead

The release represents an artistic milestone decades in the making.  

“Metal Health” is available now on all major streaming platforms via Bootzilla Records/Roc Nation. Funk-Rock Fusion Rooted in Mindfulness, Healing & Mental Health Awareness Launches as the Title Track from Bootsy Collins’ Forthcoming Album. 

At a time when the world feels increasingly chaotic, “Metal Health” emerges as a sonic escape hatch—a hard-hitting, psychedelic groove designed to uplift minds and soothe souls. 

With its explosive instrumentation and cosmic depth, the single centers around a deeper mission: raising awareness for mental health, particularly within creative communities. 

“Through our music, ‘Metal Health’ is our way of putting the focus on a much more serious problem we have on our everyday streets,” Bootsy said. “Mental Health is for real. ‘The bigger the headache, the bigger the pill.’” 

Blending funk, rock, and transcendental bass lines, “Metal Health” features a staggering lineup of collaborators, including Victor Wooten, Barbie T, Cob, and Tobe, the project’s lead engineer. Each brings a unique voice to a track that transcends genre and speaks to the soul. Their inclusion is a magic recipe! 

This single is a call to action, a reminder that we all need to prioritize our mental well-being, no matter how big or small our "headache" might be. 

The collaboration is a match made in heaven—Bootsy's unmistakable funk, Buckethead's crazy-awesome guitar riffs, and Victor Wooten's masterful bass lines come together to create something truly special. 

"Metal Health," a funky, rockin', and uplifting anthem, is available now on all major streaming platforms. 

Bootsy is best known as a bassist and vocalist with Parliament-Funkadelic, one of the most influential funk bands of the 1970s. 

George Clinton

The GRAMMY-winning funk legend’s career began in 1969 as a bassist for James Brown, before co-creating the sound and spectacle of Parliament-Funkadelic alongside George Clinton.

Some of his notable hits include "One Nation Under a Groove," "Flash Light," and "Kone Fo' Life." 

Known for his star-shaped glasses, cosmic bass, and Afro-futuristic flair, Bootsy redefined music, fashion, and culture. His influence spans generations—from Prince and Dr. Dre to Thundercat and Silk Sonic, the latter of which he helped name and shape. 

Today, Bootsy remains on the cultural vanguard through his Roc Nation imprint, Bootzilla Records, and innovative projects like Funktropolis (a digital AR/VR world), a docuseries, and an autobiography with HarperCollins. 

Alongside his longtime manager and wife, Patty Collins, he champions philanthropy and empowerment through initiatives like Funk Not Fight, using art, music, and love to spark change.

Known for his iconic style, humor, and creativity, which have made him a beloved figure in funk and popular music—a genuine original—Bootsy’s groundbreaking contributions to the genre push its boundaries. He coupled his songwriting and vocal talent with flashy fashion, space-age swagger, and a whole lot of soul. 

Bootsy also unites with bass virtuoso Billy Sheehan and pioneering guitarist Jennifer Batten for a soul-stirring new anthem, “Troops,” the third single from ‘METAL HEALTH’. 

Released in celebration of Veterans Day (November 11), the track arrived in partnership with Guitars for Vets, an organization dedicated to using the healing power of music to support military veterans living with trauma. Fans can stream “Troops” now on all major platforms via Bootzilla Records / Roc Nation.

A deep groove of gratitude and healing, “Troops” fuses Bootsy’s cosmic funk with hard-rock firepower and emotional resonance. It stands as both a salute and a call to compassion, recognizing the courage of those who’ve served while amplifying the need for continued support through creativity, community, and care.

Featuring Billy Sheehan—renowned for his groundbreaking bass work with Mr. Big, David Lee Roth, and The Winery Dogs—and Jennifer Batten, known for her tenure as lead guitarist on three of Michael Jackson’s world tours, her acclaimed collaborations with Jeff Beck, and her recent Cirque du Soleil residency (Zumanity), “Troops” brings together three virtuosic forces united by purpose.

“Our troops have given everything for our freedom, and this song is our way of giving a little love back,” Bootsy said. “I’m so thankful to Jennifer and Billy for joining me on this journey. We put our hearts and souls into it—and we hope it brings some joy and healing, too.”

I recently caught up with Bootsy (BC) at his home in Cincinnati to talk about his latest project and all things funk. He was personable, funny, but serious about his music. 

DD: Where did the name Bootsy come from? 

BC: It came from my mother. She named me Bootsy. She called me that. I didn’t know people would ask me that. I asked her what made her call me  Bootsy – she said because I look like a Bootsy. I didn't question her anymore. 

DD: How is your health, and are you for sure through with live performances? 

BC: Carrying that 100-pound bass and 50-pound leather outfits, it gets to you. Jumping on stage and doing the neck on the set. I never thought about when you’re doing it. I want to have some fun in my later years. I don’t want to die on the set. I’d rather keep giving and keep living. 

DD: You are known as the architect of funk, P-funk.  Do you still embrace that title?

BC: I accept it. I was a part of the architecture. It was a beautiful time in my life. It’s what people say. They could be calling me a dog. I’m just going to continue to play music and do my art. I'm not into titles.

DD: Let’s get into your new project. Why is it called Metal Health? 

BC: I mix genres in there. I came up with Buckethead. We did an album in '91. We joined forces – and that’s what he plays. He plays heavy metal. We call it Metal Health about mental health. 

DD: How do you keep your mental health? 

BC: God is first—prayer every day and every single night. To know the only one is the one.  No pretending to be what we are not. We are all struggling to keep ourselves together. Talk to each other and let someone know what’s going on. Technology is making it complicated.  We had a chance to talk and vibe with each other. Kids today don't know how. They are missing it. They don't know how to vibe with each other anymore. That’s from the top down. 

DD: What was the creative process like for "Metal Health," and how did your collaboration with Buckethead and Victor Wooten come together?

BC:  I thought about doing it because Bucket and I had been talking about making another record for the longest time.  Last year, we started kicking around the idea of doing something together. I didn't know it was going to be an album at first. I thought we’d do a couple of songs and throw them out. Then we started vibing together. Things were coming together.  I wanted to show that in this collaboration. Victor has been a friend for some time. He is the baddest bass player on earth. He had to be involved. I didn't know we were going to release the first record. 

DD: How does it feel to be teaming up with Buckethead, a guitar legend, and Victor Wooten, a bass virtuoso, for this powerful new single?

BC:  There were no egos. You have to get over that. The trouble today is everybody is trippin’. We didn't even have to talk about it. We get up, do it, and do the best we can. We encourage each other. God didn't give us what we got to then deal with egos.

DD: As a bass player yourself, how is it working with another bass virtuoso? 

BC: The whole project is to show it’s not just about music, it’s what we can do when we lose the egos. We have the biggest distractor of all time. 

DD: Can you share more about the inspiration behind "Metal Health" and its mission to raise awareness for mental health, particularly within creative communities? 

BC: You’re speaking to one of the craziest MF in the world. I went through a whole mess of a saga. The good thing is, I found the one, or the one found me. That’s what saved me and brought me out of the drug thing and the craziness. I’m not chasing it anymore. I don't have to change the American dream. I lay back and wait on God to show me the way to go. 

DD: How do you hope "Metal Health" will resonate with listeners and encourage them to prioritize their mental well-being?

BC: It’s about being what He suggests you be. It’s humans doing, it’s about being a human being. It’s next-level time. 

DD: How would you describe the sound of "Metal Health," blending funk, rock, and transcendental bass lines? 

BC: It’s just what you said. Some things are indescribable. You have to feel it. You can’t categorize it. Some newness is emerging out of the clear blue. This is the year of AI, whether we like it or not.  We have to get over some things. You don’t have to be talented anymore. 

DD: What do you think of what’s happening in music right now?

BC: It’s a mess. It’s a total mess. Meaning, it could be a lot worse. Everybody will be able to do music. Everybody will be able to be a musician. You don't have to learn how to do anything. AI  - everybody will be a beatmaker, producer, and a camera guy. 

DD: How do you hope "Metal Health" will resonate with listeners and encourage them to prioritize their mental well-being? 

BC:  That’s the hope and that’s the prayer. We want to give people the idea—if we can make it through this mess. ‘The bigger the headache, the bigger the pill.’ Stay on point. If you don’t, they will shake the tree and you will fall off.

DD:  We all think you are funkin' it up 24/7. What do you think we’d be shocked to know about what you do daily? 

BC:  I hang out in the woods with the dogs. When the day is over and we been funkin all day, I hang out with the dogs. I tried cooking, but ain’t nothing happening. 

Bootsy’s wife, Patty, who he’s been married to since Christmas Eve 1996, said he makes a great smoothie complete with vegetables, fruit, and Bootsy sprinkle. Patty Collins said,

‘It’s so easy being married to Bootsy. He’s not particular about eating leftovers. It’s ok to warm something else. I’m thankful that Bootsy is very neat. He’s tidy. In the morning, he makes the bed.’

BC: I have to pat myself on the back.

My mother made me make the bed. I also take out the garbage.

DD: What does music do for you? 

BC: It does what we do for each other. It builds you and tears you down. It makes you humble—to give first and then receive. We are all here to give and receive. We use music to do that. We want to help people heal. That, to me, is what connects us the most – music. You don’t have to be a particular person or color. Music affects us all. 

DD: What is something you really want people to know? 

BC: Without a purpose, we are lost. I want people to know they have a purpose. If you don't think you do, it’s over. Keep fighting for us.

DD: Describe yourself in three words. 

BC:  Abnormal, livin’ another frequency in the flesh, but I know I’m a spirit from the ONE.

 

 

 

 

 

Die My Love: A Haunting Exploration of Love, Madness, and Identity

 

Jennifer Lawrence and Robert Pattinson star in 'Die My Love'

By Darlene Donloe

Lynne Ramsay's "Die My Love" is a visceral, unflinching, and deeply unsettling film that plunges viewers into the dark, turbulent world of its protagonist, Grace, played with breathtaking intensity by Jennifer Lawrence. 

Based on Ariana Harwicz's celebrated novel, this cinematic vision is a masterclass in atmospheric tension, psychological complexity, and emotional devastation.

The film, directed and co-written by Lynne Ramsay, follows Grace and her partner Jackson (Robert Pattinson) as they navigate the challenges of new parenthood in a remote, rural setting. However, as Jackson's absences become more frequent and unexplained, Grace's grip on reality slips, and she descends into a maelstrom of rage, despair, and destructive behavior. 

The film's themes of mental illness, relationship breakdown, and violence may be triggering for some viewers.

Lawrence delivers a tour-de-force performance, bringing a raw, animalistic energy to Grace's unraveling psyche. Her portrayal is both captivating and deeply disturbing, making it impossible to look away from the trainwreck that is her character's life.

The supporting cast is equally impressive, with notable performances from Sissy Spacek and LaKeith Stanfield as eerie, enigmatic figures who seem to embody the mysterious, menacing forces that are closing in on Grace. Nick Nolte brings a sense of grizzled, world-weary gravitas to his role, adding to the film's sense of foreboding and unease.

Ramsay's direction is, as ever, masterful, crafting a sense of claustrophobia and desperation that is both oppressive and mesmerizing. 

The film's use of setting – a crumbling, isolated farmhouse surrounded by vast, unforgiving landscapes – adds to the sense of isolation and vulnerability that defines Grace's existence.

At its core, "Die My Love" is a film about the complexities of love and how it can both sustain and destroy us. 

It's a powerful exploration of the human psyche and how we can become trapped in our own minds. With its stunning performances, atmospheric setting, and Ramsay's unflinching direction, "Die My Love" is a must-see for fans of psychological drama and cinematic art.

“Die My Love,” based on Ariana Harwicz’s novel, and directed by Lynne Ramsay,  stars Jennifer Lawrence, Robert Pattinson, Sissy Spacek, LaKeith Stanfield, and Nick Nolte.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likeable), O (oh, yeah), E (excellent), ‘Die My Love’ gets an E (excellent).

Black Men Film Festival Delivers A Reel Impact

Sandra Evers Manly

By Darlene Donloe

The 27th Annual Reel Black Men Short Film Festival, which showcases the talents of up-and-coming Black male filmmakers from around the industry, is set to take place on Saturday, October 25, 2025, 10 a.m.-6 p.m., at the Writers Guild Theater in Beverly Hills. 

The Reel Black Men Short Film Festival, hosted by the Black Hollywood Education and Resource Center (BHERC), is a premier event for emerging Black filmmakers, providing a platform to showcase their work and connect with industry professionals. 

The festival features a diverse range of short films, each offering a unique perspective on the Black experience. 

John Forbes and Sandra Evers Manly

This year, the festival will showcase 21 films curated by a committee headed by BHERC Executive Director John Forbes. 

This year’s crop of films includes thrillers, comedies, dramas, relationship storylines, horror, sci-fi, and documentaries. 

“To be in the festival, the films have to be directed by a Black director,” said Forbes, who has been with the festival throughout its 27 years. “It doesn’t have to be a Black film, though.” 

Celebrating the creativity and talent of Black filmmakers, Sandra Evers Manly, who founded BHERC in 1996, said the festival provides a showcase to discover new talent and innovative storytelling from emerging Black filmmakers, and for them to connect with industry professionals and learn about the latest trends and opportunities in film. It also opens the door to community building among filmmakers, industry experts, and film enthusiasts.

“We launched Reel Black Men because the voices of Black Men were not being heard,” Manly said. “We had just celebrated 30 years of Sistas Doin' It For Themselves, and during that time, Black men said, ‘What about our perspective? What about us?’ That’s how this got started. It wasn’t a bad idea.” 

“The voice of Black men is important,” said Forbes, who studied cinema at Washington State University. “There was a time when there were no Blacks in television. There was a time in the 60s when I would see only one direction. Nine out of 10, it was a white director. But they would miss the beat. They would miss the point. There was a time when Black people had nowhere to showcase their work. Sandra and Scott created a space and opened the doors.” 

Some of the Black men who came out of the Reel Black Men Short Film Festival who went on to have successful careers include Ryan Coogler (Black Panther, Sinners), Nate Parker (The Birth of a Nation), Malcolm D. Lee (Girls Trip, Barber Shop, Best Man Holiday), and Tim Story (Fantastic Four, Ride Along). 

“We are so very proud of them,” Manly said. “When we look at our history, we still see a lack of diversity behind and in front of the camera. We have seen improvement. There is still a lot of work to be done.  Black male directors need attention. That’s a big key. A part of that is  - we want to see the artistry and hear and see the great stories.” 

Director Marcellus Cox

Filmmaker and writer Marcellus Cox’s 15-minute film, ‘Liquor Bank,’ is one of the films in the festival.

The drama, based on a true story, is described as a true depiction of someone fighting the demons of alcohol addiction. This film shows what alcohol does to people’s mental health, which can lead to depression, uncertainty, self-depreciation, insecurity, and self-doubt. Still, it becomes a trap that many can’t get out of, even when help is standing in front of them.

In a recent interview on Bond on Cinema, award-winning writer and director Cox, whose films have been showcased at more than 200 international film festivals and won more than 150 international film awards, said his love of film began with his grandmother when he was about 9 years old. 

“That’s when I really started paying attention to film,” he said. “My grandmother loved LA rebellion films. She liked Killer of Sheep and Daughters of the Dust. She had an appetite for films like On the Waterfront and Casablanca. I just began to have a massive passion for it. It was something I loved. But it was Who Killed Roger Rabbit that really spoke to me. I also love old school period films. I’ve now been going at it for 25+ years.” 

‘Mickey Hardaway,’ Cox’s 2023 directorial debut, screened in more than 20 film festivals, winning 11 awards and scoring 100 percent on Rotten Tomatoes. 

“Back in 2023, when I did Mickey Hardaway, I had a chance to meet an executive at PBS,” said Cox, a South Central native. “He introduced me to Eddie, on whom the story is based. The two of us talked about his story. We talked about him being in the Marines and fighting for our country. We talked about the causes of his going into alcoholism.” 

Cox said Eddie’s story was ‘heartbreaking.’ 

“It was really something I felt he was blessing me with the opportunity to tell his story,” Cox said. “I wanted to do justice to it as much as humanly possible. With this kind of film, it wasn’t really something that was going to be super attractive to an investor, and I had a hard time trying to find the money. I was working on another short film when I found an investor in December of 2024 who was interested.” 

Through film festivals, award ceremonies, book signings, script readings, contests, scholarships, other programs, and special events, BHERC recognizes the contributions of Black and other diverse talent in front of and behind the scenes in the entertainment industry, and provides scholarships, development, and training. 

“We have a middle and high school film festival as well,” Manly said. “This past year, four of those students graduated from USC film school. We’ve given scholarships. Some of the people are now at Howard University. How we are impacting our communities is what is important to me.  We had a person come through UCLA. We helped fund her project out of the AFI program. I like the stories of purpose coming out of the programs. We have to work to get more. We are now working with the film schools.”

Manly called The Reel Black Men Short Film Festival, ‘an incredible film festival.’  

“Since we launched the festival, the level of talent we have seen continues to soar,” she said. “We want the community to come out and support these filmmakers.” 

Next year, Manly said BHERC will include another film festival called ‘Films of the Movement.’

“They are trying to remove our history,” she said. “Some of the films will deal with civil rights. We are working with major organizations right now. The conversation is about how we use film to change lives.” 

Manly said in addition to filmmakers, she wants to see more Black executives and writers in the industry. 

“We need Black people in those roles,” she said. “I also want to see wholesome stories about our communities. I want them to tell success stories. This is more than a festival, it’s a movement. It’s creating careers and opportunities for young people to come and learn. Our history is real and powerful, and it’s purposeful 

Manly said BHERC’s reach is expanding. 

“There are people everywhere telling real stories,” she said. “We’ve been asked to come to 20 cities with our films. We are going to Maryland in January. We have got to be about it. This is not a time of pity. We have to be about purpose.”

 

The Black Hollywood Education and Resource Center (BHERC) is a nonprofit organization dedicated to advocating for and educating the community about Black representation in film and television.

Founded in 1996 by Sandra Evers-Manly, BHERC has been a driving force in promoting diversity and inclusion in the entertainment industry. 

27th Annual Reel Black Men Short Film Festival, Saturday, October 25, 2025, at the Writers Guild Theater, 135 S. Doheny Drive in Beverly Hills, $40, available online.

 

 

 

 

 

 

 

 

 

"Love is Blind" Shines Bright: Parneille Walker's Romantic Comedy Short Takes Center Stage

Parneille Walker

By Darlene Donloe

In the world of film, making a lasting impression is key, and Parneille Walker's directorial debut, "Love is Blind," is certainly doing just that.

This sharp, modern romantic comedy short has been making waves on the festival circuit, earning 16 nominations and 12 wins, including honors at prestigious events such as the BronzeLens Film Festival, Diversity in Cannes, and The People's Film Festival.

Walker, who will enter five additional film festivals next week, has her eye on the Pan African Film Festival in Los Angeles and the Tribeca Film Festival in New York. 

The film is currently set to screen at the Micheaux Film Festival in Culver City on Saturday, October 25, 2025.

“It helps my confidence to get nominations and some wins at these festivals,” said Walker, a Sacramento native, who now lives in Los Angeles. “I had impostor syndrome going into this.”

Walker describes her directorial debut as a “roller coaster.”

“It definitely was,” she said. “It started and wouldn’t stop. It was exhilarating and scary. There was a lot of stuff that I wasn’t expecting.”

Walker said in the end, it was rewarding.

“That was a great experience,” she said. “It taught me that I could do it. I really want to do this.”

For Walker, a seasoned post-production supervisor turned filmmaker, "Love is Blind" is more than just a film—it's a passion project that showcases her unique voice in comedy and character-driven storytelling.

With a background working on major studio productions across CBS, Warner Bros, Fox, and Disney, Walker, who has worked as an NBC page, production assistant, coordinator for executives, a set production assistant, a first assistant director, a writers assistant, and a post production supervisor, brings a wealth of experience to the table. Her transition from post-production supervisor to director may seem unexpected, but it's clear that she's found her calling.

“In the beginning, it was like - when do I start?” she said. “I was worried about the budget. Then I had the money and didn't have the time. I thought, ‘When am I going to do this? I did it while I was working. I did everything on the weekends. I prepped on the weekend.”

Walker said she was determined to bring her project to life, so she asked her mother to match the money she had in her savings to finish it. Her efforts proved to be fruitful.

Brandon Fobbs and Ivonnah Erskine in 'Love is Blind'

"Love is Blind" follows a hapless protagonist on a blind date in Los Angeles, where everything that could go wrong does.

With comedic twists and poignant moments, the film captures the awkward beauty of modern dating through the lens of Black and Brown leads. Walker said the inspiration for the film came from life, her dating history, and her natural silliness.

“Yes, I’m naturally silly,” she said. “I’m a natural storyteller. I’ve lived in Los Angeles for 20 years. I’ve had crazy dating experiences.  I used a lot of my own experiences and those of my friends’ crazy experiences. The question was - What are the crazy things that could happen in one night? I didn't want it to be dramatic.” 

Walker hopes the film contributes to the ongoing conversation about diversity and inclusion in the entertainment industry.

“I hope the conversation continues and brings more positive films back,” she said. “The year 2000 rom coms inspired me.  They were beautiful Black rom-coms. It was beautiful Black love on screen. For a while, it left. I wanted to bring it back.”

The film's relatability factor is high, and audiences will laugh, cringe, and root for the protagonist all at once.

The film's nomination in three categories at the Micheaux Film Festival in Culver City is a testament to its excellence.

With its diverse cast, witty dialogue, and nuanced exploration of relationships, "Love is Blind" is a standout in the romantic comedy genre.

As Walker continues to make her mark on the film industry, audiences can expect great things from this talented filmmaker.

 With "Love is Blind" garnering attention on the festival circuit, it's clear that Walker's future in comedy and character-driven storytelling is bright.

Along her journey, Walker said she learned lessons about herself and directing.

“When it comes to directing, it’s my vision, but it’s a team effort,” she said. “You can’t be a dictator on the set. Everyone is putting so much into it.

When it comes to the lessons I learned personally, I realize I am stronger than I think I am. I’m used to playing backseat to everyone. I’m the one rooting everybody else on. This showed me I can drive the product and finish it. Because I’m new, I give myself an 8 out of 10 for my first time directing. The success of the film is proof that I have what it takes.”

“Love is Blind,” directed by Walker, stars Brandon Fobbs, Melvin Jackson Jr., Aasha Davis, and Ivonnah Erskine. 

"Love is Blind" will screen during the Micheaux Film Festival at 9:15 p.m., Saturday, October 25, 2025, in the Culver Theater Auditorium, 9500 Culver Blvd, Culver City, CA 90232

 

 

Unchaining the Past: 'Mascogos' Brings a Hidden History to Life

Miranda Gonzalez

By Darlene Donloe 

A dynamic historical drama infused with sci-fi elements is causing a stir at the Los Angeles Theatre Center – and for good cause. 

"Mascogos," by playwright Miranda Gonzalez, and directed by Jose Luis Valenzuela, who helms the world premiere, is a powerful historical sci-fi drama that shines a light on a little-known chapter in American history.

Rama Orleans-Lindsay, Rogelio Douglas III,
Monte Escalante and Lakin Valdez

The story follows the descendants of Black Seminoles who bravely escaped slavery in the southern United States to forge new lives in northern Mexico. 

These freedom-seekers, known as Mascogos, settled primarily in Coahuila, Mexico, where they built vibrant communities and fought tirelessly for their freedom. 

Rama Orleans-Lindsay

The play's narrative, which shines a light on the untold stories of Mexico’s Underground Railroad, weaves together said Underground Railroad, the barrios of Mexico, and the streets of Chicago, highlighting the ongoing liberation struggle that spanned generations.

Gonzalez, a Chicago native who is proud of her Mexican and African American heritage, brings this untold story to life with "Mascogos," a production that is part of the Latino Theater Company's 2025 season 

Through a blend of history and science fiction, "Mascogos" explores themes of identity, resilience, and the power of community. 

Rogelio Douglas III

Gonzalez’s work, which sheds light on overlooked chapters in history, empowering marginalized communities and fostering a deeper understanding of their experiences, often explores themes of identity, freedom, and resilience, particularly in the context of the African American and Latinx experiences. 

A circle of Imaginistas playwright, the award-winning (International Centre for Women Playwrights 50/50 Award), Gonzalez has held various leadership roles, including Producing Artistic Director at UrbanTheater Company and founding member of Teatro Luna, a groundbreaking all-Latina ensemble. 

The play, produced by The Latino Theater Company, stars Rogelio Douglas III, Monte Johnson, Rama Orleans-Lindsay, Lakin Valdez. 

Rogelio Douglas III and Lakin Valdez

Rogelio Douglas III and Monte Escalante

‘Mascogos’ is playing at the Los Angeles Theatre Center through November 9. 

Miranda Gonzalez

I recently caught up with Miranda Gonzalez (MG), a mother of three, to talk about ‘Mascogos’. 

DD: You went to DePaul in Chicago and received a BA in marketing.  Now you’re a playwright. 

MG: I always wanted to be in the arts. I was always performing since the age of 14. When I was 18-19, I saw friends struggling to make money. I wasn't going to major in theater because no one has money.

DD: What happened that made you want to be in the arts? 

MG: I was a singer and dancer. I started taking voice lessons. My teacher said I should audition for The Happiness Club as a dancer and as a singer. We went around singing and sending out positive messages. The kids in the group were actors. I told my mom, I think I want to try it. I got an agent. I did TV and film. I was in SAG and AFTRA by 15. My first theater audition was at 18. I fell in love with the stage. I got involved in Teatro Luna, now Studio Luna, as a founding ensemble member. It became a 501 (c) (3) in 2000. I became the director of artistic development at Teatro Luna. In 2016, I came into the Urban Theater Company.

DD: Talk about becoming a playwright. 

MG: Writing what you know is authenticity. When you write from familiarity, it gives you more creativity. It resonates a lot more with audiences. You give nuances that people can connect to. I’m not saying I wouldn't write something I don’t know about. There is something different about writing from your own identity and your own lived experience.

DD: Tell me about how you came up with Mascogos? 

MG: When I was doing this research and found out there was a town…and I realized my grandmother was born there, it was a sign—the Mascogos people. I had to write about it. How fascinating it would be to speak Gullah Creole, have that English base, and go to Mexico to learn Spanish. I’m bilingual. I’ve always been fascinated by dialects and phrasing, and when verbs come together. I wouldn't want to see a play that is just about history. I chose historical science fiction. 

DD: Talk about the show. 

MG: Jamari is getting spells, attacks. Every time he gets them, it pushes him into the future. Once he’s in the future, it pushes him back in the past. It’s a historical sci-fi that plays in time. Are we really free? Are we free? – We are living something right now. I’ve always been a fan of quantum physics and Octavia Butler.

DD: Why do you think this story is lost in history? 

MG: The script is about love and remembrance. There are so many reasons why governments across the world don't feel it’s important to archive subcultures.  They have purposely erased specific histories. It’s that easy to forget and not have access to heroes who look like you. Somebody had to write about the Underground Railroad. I remember thinking that running north would mean the likelihood of dying. It makes sense that people would go to Mexico. 

DD: Can you describe the central theme of the play and how you wove historical and sci-fi elements together? 

MG: It’s wild, but it’s fun. The central theme is different for me than my director. It’s about love and remembrance. What have we sacrificed to exist?  And yet, it’s worth it. It’s worth fighting for. Our blood is meant to survive. 

DD: Talk about the research you did for this show.

MG: All of it. I have researched so much. What was difficult for me was writing the play to where it is now.  Luis (the director) would say to me, ‘That’s something you know, but we don’t know. You have to say it.’ I read South To Freedom: Runaway Slaves to Mexico and the Road to the Civil War. The author and I will have a talk back about it.  The book had all the history in one book. Research was extensive. I learned that some people will help you. Everybody has a little Congo in them. I did a lot of research and understanding. With the play, I give the idea that we are not a monolith. Blackness is not one thing. 

DD: How do you think the experiences of the Mascogos people resonate with contemporary issues of freedom and identity? 

MG: They were just looked at as indigenous folks. Their towns still don't have infrastructure.  They founded the town El Nacimiento de los Negros (“Birth of the Blacks”) in Coahuila, Mexico.  A lot of them left Mexico and went back north because of opportunity.  We are all seeing where the best place for us to be is. We all want to make it. 

DD: How did you balance historical accuracy with creative liberties?

MG: That was the hardest thing I had to do. I had a lot of support from the other playwrights. You have to be true to the relationships you’re building. I did a lot of crying. I felt like when Rapunzel finally touches the grass. I was drunk with emotions. I don’t know if I balanced it well. 

DD: What inspired your use of time-travel and sci-fi elements in the play?

MG: I don't want to regurgitate history to you. I want you to ask yourself, should I learn more about this? 

DD:  How did your own background and identity influence your approach to telling this story? 

MG: It came through for me in many of the characters because of my own lived experience. I’m a Black girl who speaks Spanish.  Mexicans and African Americans – the dialogue we have with each other. My whole life, it’s been about – who is more oppressed. We’re so stuck on that, nothing changes. Your activism isn’t as good as my activism. We all want to just live our lives. We want to remember our history.  I’m trying to plant seeds in the audience indirectly. I want my audience to ask questions about themselves. 

MG:  What was the collaboration like with director Jose Luis Valenzuela, and how did he contribute to shaping the play's vision?

MG: So much. I was excited that the play I wrote made him imagine. His understanding of storytelling. He’s an artist. He was able to create what he calls transformations on how the world moves from the past to the present. The way he weaves it together supports the text. He was also able to lean over and tell me we’re missing a line about X, Y, Z.  We collaborated well together. He’s a historical storyteller. He’s been doing it for 50 years. He’s brilliant. 

DD: What is your writing process? 

MG: I have to be in a stationary place for a minimum of three days. I have to focus. I can’t leave the computer unless it’s to have a mental break. I have to get the whole story out. In an ideal place,

I wrote the bones of it in three days somewhere by water to get the first draft, somewhere like Lake Katherine in Illinois. I need to be by water. 

DD: Where would you like this play to go? 

MG: I want it to travel in every Black and Latin-founded theater in the country. We deserve to know our history and find our own histories. 

DD: Why should people see this show? 

MG: Because I think it is something they have never seen or heard. It's a fantastical ride.

The creative team for Mascogos includes scenic designer François-Pierre Couture; lighting designer Xinyuan Li (Lee); composer and sound designer Robert Revell; projections designer Yee Eun Nam; and costume designer Maria Catarina Copelli. Choreography is by Urbanie Lucero and assistant choreographer Cydney Watson. The production stage manager is Alexa Wolfe, and Martha Espinoza assists.  All photos, except those of Miranda Gonzalez, by Grettel Cortes Photography.

“Mascogos,” The Los Angeles Theatre Center, 514 S. Spring Street, Los Angeles, CA 90013, Thursdays, Fridays, and Saturdays at 8 p.m.; Sundays at 4 p.m., through Nov. 9, $10-$48, latinotheaterco.org, (213) 489-0994.