Joe Morton is Dick Gregory in 'Turn Me Loose'

Joe Morton in Turn Me Loose

By Darlene Donloe

When Joe Morton makes his entrance through the audience seated in a nightclub type atmosphere, he stops at an unsuspecting patron and says,  “I can see that quite a few northern liberals are here tonight. Come out to see a real nigger do his thing. Well, I’m glad you’re here. Glad to see all you white folks. Comin’ out to see Dick Gregory. Ain’t that nice?!”

With such a powerful opening, one would be wise to strap in tight because you know it’s going to be a bumpy ride.

That’s how Morton kicks off the show, Turn Me Loose, written by Gretchen Law, directed by John Gould Rubin and featuring John Carlin. Reprising his critically-acclaimed off-Broadway performance, Morton is brilliant in this full-length play for the stage from the life and works of Dick Gregory. It’s now playing through November 19 at the Wallis Annenberg Performing Arts Center. 

A few minutes into his tour-de-force performance and Morton’s forehead is glistening from moisture. He’s already sweating, profusely, through his shirt. One could say it’s from the lights on the stage, but in reality, it’s probably due to the intensity of Morton’s performance.

Joe Morton and Kerry Washington in Scandal

This is clearly one of Morton’s best roles to date. Yes, he’s making waves with his “I am the hell and the high water” Papa Pope portrayal on ABC’s Scandal, but his role as Dick Gregory fits like a glove.

With ease and bravado, Morton peels back the layers of Gregory’s interesting life. Like the phoenix Gregory rose from poverty to become one of the most respected comedians and civil rights activists in modern times. The play alternates between the 1960’s and the present day. With ease, it switches venues from clubs and cafes in the 60’s to present day clubs and the theater in which it is being performed.

While Gregory, who died August 19, 2017, at the age of  84, was best known as a stand-up comedian who delivered social satire like no other, he was also very much an activist. He used his fame to bring attention to civil rights movement and the various racial injustices perpetrated upon the Colored, Negroes, African Americans, and Blacks.

Dick Gregory

“Negroes up north won that election for Kennedy right out there on the south side of Chicago. We was out there votin’ six or seven times apiece. Don’t get me wrong, we

weren’t trying to cheat or anything. We was just tryin’ to make up for all those times we couldn’t vote!”  

Yes, during his career Gregory played for laughs, but there was always this underlying, slow-simmering desire to poke the bear.  He would deliver his messages – wrapped in laughter – but always with the intent to start a conversation.  It wasn’t always easy. Gregory, whose autobiography, Nigger, became a #1 best-selling book, played to audiences that were laced with rednecks who didn’t appreciate his voice.  His show was sometimes met with disdain from bigots and hecklers who wanted him to go back to Africa or simply disappear.

During his career, Gregory was met with personal tragedy, but also with a few triumphs.  Gregory’s son died while he was on the road with his friend and fellow civil rights activist Medgar Evers. Gregory, who had 10 children with his wife, Lil, felt his son was a sacrifice in order that he, himself would live to continue the civil rights fight.  A few weeks later Evers was shot dead in front of his home.  According to Gregory, he and Evers were prepared to die for what they believed in.

Joe Morton and John Carlin in Turn Me Loose

He was so successful when the Playboy Club booked him to replace a white comedian that the Club offered him a three-year contract. When Gregory received a call to appear on the The Tonight Show, hosted by Jack Paar, he turned it down because black performers were not allowed to sit on the couch and talk like the white guests. Gregory, who was in demand at the time - held out until The Tonight Show agreed to let him sit on the couch. It was a personal triumph for Gregory, but he viewed it as a triumph for the race.

He hangs up the phone, almost breaks down, but

recuperates

(pause)

All right, Richard Claxton Gregory. Dick.

Pointing at himself in the mirror

I can sit on that couch.

(pause)

You hear that Big Prez?

(pause)

I can sit on the couch.

(pause)

I can sit on that mother-fucking couch.

Joe Morton

The staging is perfect. There is a lone microphone for when he is in the nightclub, a table and a bottle of alcohol when he’s supposed to be in his dressing room and a table with two chairs and two microphones when he’s on a talk show. Nothing else is needed.

Kudos to Chris Barreca (scenic design), Susan Hilferty (costume design), Stephen Strawbridge (lighting design) and Leon Rothenberg (sound design).

Turn Me Loose, Wallis Annenberg Center for the Performing Arts, Lovelace Studio Theater, 9390 N. Santa Monica Blvd., Beverly Hills; 8 p.m. Thursdays-Fridays, 2:30 and 8 p.m. Saturdays, 2:30 p.m. Sundays through Nov. 19; Tickets: $60-$75 (prices subject to change); (310) 746-4000 or www.thewallis.org/TML

Running time: 1 hour, 30 minutes (no intermission).

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah) and E (excellent), Turn Me Loose gets an E (excellent).

LA Film Festival Moves To Fall At Arclight Cinemas

SEPTEMBER 20-28, 2018 AT ARCLIGHT CINEMAS

Withoutabox is New Official Submission Service;

Entries Accepted Beginning January 1

LOS ANGELES (October 18, 2017) — Today Film Independent announced new dates for the LA Film Festival and a multi-year partnership with ArcLight Cinemas. The Festival, previously held in June, will now take place in late September starting in 2018. Submissions for the 24th edition of the Festival will open January 1, 2018, exclusively on Withoutabox, as part of a new multi-year collaboration.

"The secret to dramatically changing something is to change it," said Jennifer Cochis, LA Film Festival Director. "My passion for this Festival is unwavering and the time for an evolution has come. Film Independent is so proud of the work we’ve done in showcasing new American and international cinema that embraces diversity, innovation, and unique perspectives, but the fact is that summer is a challenging time for artist-driven films, and fall is where we clearly belong. This shift in our dates is an important step in enacting my aim to further develop the LA Film Festival, I sincerely look forward to better serving filmmakers, film lovers, the city and the industry in the fall of 2018 and beyond."

“We are proud to be the home of the LA Film Festival. The festival has been a staple for filmmakers and cinephiles in Los Angeles," said Gretchen McCourt, Executive Vice President at ArcLight Cinemas. "LA is an entertainment mecca and has been home to ArcLight for over 15 years. It is partnerships like this that continue to make our programming unique. We couldn't be more thrilled to be with them on this journey."

"Great festivals need great partners, and we couldn't be happier to be entering a multi-year collaboration with ArcLight Cinema and Withoutabox," said Film Independent President Josh Welsh. "LA audiences know and love the ArcLight experience, and as our submissions continue to grow, Withoutabox is the ideal service for us to accept and evaluate submissions from filmmakers all over the world." 

Creators can submit their work to the LA Film Festival for consideration beginning on January 1, 2018, exclusively on Withoutabox.

ABOUT THE LA FILM FESTIVAL

The LA Film Festival is a key part of the exhibition arm of the nonprofit arts organization Film Independent. Showcasing new American and international cinema that embraces diversity, innovation, and unique perspectives, the Festival produces one-of-a-kind events featuring critically acclaimed filmmakers, industry professionals and award-winning talent from Los Angeles and around the world. The Festival’s signature programs include Diversity Speaks, Women Who Lead Luncheon, Spirit of Independence Award, Coffee Talks and more. The Festival’s Future Filmmakers Showcase supports high school filmmakers with screenings of their work and community-based film education opportunities. For sponsorship opportunities, please contact Albina Oks, Director of Corporate Sponsorship, aoks@filmindependent.org or 310.432.1252.

ABOUT FILM INDEPENDENT

Film Independent is the nonprofit arts organization that champions independent visual storytelling and supports a community of artists who embody diversity, innovation, and uniqueness of vision. Film Independent helps filmmakers make their movies, builds an audience for their projects, and works to diversify the film industry. Film Independent’s Board of Directors, filmmakers, staff, and constituents are comprised of an inclusive community of individuals across ability, age, ethnicity, gender, race and sexual orientation. Anyone passionate about film can become a Member, whether you are a filmmaker, industry professional or a film lover.

In addition to producing the Spirit Awards, Film Independent produces the LA Film Festival and Film Independent at LACMA Film Series, a year-round, weekly program that offers unique cinematic experiences for the Los Angeles creative community and the general public.

With over 250 annual screenings and events, Film Independent provides access to a network of like-minded artists who are driving creativity in the film industry. Film Independent’s Artist Development program offers free Labs for selected writers, directors, producers and documentary filmmakers and presents year-round networking opportunities. Project Involve is Film Independent’s signature program dedicated to fostering the careers of talented filmmakers from communities traditionally underrepresented in the film industry. For more information or to become a Member, visit filmindependent.org.

ABOUT ARCLIGHT CINEMAS

ArcLight Cinemas, created by Pacific Theatres, a privately owned, Los Angeles based company with 60 years of theatrical exhibition history throughout California, Hawaii, and Washington is a premiere movie-going destination with an unparalleled commitment to bringing a variety of rich cinematic content to all audiences.  The company brings to life an uninterrupted immersive movie-going experience with no distractions, and a promise to exhibit films the way moviemakers intend their movie to be watched.

ArcLight Cinemas operates seven theaters in California including Hollywood, Pasadena, Sherman Oaks, El Segundo, Santa Monica, Culver City and La Jolla, as well as theaters in Bethesda, Md., Chicago and Glenview, Ill., with a new location in Boston for 2019. ArcLight also owns and operates the historic Cinerama Dome and programs the TCL Chinese Theatre and IMAX in Hollywood. Pacific Theatres currently operates theaters in Los Angeles that include The Grove and The Americana at Brand in Glendale, Calif. Additional information about ArcLight Cinemas is available athttp://www.arclightcinemas.com.

ABOUT WITHOUTABOX

Withoutabox (https://www.withoutabox.com) is the premier submission service for film festivals and filmmakers. Since 2001, Withoutabox has enabled nearly 3 million festival submissions to the leading film festivals in the world, and more than 150 of these titles went on to receive an Academy Award® nomination with dozens eventually winning an Oscar®. Withoutabox provides a powerful and convenient solution for festivals seeking a service to manage their film festival submissions. World-renowned film festivals that rely on Withoutabox to exclusively manage their submissions include The Sundance Film Festival and The Toronto International Film Festival. Filmmakers using Withoutabox can easily submit their films to film festivals around the word and can automatically create a title page for their film on IMDb (the #1 movie website in the world), reaching more than 250 million unique monthly visitors worldwide. Withoutabox continues to evolve on behalf of its customers, including recent product enhancements such as promo codes; a Fire TV Festival Judging App; HD online screeners; a redesigned filmmaker experience; and support for Vimeo links. To learn more about Withoutabox or to sign up, visit https://www.withoutabox.com. Withoutabox is owned and operated by IMDb.com, Inc., a wholly owned subsidiary of Amazon.com, Inc. (NASDAQ: AMZN) (http://www.amazon.com). IMDb also offers the membership-based service IMDbPro (http://www.imdbpro.com), the essential resource for entertainment industry professionals.

Master Interview With TV Pioneer Herman Rush

(L-R) Lee Miller, President, The Caucus Foundation, Bob Papazian, The Caucus Co-Chair, Herman Rush, Chairman of Membership Committee, The Caucus, Tanya Hart, The Caucus Co-Chair, and Veteran TV Producer and Executive, Dennis Doty and The Caucus Panel Chair. 
Photo credit: Courtesy of The Caucus 

Television pioneer Herman Rush told enchanting stories coupled with personal photos to a full house recently at The Caucus for Producers, Writers & Director’s Master Interview held at Emerson College.  Dennis Doty, the caucus panel chair, interviewed Rush during the interview.

Annually, The Caucus selects one industry legend to participate in a Master Interview, which focuses on the person’s expertise and how they used great skills or proficiency to accomplished their goals. Chuck Fries, Chair Emeritus, The Caucus, founded the Panel Programs, which includes Master Interview and continues to supervise these panels. This year, Herman Rush television pioneer and former President of the Television Division of Creative Management Associates (now ICM) and former CEO of Columbia Pictures Television Group (now Sony Pictures) was chosen. He also served as partner and Executive Producer of the Montel Williams Show, which aired five times a week for 17 years.

About The Caucus for Producer, Writers & Directors

The Caucus is leading the evolution of television by providing a creative forum for Producers, Writers & Directors to explore the issues of the ever-changing landscape of content and exhibition.  The Caucus is proud of its rich history and esteemed membership of television innovators.  For over 40 years, The Caucus has provided an opportunity for the best and the brightest talent to network and voice the 'creative conscience' of the Television Industry.  Today, we continue to stand for better and meaningful content across all platforms.  As Producers, Writers, and Directors we support a working environment that fosters, through our various programs, the best content that we can create for our audiences.

In addition to its professional membership, The Caucus is proud of its non-profit work through The Caucus Foundation. Established in 2000 to help launch the careers of future entertainment professionals in film, television and emerging media; The Foundation provides completion grants to student thesis productions from accredited universities and colleges.  To date, The Caucus Foundation Grant Program has given over $1.6 million dollars in cash and in-kind awards.

Current members of The Caucus also include: JJ Abrams, Kevin Bright, James Burrows, Suzanne de Passe, Vin Di Bona, Dennis Doty, Chuck Fries, Tom Hanks, Tanya Hart, Charles Floyd Johnson, Lee Miller, Bob Papazian, Norman Powell, Herman Rush and others leading producers, writers and directors.

'Black Music Honors' Airs Tonight On Bounce

Nashville, TN - Black Music Honors airs on Bounce this Sunday, October 15 at 11 a.m. (EST). The night consisted of extraordinary performances and memorable presentations as Central City Productions paid tribute to six legendary artists during the second annual Black Music Honors, held at the Tennessee Performing Arts Center in Nashville.   The two-hour live television special was hosted by radio and television personality Rickey Smiley and actress LeToya Luckett. This year’s honorees included The Jacksons, Donnie McClurkin, Slick Rick, Guy, Oleta Adams and Jody Watley who were all recognized for their noteworthy contributions to the music industry. With a high-energy performance that kept the packed audience on its feet singing and dancing, the legendary group, The Jacksons, brought the house down by performing three of their hit songs.    Black Music Honors is executive produced by Don Jackson and produced by Michael A. Johnson and Jennifer J. Jackson of Central City Productions. Central City Productions presented a $25,000 check of the proceeds from the Black Music Honors to the National African American Music Museum, which is scheduled to open in Nashville, TN, in 2019.The title sponsor for the Black Music Honors was State Farm. Left to Right: Don Jackson, Quiana Taylor (NCVC employee), Marie Sueing, Tammy Gilbert Cardona (NCVC employee, Proscovia Mattas (NCVC employee), and H. Beecher Hicks, III Donnie McClurkin Guy Jody Watley Oleta Adams The Jacksons Slick Rick

'The New Mutants' Slated For April 13 2018 Release

Today is Friday the 13th!  It's the best time to watch the horrifying new official trailer for THE NEW MUTANTS.

Watch the Official Trailer HERE: https://www.youtube.com/watch?v=bu9e410C__I

THE NEW MUTANTS will hit theaters everywhere on April 13, 2018!

Saxophonist Justin Young Dishes Out 'Blue Soul'

Justin Young is hungry. The energetic and enthusiastic saxophonist is all about hustle and hard work. For over a decade, he’s put out quality soul-jazz albums, but his forthcoming disc, “Blue Soul,” captures an artist hitting his stride on the cusp of a major breakthrough. Mining his Detroit roots, Young’s fourth album, due November 17 via JustnTime Records, features a dozen new songs recorded live in the studio with premier musicians, producers, and songwriting collaborators. Paving the way for the collection is the new single, “High Definition,” a vibrant R&B/pop confection just shipped to radio stations, a tune that Young penned with fellow soul-jazz saxman Jackiem Joyner and keyboardist Matt Godina.   

The release of “Blue Soul” caps a lengthy recording odyssey for Young. His approach for this outing was purposely different and taps into the Motown lore that influenced his musical discoveries while growing up.

“I started work on this album three and a half years ago. There have probably been about 40 different songs written for this album. In the past, I would write twelve songs, and then enter the studio quickly and put out an album. But for ‘Blue Soul,’ I wanted to take a different approach and put the absolute best songs out, really push myself to elevate the standard this time around,” said Young, who had a hand in writing all but one song on the album. “‘Blue Soul’ goes back to my roots in music, Detroit, the home of Motown. I loved the creativity of musicians recording together in the studio, creating an amazing vibe. The opportunity to put high-quality musicians together along with amazing producers has always been my dream. I watched this growing up and listened to the Motown stories. ‘Blue Soul’ goes back to my love of jazz and soul music. It’s organic, it’s played by consummate musicians and it truly is soul music with the saxophone at its beating heart.”

Throughout “Blue Soul,” Young’s alto, tenor and soprano sax is embedded amidst rhythms and grooves constructed by the likes of bassists Alex Al and Hussain Jiffry, and the late drummer to the stars, Ricky Lawson. Former Earth, Wind & Fire guitarist-vocalist Sheldon Reynolds is another notable player who fortified Young’s lilting harmonies and undeniable melodies. The first single, “Always There,” one of four cuts written and produced by Joyner - a Billboard chart-topper in his own right - hit the Billboard Top 25 and the Smooth Jazz Top 20 Countdown. “Jazz Along The 101,” one of three tracks shepherded by gospel producer Noel Hall (Kirk Franklin, Fred Hammond), kept Young’s momentum motoring along with both singles garnering daily spins on SiriusXM’s Watercolors. In response to Hurricane Harvey, he released the hopeful “Song For A Better Tomorrow” (https://youtu.be/PoL8NtcUwFw), donating the track’s proceeds to the American Red Cross. “High Definition” promises to take him into 2018 on a high note with a wealth of potential singles in the offing. 

Young began in music as a drummer and was introduced to a wide array of styles - from R&B and pop to jazz and gospel – by his father, Jim Young, who led and played in a variety of bands, encouraging his scion to play sax. Landing his first professional concert at age sixteen, Young put himself through Michigan State University by playing weekend gigs. He issued his debut album, “Rendezvous,” in 2003. After winning a competition at the famed Capital Jazz Fest in 2007, he released “On The Way.” A move to Southern California helped his following multiply quickly when he booked a year-long residency at Spaghettini, a hot spot for the contemporary jazz crowd south of Los Angeles. Gigs on the national festival circuit ensued as did subsequent recordings, “Home for the Holidays” and “Nothin’ But Love.” Young previewed music from “Blue Soul” at a Detroit show held at Chene Park last July with 5,000 people in attendance and at a sold-out date in August when he returned to Spaghettini. Now based near Seattle, he will support the new record with a series of local concerts at nearby wineries this fall. Resourceful and brand savvy, Young produces and plies his effervescent personality as the host of “The Justin Young Audio Experience,” a podcast that teaches musicians about the business of music. For more information, please visitwww.JustinYoungSax.com.

“Blue Soul” contains the following songs:

“Always There”

“Nothin’ But Love”

“Razzmajazz”

“Jazz Along The 101”

“Paradise Found”

“New Life”

“Blue Soul”

“Sorento”

“Sweet Release”

“India”

“Song For A Better Tomorrow”

“High Definition”

Rashad Brings Down The House In 'Head of Passes'

Phylicia Rashad

By Darlene Donloe

Phylicia Rashad’s portrayal of Shelah in Tarell Alvin McCraney’s Head of Passes is nothing short of a tour-de-force.

Rashad, best known as Clair Huxtable on the iconic Cosby Show, puts all of herself and none of herself in her latest role.

Head of Passes, a creative take on the story of Job, is currently enjoying a successful run at the Mark Taper Forum in Los Angeles.

Rashad’s character, Shelah, a southern matriarch, is the focus. Family and friends are gathering to celebrate her birthday. It’s kind of a surprise, but, it turns out, Shelah doesn’t want a party.  The night of the soiree it is raining cats and dogs. The leaky roof of her home at the mouth of the Mississippi River is causing all kinds of havoc.

It’s not lost on anyone that the house is decaying, much like the various situations surrounding Shelah.

(l-r) James Carpenter, Jacqueline Williams and John Earl Jelks 

Shelah is dying, but she refuses to get treatment from Dr. Anderson (James Carpenter). She’s going to use the party to tell her children about her diagnosis.

Francois Battiste and Phylicia Rashad

Phylicia Rashad and J. Bernard Calloway

One by one we’re introduced to a cast of characters that include her two sons, Aubrey (Francois Battiste) and Spencer (J. Bernard Calloway) and her deceased husband’s estranged daughter, Cookie (Alana Arenas) who has some personal problems. She arrives at the birthday party as a surprise guest but soon reveals that she’s really there for the money. Both Aubrey and Spencer are suspicious of Cookie’s motives. Shelah’s servants Crier (Kyle Beltran) and his father, Creaker (John Earl Jelks), along with her friend, Aunt Mae (Jacqueline Williams), round out the collective.

Kyle Beltran and John Earl Jelks

What was supposed to be a joyous occasion – slowly becomes one of the worst nights Shelah could ever have imagined.  A woman of great faith, she seeks refuge in God, praying incessantly for the almighty to make everything right again. Nothing can shake her faith, or can it?

Act Two is strictly a Phylicia Rashad affair. Her monologue is commanding and luminous. Rashad holds court like only a seasoned, well-trained thespian can. It’s during this time that Shelah challenges and petitions God to turn back the clock. It’s an emotional and sometimes comical plea, but it’s a plea nonetheless.

Director Tina Landau has assembled a worthy cast. Each has their moment to shine – and they do – with bells on. There is no weak link in this ensemble.

Jelks, Beltran, Williams and Calloway occasionally bring the funny, which is a welcomed respite from the drama. Williams has a small, but hilarious moment when she retrieves her purse from a chair after she realizes Cookie is in the house.

Alana Arenas and Phylicia Rashad

Holding her own with Rashad is Alana Arenas, a breath of fresh air in her portrayal of a girl/woman that Shelah’s now deceased husband had brought home for her to raise. Arenas’ Cookie is a streetwise woman with two kids and another on the way. The verbal sparring between Cookie and Shelah is riveting. In a vibrant conversation with Shelah, she reveals a secret she has kept hidden for years.  The secret explains much about her behavior and her reluctance to come back to live in Shelah’s house. Arenas knocks it out of the park.

The set is a cast member. It shines throughout both the first and second acts. There is a moment in the show when the term, “bring down the house” takes on a whole new meaning. In fact, it’s literal and it’s a showstopper. Kudos to G. W. Mercier for the dazzling set design.  Two thumbs up to Toni-Leslie James for the costume design, Jeff Croiter for lighting design, Robert-Charles Vallance for wig and hair design and to Rob Milburn and Michael Bodeen for sound design.

The play is draining. It’s a rough ride. It’s an emotional journey that is hard, uncomfortable and gut-wrenching, but it’s worth it.

Head of Passes is a theatrical ace.

Head of Passes, written by Tarell Alvin McCraney and directed by Tina Landau, stars Phylicia Rashad, Alana Arenas, James Carpenter, John Earl Jelks, Francois Battiste, Kyle Beltran, J. Bernard Calloway and Jacqueline Williams.

Head of Passes, Mark Taper Forum, 135 N. Grand Ave., Los Angeles, 8 p.m., Tues.-Fri.; 2:30 and 8 p.m. Sat.; 1 and 6:30 p.m. Sun. through Oct. 22; no Monday performances; $25-$95; CenterTheatreGroup.org or 213 628-2772.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah) and E (excellent) Head of Passes gets an E (excellent).

*All Photos by Craig Schwartz.