Monday, October 17, 2022

Gregg T. Daniel Calls Directing August Wilson Plays "A Real Gift"

Gregg T. Daniel


By Darlene Donloe

Over the years, Gregg T. Daniel has developed a working relationship with the late playwright August Wilson. 

Whether he’s acting or directing, Daniel considers it “a real gift” to work on any August Wilson play. 

A trained theatre actor from New York University’s Tisch School of the Arts, Daniel directed Fences, the sixth entry in Wilson’s “Century Cycle,” a decade-by-decade series of 10 plays taking place in the Hill District of Pittsburgh that charts the African American experience throughout the 20th century. Daniel, the recipient of the NAACP’s Best Director award for the International City Theatre’s production of Fences, also performed in Fences at South Coast Repertory, and Jitney at South Coast Repertory and the Pasadena Playhouse. He’s also been in Joe Turner’s Come and Gone at the Mark Taper and directed both Gem of the Ocean and Seven Guitars at A Noise Within. 

Once again, Daniel is set to direct an August Wilson show at A Noise Within. This time it's Radio Golf, the final chapter in Wilson’s 10-play cycle exploring the Black experience in 20th-century America. Radio Golf plays out the continuing struggle between history and progress.

“We are going to attempt to do all 10 of Wilson’s cycle,” said Daniel. 

Christian Telesmar, Matt Orduña, Alex Morris
Photo by Craig Schwartz


The 10 plays in Wilson’s cycle span a period of 90 years, from Gem of the Ocean in 1904 to Radio Golf in 1997 — with nine of them set in Pittsburgh’s Hill District, where Wilson himself grew up. But they were not written sequentially and are not connected in the manner of a serial story. Each play stands alone.

In A Noise Within’s Radio Golf, it’s 1997 in Pittsburgh’s Hill District, where Ivy League-educated developer Harmond Wilks (Christian Telesmar) is determined to gentrify the dilapidated and broken-down neighborhood where he grew up. He and his golfing buddy Roosevelt Hicks (DeJuan Christopher) are on the cusp of finalizing a plan to tear everything down and replace it with an upscale, mixed-use property.

Christian Telesmar and Sydney A. Mason
Photo by Craig Schwartz


In fact, Harmond and his wife, Mame (Sydney A. Mason) are staking his campaign to become the first Black mayor of Pittsburgh on the project’s success. That is until Elder Joseph Barlow (Alex Morris) and local handyman Sterling Johnson (Matt Orduña) step in to save a seemingly ramshackle old house from demolition. 

Daniel, who has extensive television and film credits, is eager to sink his directorial chops into this production. He keeps coming back to the works of Wilson because “He writes with such care and dignity.” 

DeJuan Christopher and Christian Telesmar
Photo By Craig Schwartz


“He writes about struggle and the freedom to stay alive,” said Daniel, who is married to fellow actor, Veralyn Jones, who, with him, co-founded Lower Depth Theatre Ensemble with Jason Delane Lee and Yvonne Huff Lee in 2008. “He invests them with a real respect and dignity. I’m stunned by his genius and creativity.  When I’m involved with his works, I learn about our humanity, rhythms, physicality, and history. I get a sense of history and folklore, struggle, commitment, and survival.”

Gregg T. Daniel


I recently caught up with Daniel to discuss Radio Golf, his third directorial adventure with A Noise Within, set for an October 22 through November 13 run. 

DD: What are you looking for in the actors you choose?  

GTD:  It’s important that they can handle the language. They need to be sensitized to the rhythm and cadence and understand that this is poetry. Are they connected with the material?  It’s like a musical score. Play the poetry and deliver the meaning.  When I hold auditions - people of color come in ready to rock n roll. They prepare in a way you don't usually see in an audition. About 99.9% come in off-book.

 

DD: How do you decide what shows you’re going to direct?

GTD: I tend to mirror the African American diaspora. I can direct Shakespeare and the Greeks. I gravitate to people of color. We have so many extraordinary Black playwrights to choose from. It’s an exciting time right now for people of color.

 

DD:  Why did you want to direct Radio Golf?

GTD: Part of it was wanting to do them in chronological order. It seemed like the one to do. This is the time for help. To see a young man who thought he was on the right path. You don't know what’s going to happen to Harmon or Mamie.  In the end, he respects history.  He pays in some respects – but what he learns – he’ll never be the same. Now he’s a different person. It felt right. At the end of Radio Golf, it says ‘Black’. That’s all it says. He [Wilson] knows how to use Blackout. He didn’t forget. He leaves us with an enigma. I thought, yeah, I don't know what he was trying to tell us, but maybe he was affirming who we are.  That intrigued me. It’s up to us to decide what it means.

 

DD: You said in the press release “How much do we owe the past in terms of remembering where we came from?” What do we owe?

GTD: We owe everything. You have to acknowledge the past. All the ugly and the beautiful. Where did you come from? Who are you? Harmon doesn't know the past. Until he is reminded and discovers they’re cousins. He connects with the past.

 

DD: Another quote from you is, “Sure, we all want to get ahead, but what’s the price we pay for assimilation when it means losing parts of our culture? Explain.

GTD: We have to try not to lose parts of our culture. You can assimilate, but you don’t have to sound white or live in white neighborhoods. You have to do what assimilation might demand.  We are America. We are enough!

 

DD:  How do you tackle the work? Is Wilson intimidating?

GTD: I learn everything about the play I can. I go back. I follow his trail. I read his reviews. I took a tour of his house. I learn everything about who he is. He’s not that hard to access.

 

DD: What’s your biggest challenge with this show?

GTD:  With any of his plays, it’s pacing. You have to make sure everything is life and death. You have to drive the play. I push my actors. Once the train leaves the station, don’t get off of it. Drive, drive, and drive. It’s pushed and paced. It can’t be casual. Make it urgent! I want them on the edge of their seats. It’s about finding our song.

 

DD: What makes great art?

GTD: Art that transcends. When a white audience can see themselves and their families in the play. In its humanity –portrayal of the human condition - where everyone understands it.

 

DD: What could happen in your career that would make it all worth it?

GTD: It’s happened. I get to do a variety of work. My work is considered good. I just agreed to direct a play at the Mark Taper next year. It’s ‘Twilight: Los Angeles’ by Anna Deaveare Smith.  The opportunities that have been afforded me – it’s a gift.  

 

DD: Are you ever completely happy with your work?

GTD: No. I see a lot of flaws. I’m my own worst critic. I don’t punish myself. I should always be questioning. I don't think I should ever be happy with my work.

 

DD: What have you learned about yourself directing this show?

GTD:  I’ve learned that I’ve created a past now. The torch is being passed to me.

I’m now in the position to help mentor and guide. It's my time to teach and send the students on. 


DD:  Since 2010, you’ve been teaching MFA students in USC’s School of Dramatic Arts.

GTD: I’m with the BFAs this year. Young people inspire me. I love it there. 


DD: How do you feel about being back with this theater company? 

GTD:  I’m happy to be back with this company. I feel like the luckiest director on the West Coast.


Radio Golf is presented by A Noise Within, Geoff Elliot, and Julia Rodriguez-Elliott, producing artistic directors. 

Radio Golf, A Noise Within, 3352 E Foothill Blvd., Pasadena, CA 91107, 7:30 p.m., Wednesdays-Thursday, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 2 p.m. Sundays through November 13, (no matinee on Oct. 22), (dark Oct. 27); $18-$25;

*Tickets to the preview on Wednesday, Oct. 19 include admission to a 6:45 p.m. pre-performance symposium with director Gregg T. Daniel.

**The preview on Thursday, Oct. 20 is “Black Out Night,” an opportunity for an audience self-identifying as Black to experience the performance together. Tickets include admission to a post-show reception.

Friday, Oct. 21 is: Pay What You Choose starting at $5 (available online beginning the Monday prior to that performance)

***Tickets to performances on Fridays, Oct. 28; Nov. 4; and Nov. 11, and on Sunday, Oct. 30 will include admission to post-performance conversations with the artists.

There will be two student matinees at 10:30 a.m. on Tuesday, Oct. 25, and Wednesday, Oct. 26. Interested educators should email education@anoisewithin.org.

Discounts are available for groups of 10 or more.

Go to www.anoisewithin.org/covidsafety prior to each performance to find up-to-date Covid-19 safety protocols.

For information: (626) 356-3100 or go to www.anoisewithin.org

 

 

 

 


Friday, October 7, 2022

'Motown: Celebrating The Music, The Magic, The Love' In Pictures

Karla Gordy Bristol

By Darlene Donloe


The Wallis Annenberg Center for the Performing Arts recently presented the world premiere of 'Motown: Celebrating The Music, The Magic, The Love.'


The event, the brainchild of Karla Gordy Bristol, was held Saturday, Oct. 1 in the Wallis' Bram Goldsmith Theater. 


The show, led by radio personality and announcer Shadoe Stevens, and master of ceremonies Beverly Todd, was promoted as a unique opportunity to experience an evening with music trailblazers and icons who will share their rare insights into the music, and the stories behind it, that positively impacted people and music around the globe.

 

It included a Motown panel, moderated by four-time Grammy nominee Patrice Rushen, featuring artists, writers, producers, and executives including Claudette Robinson of The Miracles; Iris Gordy, former Motown vice president and associate producer on the show; Janie Bradford, co-writer of “Money That’s What I Want”; and Miller London, pioneering record salesman.

 

Highlights included nostalgic stories shared by Smokey Robinson, Otis Williams (The Temptations), The Four Tops’ Duke Fakir, and Martha Reeves “Dancing in the Street,” who will all relive the days of “Hitsville U.S.A.”


Keyboardist Herman Jackson was the evening’s music director, while Grammy-winner Thelma Houston, Brenda Holloway, Dorian Holley, Charlean Carmen, and Scherrie, Lynda & Susaye (former ladies of The Supremes), performed.


Below is the event in pictures.  All photos are by Lawrence K. Ho. 



Thelma Houston

Charlean Carmen and Dorian Holley

(l-r) Moderator Patrice Rushen interviewed Motown veterans Claudette Robinson,
Iris Gordy, Janie Bradford, and Miller London


The Band (l-r) Charlean Carmen, DeeDee Foster, Charlie Bereal, Kevin Ricard,
Herman Jackson, Teddy Campbell, Chris Thigpen, Ben Ah Sue, Charles Love,
Tatiana Tate, Keith McKelly, and Wes Smith


 

Brenda Holloway


Susaye, Scherrie, and Lynda (former ladies of The Supremes), also performed.


Academy Announces Jonas Gwangwa Music Composition Initiative Participants

LOS ANGELES, CA and LONDON, U.K. – The Academy of Motion Picture Arts and Sciences, in partnership with Mercury Studios, today announced Peter Edwards and Oleta Haffner as the participants selected for the Jonas Gwangwa Music Composition Initiative, a one-year career development program for Black British musicians interested in composing music for film.  Part of the Academy’s ongoing global outreach and engagement efforts, the program aims to foster broader representation in film music composition.

The Academy and Mercury Studios hosted an event celebrating Edwards and Haffner at Abbey Road Studios in London yesterday evening (October 6).  Academy CEO Bill Kramer and President Janet Yang welcomed guests, Academy Executive Vice President, Impact and Inclusion Jeanell English spoke about the importance of the Academy’s talent and development programs, and Academy member Misan Sagay (Writers Branch) reflected on the Jonas Gwangwa Music Composition Initiative and its goals.  Academy members Gary Yershon and Nainita Desai (Music Branch), who spearheaded the creation of the program with Sagay, then joined composers Segun Akinola and Bankey Ojo, along with Natasha Baldwin, Executive Vice President, Classics and Screen at Universal Music Publishing Group (UMPG), for a panel discussion on the challenges of the industry, their own career journeys, and how the program can help to pave new paths for participants.

“We are so honored to have Peter and Oleta, two incredibly talented composers, participate in this program, through which we seek to provide the connections, tools, and opportunities needed to expand access to the global film industry,” said English.  “We also thank Mercury Studios and all of our partners for making this program possible.”

"Talent discovery and development is at the heart of what we do at Mercury Studios so we are looking forward to working with Peter and Oleta over the next year,” said Mercury Studios Co-President Marc Robinson.  “We hope this initiative will only expand as we continue to create ways to engage composers around the world." 

Edwards is a composer, musical director, and pianist who has been working in the London jazz scene for 12 years. Haffner is a London-based composer who writes music for animated short films and theater productions.  Throughout the year, they will receive access to Academy members across various branches in order to gain an understanding of the filmmaking process; one-on-one mentorship with a member of the Academy’s Music Branch to learn about the practical aspects of composing for film; access to Academy events and screenings in London; and introductions to leading practitioners from all areas of film music, among other mentorship programming.  They also will be matched with a filmmaker who is in the process of making a short film and will be given the opportunity to compose music for the film.  

The composition work will be funded by two grants from Universal Music Group’s (UMG) Decca Records and Mercury Studios, a full-service, global production film, and television studio.  Additional programming and support will be provided by UMG’s Abbey Road Studios.

Gwangwa, who died in 2021, was a prominent South African jazz musician and composer.  He received Oscar® nominations for Original Score and Original Song for his work, with George Fenton, on “Cry Freedom” (1987).

For more information on the Jonas Gwangwa Music Composition Initiative, visit https://oscars.org/learn/jonas-gwangwa-initiative.