McCraney Takes Artistic Reins At The Geffen

Tarell Alvin McCraney (courtesy photo)

By Darlene Donloe

Tarell Alvin McCraney has built a name for himself in the entertainment industry as an award-winning writer, producer, and educator.

It stems from his commanding written word which includes his acclaimed trilogy, The Brother/Sister Plays and his script In Moonlight Black Boys Look Blue, which was the basis for the Oscar–winning film Moonlight directed by Barry Jenkins, for which he and Jenkins also won an Oscar for Best Adapted Screenplay.  

Not only is he an Academy Award winner, he also scored a Peabody Award for ‘David Makes Man,’ and is a Tony Award (Choir Boy) nominee.

His theatrical background is impressive and extensive.

He is an ensemble member at Steppenwolf Theatre and a member of Teo Castellanos D-Projects in Miami, a graduate of New World School of the Arts, The Theatre School at DePaul University, and the David Geffen School of Drama at Yale.

He received an honorary doctorate from the University of Warwick. He was recently Co-Chair of the Playwriting Program at the David Geffen School of Drama at Yale, as well as Playwright-in-Residence at Yale Repertory Theatre, where he fostered a workshop program at the David Geffen School of Drama. He is an associate at the Royal Shakespeare Company, London, and a member of the Academy of Motion Picture Arts and Sciences (Writers Branch).

His storied career has led to his notable works being presented at prestigious theaters nationwide as part of those organizations’ theatrical seasons.

Recently McCraney took on a new role which now puts him in the driver’s seat when it comes to putting together a full theatrical season.

The handsome multi-hyphenate creative was just named artistic director of the Geffen Playhouse in Westwood, CA., which opened its doors in 1995.

“It’s an honor to take on the mantle of artistic leadership at Geffen Playhouse,” said McCraney. “My connection to the Geffen began with an introduction via Lower Depths Theater Ensemble in 2012 and continued through a production of Choir Boy, and into a residency with Cast Iron Entertainment.”

McCraney said he sees his role as “continuing a legacy of exceptional artistry, reinvesting in the Geffen's unique capability to nurture and support artists, build upon collaborative partnerships including with UCLA, and reach audiences that we share a community with across Los Angeles.”

“I am excited to foster intimate innovation in performance, digging deep into our collective need for live connection here at Geffen Playhouse,” he said.

Noted for its intimacy and celebrated for its world-renowned mix of classic and contemporary plays, provocative new works, and second productions, the not-for-profit organization’s body of work continues to garner national recognition.

McCraney will lead the artistic and production teams and is responsible for programming the venue’s season while setting the strategic artistic course for the Geffen’s Gil Cates and Audrey Skirball Kenis Theaters.

This new appointment didn’t just come out of the blue. McCraney has had a relationship with the Geffen since 2014 when his play, “Choir Boy,” made its West Coast premiere at the Geffen’s Gil Cates Theater.

In February 2020, he was part of the new Geffen Playhouse artist residency announced with Cast Iron Entertainment, a cohort of artists also including Sterling K. Brown, Brian Tyree Henry, Andre Holland, Glenn Davis, and Jon Michael Hill.

(l-r) Tarell Alvin McCraney and Gil Cates, Jr. (courtesy photo)

“I am delighted to welcome and partner with Tarell,” said Geffen Playhouse Executive Director/CEO Gil Cates, Jr. “From Choir Boy to the Cast Iron residency, and now as our new artistic director, Tarell has come full circle with the Geffen and we couldn’t be more excited. First and foremost, he is an exceptional artist and storyteller, and a true visionary with extraordinary ideas for where we can go as a theater, as a home for artists, and as part of the cultural landscape in Los Angeles.”   

A proud, third-generation Miamian, McCraney (TAM) recently sat down to discuss his new gig.

DD: Why did you want this gig?

TAM: It felt like a really wonderful timing between running an audience with an intimate space with artists that span the industry. It felt necessary to bring everybody together. The Geffen is a beautiful space where people who work in television can get foundational with theater arts. It was a great challenge.

DD: Do you like a challenge?

TAM: Yes. I’m used to them. When something is challenging, it piques my curiosity. I find ways that together we can go through things. My better instincts come out when I’m challenged.

DD: Did they come after you or did you seek the gig?

TAM: It was a meet in the middle. I wasn’t looking for an artistic position. I had friends of mine who asked if I might be interested. They said, ‘Hey, what about the Geffen?’ We met in the middle. Me and Cast Iron and Choir Boy had all been working with the Geffen in various ways.

DD: What goes into building the 2024/2025 season?  What kind of season would you like to see?

TAM: We want to make sure our audiences are excited. We have something that says being in a live theater is virtuosic. We want to make sure it grows our community. Folks who have not seen a play can think, ‘I’d like to go and see that.’ We want something that makes a person think, ‘Hey, I didn't know that kind of thing existed.’ There is a lot of consideration around - what are we planning for the year after that? It takes a lot of time to develop new work. What can we look at differently and reintroduce to an audience? Or, what can we do to bring in a new audience?

DD: Why are you the right person for this gig?

TAM: When artists are a part of the artistic leadership, the art does better. That’s why I think what I bring to the table is... Creative artists at the helm means the artists are going to thrive. Not to say that it can’t happen if the leadership isn’t an artist. I’m interested in the Geffen brand.  I want to make sure what the audience gets when they come is engaging, enticing, and inviting.

DD:  Did you bring in your own people or are you using the Geffen staff that was already there?

TAM:  I’m working with the incredible staff at the Geffen. I’m hoping to write my own work.

DD: Really?

TAM: That’s why I took the job. 

Tarell Alvin McCraney (courtesy photo)

DD: In your new role, you will program new works along with re-envisioned classics with a focus on innovative storytelling, community engagement, and audience experience. What do you consider innovative storytelling?

TAM: Innovative can be elusive. For me, I expect audience members who can show us why they might spend $100 or more dollars on a concert and not a theater ticket.

DD: What kind of community engagement and what kind of audience experience?

TAM: A live club disco feeling. In the current show, ‘Every Brilliant Thing’ – an artist guides you through a story. That to me is sacred. That live connection. Believe in the thing you can not see. The uniting of belief is the theater. Keeping it alive is the goal.

DD: What is it about theater?

TAM: I can’t boil it down to one thing. As a young person, I was exposed to it early.  Seeing ‘Revelations’ by Alvin Ailey for the first time – I was in a room where something sacred was happening. Those moments changed my life. We want to walk away like we’ve been through something with someone.

DD: Your responsibilities will include leading the artistic and production teams. Describe how you lead and what kind of a leader you are.

TAM: I try to model leadership. I won’t ask you to do something I won’t do myself. I try to lead from a place of joy. My work ethic is trying to practice a love ethic. Extending myself generously. I have shortcomings. Sometimes my patience isn’t great. Model the things I don’t have and make sure I have someone next to me who has great patience.  We are stronger together than apart. I feel like I’m in great company. The future generation is made rich by having a place where they can do live theater. I have a sense of joy in that.  

DD: You are an award-winning writer, producer, and educator.  What does each one do for you?

TAM: They all interact and touch each other. You can be an artistic director and not have a desire to be a teacher. I want our theater to be a learning space.  Where people can learn.

DD:  Describe the partnership between you and Gil Cates, Jr.

TAM: We tend to get along. He knows the ins and outs of the theater. He has a love for the theater.  We both want to see it grow.

DD: What did you expect from showbiz and what did you get?

TAM: When I first decided I would be an artist, my thought was to be able to feed myself and work with my friends – and I’m able to feed myself and work with my friends.

DD:  Where do you keep your Oscar and The Peabody?  How has it changed your life?

TAM: They were surprising to me. It changes the ability to access. People answer your phone calls. It also makes me focus heavily on the things that don't change.  An Oscar doesn’t make prison term dwindle. A Peabody doesn’t help people in Florida to find homes or not be bullied in school.

DD: Was being an artistic director of a major playhouse on your bucket list?

TAM: No.

 

 

Jonathan Butler's 'Ubuntu' Speaks Of Peace

 

Jonathan Butler

By Darlene Donloe 

Jonathan Butler is known as an award-winning singer and fabulous guitarist but there is much more to the South African entertainer.

While his ballads leave hearts melting, it's the lyrics from what can only be called his protest songs that really pull at the heart. His upbringing in apartheid-era Capetown inspired the songs, that shaped his worldview, prompted years of advocacy, and instilled the ideology of oneness (Ubuntu). 

For Butler, he sings what he’s lived. 

A Grammy-nominated performer who, for decades has entertained the world with his vibrant voice and acoustic guitar, recently dropped his 28th album, “Ubuntu” on Mack Avenue Records, and it’s getting rave reviews. 

The first single of the 11-track album is a tribute to his music hero, Stevie Wonder. Butler covers Wonder’s 1972 song “Superwoman (Where Were You When I Needed You)” produced by his friend and master bass player Marcus Miller, Butler, who possesses his own style, kicked it up a notch by adding an African flair that is mellow and intriguing. The song includes a remarkable violin from his wife, Nadira.  But, the cherry on top came when Butler sent the song to Wonder for his blessing. Wonder was so impressed that he offered to play harmonica on the track – to Butler’s amazement.  The CD also features Keb’ Mo’, Miller, and more. 

“I’m blessed to have my wife on the album,” said Butler. “She is touring with me. She is a beautiful person. Her music, her playing. She inspires me.” 

This year, as in decades before, is a busy one for Butler, who has worked non-stop since he hit the scene as a former child star in South Africa. 

In 1968, he won a talent contest through brought him a $25-a-week job with a musical troupe that toured South Africa, Libya, and Zaire. By age 13, Butler was a local pop star whose covers of “Please Stay” and “I Love How You Love Me” became pan-African hits. 

The youngest of 17 children, Butler was the first Black artist to play on radio stations in his native country.

In 1984, he moved to London, where he recorded his first album, Introducing Jonathan Butler, which came out in 1986. He first came to the attention of Americans when he debuted as the opening act for Whitney Houston, playing for huge stadium crowds.

His first self-titled album, Jonathan Butler, was a two-record set that featured the singles “Lies” and “Holding On”. It proved to be his launching pad. 

Although he now lives in Los Angeles, Butler makes several pilgrimages home to see his family, work, and continue his efforts with the Jonathan Butler Foundation launched to fund music education programs that give children the purpose to overcome a life of drugs and poverty. 

For Butler, it’s important to always express his gratitude for a life and career beyond anything he could ever have imagined.

Although his itinerary for the year is full with 300 shows, I recently caught up with Butler (JB), who was experiencing a rare couple of days at home, to talk about his career and his new jazz CD, “Ubuntu,” which speaks to messages of love, peace, and unity and is inspired by his upbringing during apartheid. Ubuntu is a Zulu philosophy of unity.

DD: Why is the album/CD called Ubuntu (ZULU for humanity), which means - I am because we are? 

JB: When we made this record in South Africa that was the first thing we thought about. It was a transitional point for me. I’m going back to my roots. Ubuntu is a daily experience. It’s foundational to the culture. Desmond Tutu and Nelson Mandela were the example of Ubuntu during the apartheid struggle. During that uprising period the reconciliation period founded by him – that was a true display and demonstration of what Ubuntu means. When a country can reconcile from past pain. We won’t forget, but we can move forward. This is showing humanity for others. I decided it would be a great title for the album. I went home to find myself, find my roots.

I went there with Marcus Miller, the greatest producer of all time. The first song was “Superwoman,” – rearranged to an African experience. It captured everything. The record is universal. 

DD: Talk about why you wrote some of the songs. 

JB: George Floyd’s passing was what got me to write ‘Our Voices Matter’. The passing of a Black man in the middle of the day in the U.S. - triggered to me we still have a lot of work to do. People matter. This song, this album, is really a transition for me. The music I’ve been listening to – I found myself kind of stuck. I wanted to make a statement. Ubuntu is my whole energy, my whole life. How can we make this world better? My making music is to see people happy and together and coming together – and have a conversation about the realness of being human. 

DD: Is it true that it only took three days to produce in South Africa?

JB: During lockdown, I wrote a lot of new material. I spent a lot of time writing. There was a lot of magic in South Africa. The energy was up. It was beautiful. Springtime in Africa – it transports me to the Kalahari Desert. The music reflects what happened. The song, ‘When Love Comes In’ talks about the millions of lives lost. 

DD: What motivates you to write? 

JB: I’m affected by my environment. I feel everything. The passing of George Floyd, I felt deeply. The passings during COVID affected me. 

DD: Is this album your love letter to South Africa? 

JB:  Interesting you say that. This is created out of love – it's a much broader thing. It’s a message about humanity. 

We lack humanity. We can do better.

There is a lot of fear, hate, and division. We’ve got to make it better.

We have to change the world and make it better. It’s more than a love letter to Capetown.  It’s a tribute to my roots. It’s about humanity serving each other. 

DD: Do you believe Ubuntu is really possible?

JB: I see it with me every day. That’s the important thing. You don't have to worry about other people. Make it your life’s journey. It starts with me.  We better get to it – for the young people.  I want to speak my own truth. I’m optimistic. My music spells belief, truth, joy, Holy Spirit. I don’t know any other way.

DD: Talk about what Marcus Miller brings to the project.

JB: It’s so broad. I can only use one word to talk about what brilliant of a mind he has.  I think Marcus knows how to shape the music and the artist into the music. He’s a shaper. He supports as a bass player, and producer. That’s a helluva producer in my opinion. He’s a genius in shaping the artist’s sound to fit inside the music. It’s an amazing thing to watch. I  never knew what we were going to do.

In three days we cut all the tracks and brought it back to L.A. 

DD: I remember back in the day you telling me about how much you love Stevie Wonder. Why did you decide to remake Stevie Wonder’s Super Woman? Why that song? How did it come to be?

JB: I’ve known that song my whole life. I had no idea that Marcus would approach it the way he did. 

Marcus chose that song. He said, ‘Hey, do you know this song?’ I know every Stevie song. When we got to the studio in Johannesburg and he opened his computer, he started playing the line on the bass. He said to follow him. While I followed him, I was floored.  It was his choice of song. Because of my love for Stevie, I never wanted to record a Stevie song. I didn't want to screw it up. I was taken aback by how Marcus used it to shape me—a South African shape to fit my personality. 

DD:  What was the conversation like with Stevie? 

JB: I called him the day before we were going to mix the album. I told him I wanted to send him something. I sent Stevie a copy of ‘Superwoman’. He responded the next morning at 7:30 a.m. He was unbelievably blown away with this new version of the song. He outlined everything he heard. He said to meet me at my studio at 9. Me and Marcus were in the studio with Stevie. We were blown away.

DD: Your lyrics are powerful. 

JB: In Rainbow Nation I say - We are a rainbow nation. We are the equalizers. We are not the dividers. I believe if it wasn't for people like Marvin (Gaye), Roberta (Flack), Donnie (Hathaway), and Stevie, all were my mentors growing up. They spoke of the times and sang of the times that Black America was living in.

These people taught me how to be an original artist – creating your own work, creating your own stories. I stand on the shoulders of these people. 

DD: Do you consider every new work – your best work? 

JB: This is one of those records I feel so good about. I listened to the ‘Story of Life.  I went to iTunes and pulled up my own record. I listened to ‘Surrender’. I love this record. I feel good about it. It’s only the beginning. Prophetically, it’s the beginning of this new and free person throwing his line in the sand. 

DD: These are hard times. Is it harder or is it easier to write music like what you have on Ubuntu? 

JB: That’s a really sensitive space to be in. I think having lived what I’ve seen with George Floyd, and having had personal experiences under apartheid and segregation made me acutely aware of my surroundings and feelings. I’m sensitive to thinking about the unjust things happening right now.  Don't do it for the sake of – it has to be from an artist of consciousness. 

DD:  You grew up in South Africa but you’ve lived in Europe and the States for a long time – how has that affected or influenced your music? 

JB: In South Africa in the 60s and 70s, you had to play American and British music to make a living. You couldn't make your own. The government at the time was watching who was making political statements. If you did you’d be arrested or your music wouldn't be played.  Coming to America I could write my own.  Then my country could embrace it because it’s American, it’s not local.

DD: What is it like when you go home?  What is the most significant change you see and experience? 

JB: What affects me is still the colored areas, Black areas, white areas, Indian areas – everybody is fragmented. We are segregated by fences - yet live in a socially free society but we’re still separated from each other.

What I do find in 2024 is 30 years of democracy and freedom in South Africa. The country is socially moving forward. Steadily interacting. There are issues surrounding economic apartheid. The haves and have-nots. Government corruption is standard around the world. South Africa is integrating. I can’t help but recognize that white privilege is in your face in South Africa. It was designed as a haven for whites to me.  The whites live in the oceans in the hills. The colored and Blacks live in townships. It was carved out. It’s hard for me not to look at it. I can’t ignore that.

I also see that it’s progressive. The Black man is progressive.  Because we came out of apartheid, it’s not like it is in the U.S.  

We are a country that is moving forward, we are progressive. We have all our challenges. We have incredible minds. That’s why the country hasn't turned into a civil bloodbath like some thought would happen when Mandela came out of prison. We have incredible infrastructure. There is real conversation and debate and a fight for justice a fight for equal rights. We have work to do.

DD:  You have a crazy touring schedule. Do you like touring? 

JB:  It’s my life. It just is. It’s not about do I like it. It’s what I do. I have a great band. It’s always fun. 

DD: Have you thought about running for office? 

JB:  You’re talking to a guy that has never been to school. That's something I wouldn't have said no to.  We still have to win the race for civil rights.  I don’t say no. If it was up to me, I would fight hard for equal rights. Our country is beautiful and resilient. We are passionate people with a great story.

DD: You’ve been on the planet a minute now, do you know who you are – and are you happy with who you are?

JB: Oh, yeah. Absolutely. Very comfortable. I’m passionate and grateful. The record is #1 this week on Amazon and Spotify.

DD: Years ago you told me how you always kept extra bread and how, when you’re on the road, you would wash out your socks in the sink. Are you still doing both of those? 

JB: Hell no (laughing). At this point, I’ve acquired a few things in life.

 

 

 

 

 

Balladeer Maxwell Heats Up The Hollywood Bowl

 

Maxwell

By Darlene Donloe 

Los Angeles was already experiencing an unusually hot and humid night when Maxwell raised the temperature during his opening night (September 8) of a three-night run (September 9-10) at the Hollywood Bowl. 

He simply seduced the jam-packed audience with his drop-dead good looks, sexy moves across the stage, and sultry vocals that range from falsetto to a sensual growl. 

Donned in dark sunglasses, and a white suit with glistening mirrored panels, from start to finish, Maxwell and his four-piece band donned in black with a fantastic female singer (LaTina Webb), didn’t disappoint, opening the show with ‘Sumthin’ Sumthin,’ one of his hits from his debut 1996 CD ‘Maxwell’s Urban Hang Suite.’ 

Sporting his signature 1996 curly fro, Maxwell quickly followed with ‘Dancewitme,’ from Urban Hang Suite, and ‘Lifetime’ and ‘Fortunate’ from his self-titled 1999 ‘Maxwell’ album.

Throughout the night, Maxwell thanked the crowd for his successful 27-year career.  He also thanked God, sympathy, and love.

“If I gave you my love, I’d expect a whole lot of love out of you,” Maxwell told the crowd before letting them know, “It’s about to get mature in here.” 

He didn’t lie.

The balladeer’s next offerings were ‘Bad Habits,’ ‘Stop the World,’ ‘Off,’ and Heatwave’s ‘Always and Forever.’

Maxwell is not only a class act and stimulating singer, even at 50, he can still glide across the stage. 

He then sang the 2009 crowd favorite, ‘Pretty Wings,’ off his BLACKsummers’night album. 

Maxwell, a Brooklyn native whose father was from Puerto Rico and mother from Haiti, then went on with ‘Fistful of Tears,’ ‘Lake By the Ocean,’ and ‘Get to Know Ya.’ 

On ‘Lake By the Ocean,’ Maxwell showed off his Caribbean roots, with his island dance moves – to the crowd's delight.

Then came the high-anticipated, wildly popular, ‘Ascension.’  The entire Bowl sang and danced in the aisles in abandon.

Maxwell then left the stage but returned in a shiny Black shirt over his white slacks and white shirt, to sing his scorching encore, ‘Whenever.’

It was a perfect way to end his grown folks’ set. 

Maxwell’s opening act was the personable Pink Sweats whose 30-minute set included ‘Icy,’ ‘7Teen,’ ‘Run Thru Fire,’ ‘Honesty,’ ‘Pink City’ and ‘At My Worst.’ Pink Sweats’ four-piece band, all dressed in pink sweats, was tight and his falsetto was on point. 

It was a sophisticated, satisfying night at the Bowl that ended with spectacular fireworks.

 

 

Saxophonist Shawn Raiford Takes "The Next Step"

Home sweet home. Using his lyrically expressive horn to pay homage to his hometown, R&B-jazz saxophonist Shawn Raiford teamed up with Grammy-winning producer Derek “DOA” Allen (Lionel Richie, Janet Jackson, Tyrese) to create a musical love letter to the Bay Area city located thirty miles north of San Francisco. Written by Raiford, Allen, Ashley Jemison, and Eddie Mininfield (Prince, Sheila E., Aretha Franklin), “Vallejo” will begin collecting playlist adds on Monday (September 4).

“Vallejo” is the third single released from Raiford’s forthcoming sophomore album, “The Next Step,” which is slated to drop early next year with Allen manning the producer’s console. And this one is personal.

“The only place that felt like home, the only place I felt like I belonged was in Vallejo,” said Raiford, who bounced around a bit while growing up, having attended four elementary schools, three junior high schools, and two high schools.

“I was raised by my grandparents in Vallejo, California and this song is a tribute to a city that I speak of everywhere I go. There’s not a place that I go that I don’t mention that I’m from Vallejo. I’m really proud of that city. There’s just something about it.”

The warm melodies and intimate harmonies evocative of Raiford’s ardor for Vallejo float atop a soulful midtempo groove. His sax deftly balances his passion and intensity with the beauty and grace of his affection for the city. The track has an edge reflective of the signature sounds known to emerge from the Bay Area music scene.

“Me and my producer, DOA, came up with a combination of The Gap Band’s ‘Oops Upside Your Head’ and Brent Jones’s ‘I’m In Your City,’ but giving it the feel that Vallejo should have. It’s one of those songs that I believe that people when they get done listening to it are going to put it on play again. You can put it on in the backyard…people just having fun. It’s one of those joints. It’s really a nice song,” said Raiford, a motivational and genuinely exuberant artist who uses music to preach and teach what is possible when you believe in yourself, take action, and follow your passion while being of service to others. 

An award-winning entertainer with his band The Shawn Raiford Experience, Raiford has been opening shows this year for R&B singer, songwriter, producer, and multi-instrumentalist Chuckii Booker. Over the years, he’s opened for or performed with Teddy Riley, Yolanda Adams, Freddie Jackson, Pete Escovedo, Eric Darius, and Jeff Ryan. Tonight, Raiford will open September with a show in Pittsburg, CA, and close the month with a performance at the Night of Elegance benefit concert with Jay King (Club Nouveau) in Sacramento on September 30.  

The yearlong build-up to “The Next Step” began last January when Raiford released the sensual single “Forever.” Momentum continued to grow in May with the release of his version of the four-time Grammy-winning hit, “Leave The Door Open.” But at every show he’s played this year, during every interview he’s given, and over and over again on his social media, Raiford has talked about “Vallejo,” and just how special this song is to him.   

“I love going back to Vallejo just to look and see how it’s changed, but one thing never changes. It’s the city I call home and will always love. In an everchanging world, Vallejo is the city I hope will always love me the way that I love it.”      

For more information, please visit https://shawnraifordsax.com.