Owa's BLOODRITE staged reading 11/15 (Harlem)

Please click image to enlarge.

Please click post's title to visit New Heritage Theatre Group

The Perfect Broadway Investor

In the October/November issue of Worth, a magazine aimed at those with money to burn, according to Daryl Roth, producer of the 2011 Tony Award winning The Normal Heart, the Perfect Broadway Investor isn't in it for the money. "It's not all about the money. If something is relevant, important and an extraordinary experience, that's the reward."

So why can't I find a producer like that? Once Upon A Time In Harlem: A Jitterbug Romance is relevant, important and an extraordinary experience. For that matter, fellow playwrights, why can't you? Where are they, these producers who aren't in it for the money? How does one catch their eye?

I dunno. I can't even dig up a thousand bucks for my reading. If you approach the process like I do, a playwright who lives very far away from where people live who know how to produce expensive musicals, i.e, Broadway, and hardly knows anyone "in the biz," you throw everything at the wall and hope something sticks. Aside from lucking out having noted NYC director Petronia Paley wanting to do the "radio" reading of my play and Jaz Dorsey, founder of AAPEX, wanting to be the dramaturg, and landing the historical and pioneering National Black Theatre as the venue, nothing has stuck re funding. IndieGoGo reminds me as I type that I have less than 60 hours remaining on my $1,000 fundraising campaign with not a penny raised in 60-days. Without that money, we won't be able to give the actors a stipend or rent the space and pay for other items like a simple program.

So, the question is, what to do? Although I've been getting positive feedback from people who want to attend the reading, who find the storyline appealing and exciting, we're still left unfunded. Worth suggests that $25,000 should be the minimum investment for a Broadway show. Hey, I'm only looking for $1,000-- and a chance at getting in on the ground floor of the next big thing!

Anyway, here are three things the magazine suggests for potential investors looking to put their money in a Broadway show, good advice for any playwright who sees his or her work wowing audiences on the Great White Way:

First, your show should star an A-list celebrity. Yeah, good luck with that one at this point.

Secondly, it should have "pre-existing value, like Mamma Mia (popular songs) or Jersey Boys (ditto)." It does; it has songs from "The Great American Song Book."

Thirdly, get The New York Times' Ben Brantley to love it. "If you don't have a big star, you need The New York Times," says Erick Falkenstein, whose credits include Long Day's Journey into Night and The History Boys. "There's no other industry in the arts that I'm aware of where one critic has so much power."

Hey, Ben, have I told you how much I love your reviews? You're the best their is! So talented! So--

Okay, you get the idea. But I'm not really like that. I can't kiss up. It's not in my make-up. But if you can, more power to you because you gotta try whatever it takes to get your work seen-- even if it means embarrassing yourself and your family.

Finally, if any potential investors might be reading this, please note that Worth says, "Musicals tend to gross more than straight plays: $915.7 million versus $158.4 million in the 2010-2011 season, according to the industry group The Broadway League, due to higher ticket prices and greater popularity with tourists."

Although Once Upon A Time In Harlem: A Jitterbug Romance isn't a musical per se-- it doesn't use original songs to help tell the story-- it fits that requirement since its loaded with music and dance numbers that will have people talking for years to come. Even Ben Brantley, the world's greatest theatre critic, should love it.

Care to know more about the "radio" reading of my play, please click the post's title.

DC Copeland

Red Harlem Readers

Discount Tickets for New Show: The Waiting Room by Samm-Art Williams (Brooklyn)

Samm-Art Williams

THE WAITING ROOM by Samm-Art Wiliams is the first play of our historic 40th Season The story unfolds with people in a waiting room. They are visiting a hospitalized loved one whose life hangs in the balance. They feel pressure to “get right with the Lord,” to resolve unfinished family business and confess long-buried secrets. THE WAITING ROOM is an emotionally intense dramatic comedy for teens and up. The Billie Holiday Theatre is offering you, our valued email subscriber, discount coupon tickets for an incredible $10 per ticket for Thursday, October 27 at 8 p.m., Friday, October 28 at 8 p.m., Saturday, October 29 at 8 p.m. and Sunday, October 30 at 4 p.m. Seats are limited, so call as soon as possible to reserve your $10 discount tickets. We hope to see you at the theatre. Marjorie Moon Executive Director Billie Holiday Theatre, Inc. 718-636-0918/ 19 ext. 11 Discount Tickets The discount $10 tickets are for these shows only: Thursday, October 27 at 8 p.m. Friday, October 28 at 8 p.m. Saturday, October 29 at 8 p.m. Sunday, October 30 at 4 p.m.

To visit the theatre website, please click the post's title.

"Broke-ology" by Nathan Louis Jackson opens on eta mainstage 11/3 (Chicago)

eta continues its season of plays that look at themes of rebuilding of family and community with “Broke-Ology” by Nathan Louis Jackson. Opening on the Mainstage Thursday, November 3^rd, performances are 8 pm Thurs – Sat; 3 pm Sundays. It runs through December 18, 2011. General admission is $30 with special student, senior and group rates. Thursdays at 8 pm are $20 throughout the year and the Opening Night Special is only $10. All performances take place at eta Square, 7558 S. South Chicago Avenue. For more information call 773.752.3955 or click the post's title.

Last night for Laurence Holder's MONK 10/24 (NYC)

Rome Neal

Greetings Folks

Last week before the show, I met Nellie, a woman who said after all these years she is finally going to see this play that she had heard about for so long (11 years) and had been attempting to see. Anyway as the play was about to end, I turned to her to say my last line and saw she had a tear rolling down her face. Nellie is Thelonious Monk's widow.

Tonight is my final performance at the MOLDY FIG JAZZ CLUB where I get the opportunity to be Thelonious Sphere Monk once more in Laurence Holder's Audelco Award winning play, MONK, with music composed by Bill Lee. I hope you can be there so that we can share tears of joy together enjoying the life and times of an American Genius of JAZZ, THELONIOUS SPHERE MONK.....

Monday, October 24th at 8pm, $20

For information: 718-288-8048 or romekyn@earthlink. net

Complimentary Banana Puddin' & Jam Sessions follows the play....

MOLDY FIG JAZZ CLUB

178 Stanton Street, Lower Eastside, NYC

A staged reading of Kenneth B. Davis' IT'S A DADDY THANG (LA)

It's a Daddy Thang

by Kenneth B. Davis

Monday, October 24, 2011@7:30 pm

STAGE 52
5299 W. WASHINGTON BLVD
LOS ANGELES CA

A staged reading, open to the public for your listening

CAST LIST…


GREG STAMPS - Jesse Raudales
GISELE BOLDER - Lyn Ross
MACHEN - Chazz Carter
KIANA - Elle Johnson
FREDNA - Kimberly Bailey
JO ANN - Vida Vasaitis
PAULETTE HARRIS - Rhonda Morman

Nat Turner To Meet Langston Hughes in New York City

Following Fruitful Hollywood Visit, Author Eyes the Big Apple for Screen and Stage

Durham, NC - On Saturday, October 22nd, Sharon Ewell Foster, acclaimed author of the new fact-based novel, The Resurrection of Nat Turner, Part One: The Witnesses (Howard/Simon & Schuster), takes her
Nat Turner Truth Tour to the Langston Hughes Community Library and Cultural Center of Queens Library in New York City.

Foster's recent trip to Los Angeles, which included book signings at bookstores and churches, created a tremendous buzz within the Hollywood film community about taking the real Nat Turner story to the big screen.

Next stop on the Nat Turner Truth Tour is East Coast media Mecca-NYC, Spike Lee and other movie, TV and theatre moguls' territory, in hopes of contacting important figures and extending the buzz from coast-to-coast.

Foster's novel challenges the accepted history of Nat Turner, one of America's most notorious historical figures. In 1831, he led what has been considered the most successful slave revolt in US history that left more than 50 whites dead.As the 180th anniversary of his hanging approaches (11-11-11), she feels the world is ready for a new perspective on Nat Turner. Part Two: The Testimony releases February 2, 2012.

"The image of Turner we have been bequeathed is one of a religious fanatic, a lunatic who attacked without cause," says Foster. "Perhaps, he was like Nathan Hale, a man seeking liberty, a man protecting his family and community. I think we are mature enough to look at our complete history, knowing the beauty of it is also in the terror of it."

Foster's five years of research included interviewing descendants of those killed, as well as Turner's family, review of Governor John Floyd's original diary, analysis of trial transcripts and related documents. She uncovered proof that discredits the primary historical document on Nat Turner, The Confessions of Nat Turner, written in 1831 by Thomas Gray, who purported to be Turner's attorney.

The original trial transcripts reveal: (1) Nat Turner did NOT confess; (2) Nat Turner pled "innocent;" and (3) Thomas Gray was NOT Nat Turner's lawyer.

"Langston Hughes, the most well-known of the Harlem Renaissance writers, now gets to hear the truth about Nat Turner from an African-American author. It's truly an American story-one man's fight for liberty, a community's fight for freedom." says Foster.

The Los Angeles leg of the Nat Turner Truth Tour was featured in an article on Indiewire.com, Another Possible Slave Revolt Film, This Time with Nat Turner. The article propelled the buzz in the Hollywood.

Additional press includes articles written by Ms. Foster published in TheRoot.com, The Truth About Nat Turner; and EbonyJet.com, Moonshine and Lies: The Truth About Nat Turner. Her book was also featured at this year's 41st Annual Congressional Black Caucus Conference in Washington, DC. Radio interviews included: NPR, Michael Eric Dyson Show, Bev Smith Show and Joe Madison Show. During the Michael Eric Dyson interview, he said to his listeners, "She's blowing our minds."

Publishers Weekly reviewed Part One as "fast-paced, " "riveting," and "expertly told." Foster describes it as "Roots meets The Da Vinci Code." The book is available wherever books, eBooks, and audio books are sold.

To visit the author's website, please click the post's title.

Red Harlem Readers

AAPEX Interview: Elliot Robinson

Please click image to enlarge.

Interview by Jaz Dorsey, The Nashville Dramaturgy Project

Elliot Robinson is currently onstage in the title role of WILLY WONKA with Circle Players (www.circleplayers.net)

What role did theatre and the arts play in your childhood and upbringing?

I was born in the Bronx, NY, and I was blessed with parents who made it a point to expose us to the arts. Not just going to movies, but concerts, plays on and off Broadway, museums, all of that. A couple of memorable performances I remember seeing in my youth were the original Broadway production of THE WIZ, featuring Stephanie Mills as Dorothy, and Adolph Caesar and a young Denzel Washington in the first off-Broadway run of A Soldier's Play. I was always fascinated by the action on the stage, and by the different characters, particularly when there was music and dancing involved. But the only time I ever participated in any kind of play as a child was a sixth-grade production of Romeo and Juliet. I played Tybalt, Juliet’s hot-tempered cousin, and I was killed in a swordfight by Romeo himself, after I’d killed his homeboy Mercutio. I remain ever thankful to my parents for the exposure to diverse cultural offerings; and I'm thankful for the days in theMorehouse College Glee Club, where I received the bulk of my formal music training. I never realized what any of that was setting me up for until after I turned 40 years old.

Tell us about your own evolution as an artist.

I'm approaching my fifth “birthday” as an actor, so it’s still really new. I have been more fortunate than I could have ever imagined, being able to perform with many of the finest theatre groups in Nashville. I’ve worked with Amun Ra Theatre, Street Theatre Company, Encore Theatre Company, Actors Bridge Ensemble, Collards and Caviar Theatre, Kennie’s Playhouse, and of course, Circle Players. I’ve been able to do other big musicals like THE WIZ (Scarecrow), The Full Monty (Horse),Once on this Island (Tonton), and Jekyll & Hyde the Musical (John Utterson), and I’ve also helped to tell some classic dramatic stories like August Wilson’s Gem of the Ocean (Solly Two Kings), Of Mice and Men (Crooks), To Kill a Mockingbird (Tom Robinson), and A Raisin in the Sun (Asagai), which the Nashville SCENE named Best Community Theatre Production of the 2010-11 season. I’ve never formally studied acting, so I look at each show process – from audition to rehearsals to the actual performance – like a class. I’ve learned a lot, but I look forward to learning much more. I also have a couple of stories kicking around in my head (so I have some writing to do), and I’d also love to direct one day.

How are you approaching this role and what is special about the role and the play to you?
People have been asking me, “So, is your Willy Wonka more like Gene Wilder or Johnny Depp?” I’ve never seen the movie with Johnny Depp, and though I remember Gene Wilder’s version, I would never try to do anything to imitate his Wonka. I make it a very strict point that when I’m working on a role, I NEVER watch anything that might influence my preparation for my character. It’s funny, too, how often I have to actively avoid a story on TV because I’m working on a role. I just don’t want to risk even the slightest temptation to copy what somebody else did. I want to become thecharacter; not another actor who has portrayed the character. So, instead of watching Gene Wilder, my research was reading Roald Dahl’s original novel, Charlie and the Chocolate Factory. The most special thing about the role is the fun I get to have experimenting with Wonka’s sudden mood swings, the almost schizophrenic nature of the character. I think the play contains a set of very strong, still relevant morals, brilliantly delivered by the Oompa-Loompas: don’t eat too much; don’t chew gum all the time; don’t watch to much TV; and, for parents, don’t spoil your children rotten. It’s a really fun show for young and old folks alike, but the poignancy of the messages it delivers transcends generations.

What are your thoughts on Nashville as a theatre town?

There are a lot of great actors in Nashville, so there is a wealth of talent from which theatre companies can pull for their productions. I think it helps when a theatre group has its own space, like Encore and Actors Bridge do, and more recently, Amun Ra and Street, because I believe that consistency brings a stronger fan following. I would love to see more groups obtain their own permanent spaces. But, as far as Nashville as a theatre town, I can really only speak in terms of community theatre, because I haven’t “gone pro” – yet. I would love to have the opportunity to make a living acting in Nashville, but to be honest, it’s something that I just haven’t thought about doing yet. I’m having too much fun right now. There are other professional groups I’d love to work with, like Nashville Children’s Theatre, but I can’t swing their daytime rehearsal schedules, because I have to continue to work my day job. So, I stick with community theatre, and live my fantasy life on stage at night and on the weekends. I’m having a tremendous amount of fun, and I’m excited to see what the next five years will hold.

AUDELCO Awards update

AUDELCO ANNOUNCES CO-CHAIRPERSONS AND CO-HOSTS

ALONG WITH 2010-2011 VIVIAN ROBINSON/AUDELCO AWARDS NOMINEES

New York, NY (October 18) - Audelco (Audience Development Committee, Inc.) announces the nominees for the 2010-2011 Vivian Robinson/Audelco Recognition Awards for Excellence In Black Theatre.

Audelco was established in 1973 by Vivian Robinson, to generate more recognition, understanding and awareness of the arts in African-American communities; to provide better public relations and to build new audiences for non-profit theatre and dance companies.

For the past 39 years Audelco has promoted and celebrated African-American involvement in American Theatre. The Vivian Robinson/Audelco Awards known as the “VIV”, has become the pre-eminent recognition for African-American Theatre Artists.

The Academy Award nominated actor Samuel L. Jackson (currently starring in The Mountaintop, on Broadway) and his wife, the prolific performer (Sleepless InSeattle, Malcom X) LaTanya Richardson Jackson are serving as Honorary Co-Chairpersons. The Obie and Drama-Logue Award winning actress, singer and director Hattie Winston along with her husband, Tony nominated and Drama Desk Award winner Harold Wheeler (currently the Director/ orchestrator for the ABC hit Dancing With the Stars) will be this year’s Co-Chairpersons. Both Mr. Jackson and Miss Winston are previous Audelco Award winners. Also, NY-1 Anchor Cheryl Wills and Co founder of the Tony and Peabody award winning Def Poetry Jam Danny Simmons will be the Co-Hosts for the event.

This year's Rising Star Award will go to Eden Sanaa Duncan-Smith, who at age 11, made her Broadway debut as the character Raynell Maxon in 2010 Tony award winning revival of August Wilson’s Fences featuring Denzel Washington and Viola Davis, She is now Young Nala in Disney’s Broadway production of Lion King.

This year’s awards will be held on Monday, November 14, 2011, 6:30pm, at theHarlem Stage/Aaron Davis Hall, Inc., 133rd Street and Convent Avenue.

The 2010-2011 VIV Award Nominees are:

LIGHTING DESIGN Avan (Brothers from the Bottom) James Carter (The Shaneequa Chronicles) Jeff Croiter (By the Way, Meet Vera Stark) Shirley Prendergast (Knock Me a Kiss) Scott Stauffer (A Free Man of Color) Colin D. Young (Henry V)

SET DESIGN Felix Cochren (The Right Reverend Dupree in Exile) Felix Cochren (The Legend of Buster Neal) Chris Cumberbatch (The Shaneequa Chronicles) Anthony Davidson (Knock Me a Kiss) Neil Patel (By the Way, Meet Vera Stark)

COSTUME DESIGN Rachel Dozier-Ezell (Henry V) Esosa (By the way, Meet Vera Stark) Ann Hould –Ward (A Free Man of Color ) Helen Simmons-Collen (The Right Reverend Dupree in Exile) Ali Turns (Knock Me a Kiss) David Withrow (Antony & Cleopatra)

SOUND DESIGN John Gromeda (By the Way, Meet Vera Stark) Patricia Ju (Henry V) Sean O’Halloran (Cool Blues) Bill Toles (Knock Me a Kiss) Bert Price (The Shaneequa Chronicles) David D. Wright (Antony & Cleopatra)

DIRECTOR/DRAMATIC PRODUCTION Jackie Alexander (The Legend of Buster Neal) Jackie Alexander (The Right Reverend Dupree in Exile) Jo Bonney (By the Way, Meet Vera Stark) Thomas Kail (When I Come to Die) Petronia Paley (Antony & Cleopatra) Chuck Smith (Knock Me a Kiss)

DIRECTOR/MUSICAL PRODUCTION Daniel Beaty (Tearing Down the Walls) Lee Kirk (The Widow and Miss Mamie) Lorna Littleway (Juneteenth Blues Cabaret) Alfred Preisser (It Ain’t Nothin’ But the Blues) Ronald Wyche (Do Wop Love)

CHOREOGRAPHER Hope Clarke (A Free man of Color) Leslie Dockery (The Shaneequa Chronicles) Dell Howlett (Tearing Down the Wall) Tracy Jack (It Ain’t Nothin’ But the Blues) Michelle M. Robinson (Do Wop Love)

PLAYWRIGHT Jackie Alexander (The Legend of Buster Neal) Nathan Louis Jackson (When I Come to Die) Lynn Nottage (By the Way, Meet vera Stark) Roger Parris (Nobody Knew Where They Was) Charles Smith (Knock Me a Kiss)

SUPPORTING ACTOR Daniel Breaker (By the Way, Meet Vera Stark) Andre Holland (The Whipping Man) Morocco Omari (Knock Me a Kiss) Sean Phillips (Knock Me a Kiss) Jay Ward (Cool Blues)

SUPPORTING ACTRESS Gillian Glasco (Knock Me a Kiss) Kimberly Hebert Gregory (By the Way, Meet Vera Stark) Marie Thomas (Knock Me a Kiss) Amanda Mason Warren (When I Come to Die)

OUTSTANDING PERFORMANCE IN A MUSICAL – FEMALE Marvel Allen (The Widow and Miss Mamie) Dameka Hayes (It Ain’t Nothin’ But the Blues) Jannie Jones (Juneteenth Blues Cabaret) Adrienne C. Moore (Tearing Down the Wall) Toni Seawright (The Widow and Miss Mamie)

OUTSTANDING PERFORMANCE IN A MUSICAL – MALE Gerald Latham (It Ain’t Nothin’ But the Blues) Jevon McFerrin (Tearing Down the Wall) Tommie Thompson (The Widow and Miss Mamie)

OUTSTANDING MUSICAL DIRECTOR Jeffrey Bolding (It Ain’t Nothin’ But the Blues) Ron Granger (The Widow and Miss Mamie) Charles Mack (Tearing Down the Wall) Bert Price (Do Wop Love) Ivan Thomas (Juneteenth Blues Cabaret)

MUSICAL PRODUCTION OF THE YEAR Do Wop Love (National Black Theatre) It Ain’t Nothin’ But the Blues (New Haarlem Arts Theatre) Juneteenth Blues Cabaret (Juneteenth Legacy Theatre) Tearing Down the Wall (New Heritage Theatre Group) The Widow and Miss Mamie (Lee Kirk Productions)

OUTSTANDING ENSEMBLE PERFORMANCE Accept “Except” (National Black Theatre) Born Bad (Soho Rep) Do Wop Love (National Black Theatre) Playing with Heiner Muller (Castillo Theatre) The Legend of Buster Neal (Billie Holiday Theatre)

SOLO PERFORMANCE Stephanie Berry (The Shaneequa Chronicles) Miche Braden (The Devil’s Music: The Life and Blues of Bessie Smith) Cheryl Howard (The Sensational Josephine Baker) Nilaja Sun (No Child) LEAD ACTOR Andre Braugher (The Whipping Man) Chris Chalk (When I Come to Die) Andre De Shields (Knock Me a Kiss) Ty Jones (Henry V) Ralph McCain (The Right Reverend Dupree in Exile) Marcus Naylor (Cool Blues)

LEAD ACTRESS Debra Ann Byrd (Antony & Cleopatra) Erin Cherry (Knock Me a Kiss) Terria Joseph (Cool Blues) Sanaa Lathan (By the Way, Meet Vera Stark) Kimberlee Monroe (Nobody Knew they Was)

DRAMATIC PRODUCTION OF THE YEAR Antony & Cleopatra (Take Wind And Soar Productions) By the Way, Meet Vera Stark (2nd Stage) Knock Me a Kiss (New Federal Theatre/Legacy Creative Arts Co.) The Legend of Buster Neal (Billie Holiday Theatre) When I Come to Die (Lincoln Center Theatre)

The 39th Annual Vivian Robinson/AUDELCO Recognition Awards For Excellence in Black Theatre will take place on Monday, November 14, 2011 at the HarlemStage/ Aaron Davis Hall, 133rd Street & Convent Avenue, New York City. Tickets are on sale now ($150 orchestra, $75 mezzanine and $35 balcony) If you would like to attend, call now for tickets (212) 368- GENERATIONS Awards Presentation 6:30 pm Gala Reception 10:00 pm - 11:00 pm Location: HarlemStage/ Aaron Davis Hall, Inc 133RD STREET & CONVENT AVENUE, NEW YORK CITY

Dr. Henry D. Miller speaks at Bunche Center Authors' Series Friday, October 14th (UCLA)

Presents

DR. HENRY D. MILLER

Director / Playwright

FRIDAY, OCTOBER 14, 2011

Library and Media Center – Haines Hall

12 Noon – 1:00 PM

Dr. Henry D. Miller’s book, Theorizing Black Theatre: Art Versus Protest in Critical Writings, 1898-1965, is his latest literary work. His collection of one-act plays, Songs of the One-Act Muse, and his full-length play, My Brother’s Keeper have been published by the Alexander Street Press and made available on CD Rom as part of the Black Drama Anthology. Miller is a veteran of the 1960s and 1970s black theatre movement. A director and playwright, he has written broadly about American theatre. The rich history of African-American theatre has often been overlooked, both in theoretical discourse and in practice. This volume seeks a critical engagement with black theatre artists and theorists of the twentieth century. It reveals a comprehensive view of the Art or Propaganda debate that dominated twentieth century African-American dramatic theory. Among others, this text addresses the writings of Langston Hughes, W.E.B. DuBois, Lorraine Hansberry, Amiri Baraka, Sidney Poitier, and August Wilson. Of particular note is the manner in which black theory collides or intersects with canonical theorists, including Aristotle, Keats, Ibsen, Nietzsche, Shaw, and O'Neill. All-day parking ($11) and short-term parking (payable at pay stations) are available in Lots 2, 3 and 4 (enter the campus at Hilgard and Westholme avenues). For more information, call 310-206-8267 or click the post's title for more information.

CROWNS auditions (Nashville)

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Call for Plays

Need African American writers (Hollywood)

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Date: 2011-10-15, 9:18PM PDT
Reply to: gigs-c42fb-2652187559@craigslist.org ^{[Errors when replying to ads?]}

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Interested in having the 1st ten pages of your sample script read aloud by actors in front of a crowd? We are looking for aspiring and established African American and other minority screenplay writers to take part in our cold reading session Sunday 10/23. As a result we've run out of material for our hungry actors. Casting is done on the spot. Then your work will be given a cold read. This is a great opportunity to network with other African American filmmakers

• Location: Hollywood
• it's NOT ok to contact this poster with services or other commercial interests
• Compensation: no pay

PostingID: 2652187559

Red Harlem Readers

Mark Clayton Southers' NINE DAYS IN THE SUN this Monday, 10/17 (Nashville)

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DC Copeland's ONCE UPON A TIME IN HARLEM: A JITTERBUG ROMANCE will premiere at the National Black Theatre

DC Copeland's award-winning "Once Upon A Time In Harlem: A Jitterbug Romance" will have the premiere of the "radio" reading version of the full-length play at the National Black Theatre (NBT) in January 2012 in Harlem. The NBT is the country's first revenue-generating black theater arts complex and in 2012 will be celebrating 44 years "keeping soul alive."

"It's exciting and an honor to premiere my work at this legendary and important theatre," Copeland said. "Its prime directive from the get-go was to empower playwrights to tell the often overlooked African American story. 'Once Upon A Time In Harlem: A Jitterbug Romance' couldn't be a more fitting, uplifting, choice. I know my director Petronia Paley will do it right."

The production will include music and dancers from The Harlem Swing Dance Society.

To learn more, please click the post's title.

Mark Clayton Southers' NINE DAYS IN THE SUN this Monday, 9/17 (Nashville)

As we move into a new election year, there are things that need to be said.

See below.

Come to Nashville & Go to the Theatre!

Jaz Dorsey

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Red Harlem Readers

Artlightenment 2011 Film Fest seeking films (10/25 deadline)

Artlightenment 2011 A Film Festival about Art, Artists and the Art of Existence.

Please email me at robynmorshead@gmail.com if you are a filmmaker and would like to be considered for Artlightenment 2011.

You can also submit online at www.artlightenment.com film submission page.

Participating artists have been able to attend workshops from other artists successful in their fields at the festival. Artlightenment was started in 2009 as a visual Arts Festival featuring paintings and sculptures. The idea has always been to elevate the artist and make them more successful as artists through participation in this event.

And this year we have added to this line-up of workshops.

In 2011 a Film Festival has been added because I see the importance of film

in the promotion of all the arts.

I want this festival to help encourage collaboration between the different art fields.

The films should be about art, artists and the art of existence.

There will be an Artlightenment award for the Best Film as well as best fiction

and non-fiction films.

JURY PROCESS

ALL FEES FOR WATKINS STUDENTS WAIVED!

There is a $10 jury fee.

Please use the payment tab or mail a check to

ARTLIGHTENMENT

4976 Tulip Grove Lane

Hermitage TN 37076

Please email robynmorshead@gmail.com or call Robyn Morshead

(615) 668-0169 if you need help in any way.

If you are juried into the show the participation cost will be an additional $40

SUBMISSIONS and ACCEPTANCE into FESTIVAL

The submission deadline for film entries is October 25, 2011.

All filmmakers will be informed by October 29, 2011.

As a rule films need to be up to 10 minutes long and should be suitable for

a younger audience.

Longer films could be accepted too but I would like to give as

many opportunities to filmmakers particularly in Nashville.

You can enter a link to your video online below for the jury process

or mail a DVD clearly marked with your contact info to

ARTLIGHTENMENT

4976 Tulip Grove

Hermitage TN 37076

The projection equipment is 1920 by 1080 Resolution.

DVDs or Blue Rays are acceptable.

It has a high light output and excellent sound.

The quality of your DVD is very important and all DVDs will be tested prior to

the festival.

The space seats 180 people.

If you have more than one film please submit.

The jury reserves the right to only accept one film but exceptions could be made.

If your film is accepted by the Jury a DVD will need to be mailed by Oct 25

to be part of the festival. (The DVD needs to work in the projection system so

try to get your films in asap to give time to fix your dvd if needed)

FILM SHOWINGS

There will be two showings:

Thursday November 10, Group A

6.30 to 9.30pm

and Friday November 11, Group B

6.30 to 9.30pm

The films will also be played throughout the Art and Film Festival from

10am Sat Nov 12 till 9pm and Sunday Nov 13, 10 till 6pm in a 20 seater film room.

ART OPENING AND AWARDS

The Art opening will on Sat Nov 12 from 6 to 9 pm.

There will be an recognition awards ceremony that evening for the Best Film

and Art and various other categories/genres too.

WORKSHOPS and SEMINARS

There will be workshops to attend on Saturday and Sunday.

This year they are more geared to painters and sculptors but there will be one

film seminar.

FREE TICKETS

Every person who submits work to the Jury for the Film Festival showings

and Art event will be given free tickets to attend the Film Showings,

Art Opening and Awards Ceremony and artist workshops.

You do not have to be accepted into the Film Festival to get free tickets.

VENUE

The Film and Art Festival will be held at

The Church of Scientology and Celebrity Center

1130 8th Avenue South

Nashville TN 37203

Any filmmaker is welcome to see the venue and the film room prior to participation.

We are really looking forward to receiving your entries.

Thank you,

Robyn Morshead

(615)668-0169

robynmorshead@gmail.com

(615)668-0169 Cell
(615)225-2144 FAX

Please click post's title to visit Artligtenment website.

The 486 Club- A New Theatre Initiative at the August Wilson Center for African American Culture (Pittsburgh)

Please click to enlarge.

To learn more, please click the post's title.

AAPEX Very Short Halloween Play Contest Winner: Dr. Mary Weems

I'm pleased to announce that playwright Dr. Mary E. Weems has won our first Very Short Halloween Play Contest. By "Very Short," I mean a one-pager or less. You can read it below. Thanks to all who entered.

Jaz Dorsey

Get Ghost!

Mary E.Weems, Ph.D.

Characters:

Grim Reaper: Young Black male, 13 years old

Jamie: Young Black male, 13 years old

(Setting: Inner City Street. Halloween Night—Today)

(Young man walks out slowly wearing a long sheet w/holes cut out for eyes and mouth).

Jamie: Whoooooooo!!!!! Whooooooooo!!!!! Boooooooooo!!!!!!! (Notices audience).

This is my favorite time-a year, just before it gets cold, before report cards come out, before baby sister gets home from her daddy’s house.

(Grim Reaper runs across stage behind Jamie screaming. Jamie jumps, runs almost to edge of stage).

Jamie: What the—Oh Huh, bet you thought that scared me hunh? Hell naw—I just turned thirteen and mama said I’m a young man now. We did this ritual where she told me the story of my great-great grandfather—how he was a slave long time ago but didn’t last long cause the first time he was sent off the Plantation he was stopped by some stranger white folks lookin’ for a runaway slave. They tried to get him to tell on his friend Joe who was tryin’ to come what mama calls up North, but my great-great wouldn’t even give his own name. Joe heard everything cause they’d just been walkin’ together. He cried while he watched them beat my great-great grandfather senseless. Watched them drag him away. After that he run off but stopped long enough to tell another slave what happened. Mama said nobody saw her great-grandfather any more—It was Halloween that night too, mama said a full moon was out. Next morning great grandman swore until she died that she saw that old straw hat he used to wear layin’ on the ground in front of the big house door.

(Reaper walks across the stage carrying the hat in front of him while the boy turns)

Jamie: Hey! Wait a minute! Whose hat is that, wait!

Reaper; What do you want? It’s Halloween, I’m workin’ here—you know the scare business is big around here and it’s almost midnight—

Jamie: What you doin’ in this neighborhood?

Reaper: What you mean? Didn’t I just tell you I’m in the scare business? What are you doin’ dressed like a homeless ghost? Hmmmmm?

Jamie: Is that supposed to be funny?

Reaper: Nooooooooooooooooooooooo!!! (Shakes his shaft) It’s not, I’m not into comedy.

Jamie: And I’m not into costumes—Long time ago I went out on a night just like this. Mama thought I was going out with my friends Kenny, Johnny and Billy. They lived right down this street. When I went by their house they were already gone. It was raining hard that night, but I saw them a few blocks ahead on the other side of the street. I started to run. I hollered hey ya’ll wait up—and

Reaper: And?

Jamie: I slipped on the street, got ran over by a taxicab.

Reaper: What you mean?

Jamie: I mean I’m not into costumes---this don’t come off, get it? Now, get Ghost!

(Stage goes to Black)

(Spotlight. Straw hat sits upstage center)

The End

Red Harlem Readers