A Note to AAPEX Artists

When I first started AAPEX, I had no clue what I was doing or getting into. Honestly, I thought it would, like many good ideas, spark and fizzle and fade away.

We are now entering our 6th year. We have produced so many events in New York - thanks largely to Liliane Klein and The Players Club - that I have lost track. We have no board of directors and we have no funding. I have to repeat this - no funding. Our New York events routinely play to packed houses and from time to time get standing ovations. People do wonder how I do this and it's just because I have paid my dues in New York over the past 22 years and because I love, respect and - most of all - enjoy my wonderful brilliant and talented New York friends, so when I send someone a script, I only send the best. In fact, my primary theorem of theatre is: give a great actress a great role and get the fuck out of her way. It never fails.

Starting last fall, AAPEX entered into a partnership with Carolyn German and the Metro Parks Theatre Department and is now the producing arm of that department's New Play Reading Series. The first two readings were AAPEX authors - in fact, Mark Clayton Southers of the August Wilson Center in Pittsburgh drove down from Pa. the day of the reading of his play NINE DAYS IN THE SUN. The second two scripts were not in any sense African American, but AAPEX isn't just about scripts - it's also about the African American theatrical sensibility, which is grounded in struggle, in a fierce need to establish ground without the tools of privilege. It seems perfectly reasonable to me that the next generation of leadership in the American Theatre should and must come from these citizen artists who have harnessed the power of the theatre for it's most profound purposes.

My immediate strategy for this reading series is to balance AAPEX scripts and new musicals by Nashville songwriters.

To date, AAPEX has been represented by Hershell Norwood (BILLIE' BLUES) and Mark Clayton Southers.

Nashville songwriters have been represented by the team of Steve Leslie & Len Cohen (UMBRELLA) and Dr. Jamie Cutler (ANGELS WITHOUT WINGS).

This coming Monday, we expand our diversity platform with a reading of THE WAY OF WATER by Caridad Svich, in partnership with her organization NoPassport . The May reading will be of IT'S A RUFF LIFE - a musical about dogs by Jesse Goldberg & Gene Levine - two Nashville songwriters who belong to an interesting side of the local scene, being as they are two nice Jewish boys from New York City.

As I stop for a moment to assess exactly what is going on and where we go from here with this network, I have to chalk these first five years up to research - which has included reading more scripts than I can count, endless dialogues with all of you, with producers, artistic directors and with audience members and offering the best advice and support that I can. I have been aided immeasurably in this by our man in Miami, Dave Copeland - who created and has tirelessly edited the AAPEX blog - and that blog has become one of the most respected communications of it's kind because Dave and I are dedicated to making sure that what we post is not the same redundant crap that you see so many places. Dave's 18 years as Director of Marketing, Promotions and Publicity for Warner Brothers Studios in Florida makes him an ally who is profoundly deserving of your appreciation - and I might point out that both Dave and I do all that we do for free.

From time to time I toy with the idea of setting myself up as an "agent" - but I just can't do it. I'm a dramaturg. It's the mission that God gave me and anything an "agent" can do, I can do just as well. And where are you going to find an agent who's going to showcase your work?

The other day a query went out on the LMDA listserve re: whether "Black" playwrights are still being paid less than "White" playwrights. It's actually a strange question because any playwright can join the Dramatists Guild and take advantage of their standard contract - and if you know that you are getting a play produced, then for grief's sake, join the Guild. Two AAPEX writers who actually got plays produced completely ignored this advice and they both got screwed - royally screwed. The Dramatists Guild is there to advise and guide and in some sense protect you. The membership fee is considerably less than I have seen these two writers spend on lawyers over the past couple of years.

But if the real question is, are black playwrights determined to get their work out there regardless of financial considerations, the answer is yes. Do they have time to wait for grants that will never come. No. Are they looking for permission. Hardly. There is still a radical fire burning in our souls that was kindled in the 1960s and that has been continually fueled by living in a society where some folks think their job is to get in other folks' way. Whoever you are, you are not the boss of me.

I look forward to talking with those of you who are interested in participating in the Metro Nashville Parks Theatre Department's New Play Reading Series and I also count on you to help me promote this series as widely as possible so that having this on your resume brings with it the merit that it deserves, both for the artists and the producers.

Jaz Dorsey

Me and My Old Voice: A short film by Peter Neff

Be sure to call 615-915-0891 or email jazman47@aol.com for tickets to Monday's reading of Hershell Norwood's Billie's Blues in Nashville. For audiences 18 and over due to mature content.

Hershell Norwood's BILLIE'S BLUES opens Monday 9/19 (Nashville)

Please click images to enlarge.

Hershell Norwood's BILLIE'S BLUES opens Monday 9/19 (Nashville)

The Flip Side to BILLIE'S BLUES by Hershell Norwood

The Flip Side

In 1939, Billie Holiday cut a record.

It was a record whose significance we may only, just now, be able to put into proper historical perspective. It heralded the beginning of revolution on more than one front.

On one side was STRANGE FRUIT written by a Jewish activist named Abel Meeropol, who was "better known as" Lewis Allen. STRANGE FRUIT would quickly become Holiday's signature song, the song with which she closed many of her shows (when she was allowed to sing it). The song after which there was never an encore. The song which was recognized as the Best Song of the Century by Time Magazine in 1999.

On the flip side was FINE AND MELLOW, written by Billie Holiday.

STRANGE FRUIT made Billie Holiday famous at the time. If she walked into a room today and sang the song I'm sure she would become as much a sensation in our time as she was in her own, because there is no other song like STRANGE FRUIT and, I'm sure, no musical experience that would equal her performance of this particular song.

Enter Barney Josephson, a Jewish shoe salesman from Trenton, New Jersey and a great champion of Jazz and African American musicians. In 1938, Josephson opened the first integrated night club in the United States - CAFE SOCIETY: THE WRONG PLACE FOR THE RIGHT PEOPLE, where Billie Holiday began singing STRANGE FRUIT.

The world wanted Billie to record STRANGE FRUIT, but Columbia, who held her contract, was afraid of the song and refused to record it. John Hammond, who was her agent at Columbia, didn't think the song was for her, but he grew to see things differently, though he always felt that in some ways STRANGE FRUIT did damage to Holiday's career.

Enter Milton Gabler, a Harlem born Jewish fellow with a great love of jazz, who founded his own recording company on 42nd St - Commodore Records. Gabler became the champion of the song and of Holiday when he offered to record STRANGE FRUIT in 1939. Columbia agreed to release Holiday from her contract obligations so that the recording could be made.

This was the old days. It was a 78 speed vynal disk with just one cut on each side. So they needed something for the flip side.

Billie may be best known as a singer, but she's just as important as a songwriter, and Billie had a song and that song was FINE AND MELLOW.

FINE AND MELLOW was the complete antithesis of STRANGE FRUIT - one of those kind of scary co-dependant torch songs of the era that advocate that it is better to date a cad than to not date at all - but that's really fun to sing and play - and that audiences love. So FINE AND MELLOW went on the flip side of STRANGE FRUIT.

At first it didn't matter. For those of us who grew up with 45s, I'm sure you remember that you bought a song for the hit cut but that didn't mean you ever played the flip side - until one day, for whatever reason, you did listen to the unheard cut and asked your self - "WHY did I never listen to THAT song?"

Meanwhile, back at the recording studio, Milt Gabler did something extraordinary: He copyrighted FINE AND MELLOW. And he copywrighted it in Billie Holiday's name. If standard business practices had been followed, as the producer, he would normally have copywritten the song under his own name or the Commodore label. But Gabler was one of a handful of whose ethics and mission seem to have been rooted in the true spirit of the Constitution, and he, Josephson and Meeropol are outstanding examples of the Jewish contribution to American jazz and the road to integration and the unlearning of racism in our country.

Which makes history - because in the early phases of the recording industry, songwriters sold the songs (i.e. ownership/copyright) to the recording companies. As a general business practice, it would not have occurred to a songwriter to snag a copyright. So, by ipso or facto, Billie Holiday scored a hit with FINE AND MELLOW that represents a very avant garde moment in the history of the BUSINESS of songwriting. And this is how it happened:

Somewhere someone discovered FINE AND MELLOW in a way that somehow did not reflect the association with Billie Holiday and a recording was made by Decca featuring Alberta Hunter.

Eventually, of course, Holiday got wind of this and she stepped forward with her copyright. Billie got money for the Alberta Hunter recording.

But it wasn't just Billie Holiday who stepped forward - it was the people around her - Barney Josephson, Milton Gabler, John Hammond and countless others - her extended "professional entourage" if you will - establishing Holiday as a force whose talent, magnetism and contribution to our history extend far beyond the nightclub stage and the recording studio.

And the moral is - Listen to the flip side.

BILLIE'S BLUES - a new play about Billie Holiday, Strange Fruit and Fine & Mellow by Hershell Norwood. For a review copy of the script, contact:

Jaz Dorsey
Dramaturg
The African American Playwrights Exchange
Nashville, Tennessee
www.africanamericanplaywrightsexchange.blogspot.com

Jazmn47
jazmn47@aol.com

For those who haven't heard Strange Fruit, here it is:

Hershell Norwood's BILLIE'S BLUES opens 9/19 (Nashville)

Billie Holiday's voice was the St. George that slew the dragon of segregation in the US, and the horse she rode in on was Barney Josephson, a Jewish shoe salesman from Trenton, New Jersey, who had a passion for jazz.

In December 1938, Josephson opened a club in Greenwich Village called CAFE SOCIETY - irreverently known as "The Wrong Place for the Right People." CAFE SOCIETY was the first integrated night club in the United States - in fact, it may be the first and most profound example of integration in our country - and it was certainly a testament to the power of music, because jazz was the first thing to bring the races together in this country - in a good way!

Playwright Hershell Norwood has written a new play about Billie Holiday - BILLIE'S BLUES - which focuses on this particular moment in our history, a moment when Billie's mother could go to hear her sing and when Billie and her band could step off the stage and sit at a table having drinks with white folks.

On Monday, September 19, The African American Playwrights' Exchange, in partnership with Metro Nashville Parks Theatre Department's New Play Reading Series, invites you to join us at The Looby Theatre at 2301 Rosa Parks Blvd.37228 for a Nashville reading of BILLIE'S BLUES, directed by Courtney McClellan and starring Vilia Steele, Dara Talibah, Jonah Kraut, Max Desir, Dominique Howse and Julie Ness, with special guest artists Perlie Dunn and Elan Crawford, and hosted by Helen "Olaketi" Shute-Pettaway. Dr. Jamie Cutler will costume.

AAPEX is honored that BILLIE'S BLUES is serving as the kick off of the brand new "Play Reading Series" through Metro Nashville Parks' Theater Department.

"We would like to offer one new play reading each month," says Carolyn German, who heads up the Theater Department, and who started the program, "because readings are so vital to the process and it's a great way to share the process with the community."

The reading is free to the public. Reservations may be made at jazmn47@aol.com or by phone at 615-915-0891.

AAPEX Update: Norwood's BILLIE'S BLUES opens 9/19 Nashville's MPD of Theatre's New Play Reading Series

Hershell Norwood

AAPEX has been invited to kick-off the Nashville Metro Parks Department of Theatre's New Play Reading Series with our reading of Billie's Blues-- Hershell Norwood's new play about Billie Holiday.

September 19, 2011

7PM

Looby Theatre

Featuring a cast of Nashville's finest actors -

Villia Steele, Dara Talibah, Jonah Kraut, Max Desire, Dominique Howse

and introducing Julie Ness.

Special guest artist Perlie Dunn as Bessie Smith.

Narration by Elan Crawford.

Directed by Jaz Dorsey.

Due to some spicy language, this event is recommended for folks 18 and older.

If you can't make the reading but would be interested in reading the script,

contact Jaz Dorsey at jazmn47@aol. com or by phone at 615-915-0891.

Come to Nashville and Go to the Theatre!

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

AAPEX Invites you... (Nashville)

AAPEX invites you to see some VERY talented actors on the stage of the Bishop Joseph Johnson Black Cultural Center/Vanderbilt University on Monday, Feb 21  at 7:30 pm when we present EVERYTHING HAPPENS TO ME: A Literary Cabaret.  America as seen through the lives of four legendary performers - Hattie McDaniel, Paul Robeson, Lorraine Hansberry and Billie Holiday, with excerpts from 2 new plays by AAPEX award winner Hershell Norwood.

"My talent was the weapon, the power, the way for me to fight. It was the one way I might hope to affect a man's thinking."

Sammy Davis, jr

Our amazing cast includes 

Helen "Olaketi" Shute-Pettaway & Dr. Dara Talibah

Kenneth Dozier & Shawn Whitsell

Max Desire & Shelena Walden

Vilia Steele & Courtney McClellan

Molly Breen & Special Guest Musician Mr. Bob Teague

Some things just can't be ignored. Talent is one of them.

For reservations, call Jaz Dorsey at             615-915-0891      

Come to Nashville and Go to the Theatre.

For more information or to reserve a seat, contact

Jaz Dorsey

Dramaturg/Director of Education

The African American Playwrights Exchange

Nashville, Tennessee

Ladies with the Blues opening 2/4 (Portland,OR)

Please click image to enlarge.

Please click post's title to go to ETHOS/IFCC website.

AAPEX Interview: Charles Rule

Charles Rule

Interview by Jaz Dorsey, Director of Education, The African American Playwrights Exchange

Charlie Rule of Portland, Oregon, exemplifies the spirit in which AAPEX was founded. A playwright himself, Charlie has taken on the mission of moving the work of another AAPEX writer forward.

BILLIE' BLUES TONIGHT AT MAMA'S JAM, by AAPEX artist Hershell Norwood, is a new play about legendary blues singer Billie Holiday. BILLIE'S BLUES was the first play to receive an AAPEX staged reading at NYC's Players Club in March, 2008. Following that reading, the script was picked up by producer T. Bankole and presented at The Cherry Lane Theatre as part of the 2008 Downtown Urban Theatre Festival.

Now Charlie is preparing BILLIE'S BLUES for three staged readings, January 22, 28 & 29, as part of Portland's Fertile Ground Festival.

I asked Charlie to tell us something about himself. Here is what he had to say:

It began at R.L. Sabin grade school in Portland Oregon. Fourth grade. It was election time for school offices. I picked Fire Marshal. Figured it would be the easiest job. Living in a foster home often diminishes self worth as one discovers no one really wants you.
The moment little Charlie placed his foot on the stage, magic ran through him. I still feel that moment. Looking warily at the students I announced, "I don't really want to be a Fire Marshall. I just like standing up in front of people and talking." Never got the job.

If you had two legs and walked, I could imitate you. Got into a lot of trouble doing that. English teacher, Mr. Louis Maxfield, Waldport Oregon, steps into the picture. Catches me imitating him in the class. Gives me two choices. Copy out of the dictionary for two weeks every night after school, or be in the high school play. I realize there are girls in plays. A scholarship as a student understudy to the Oregon Shakespeare Festival in Ashland, finalizes my lust for standing up in front of people and blabbering away.

Through several misadventures I end up in San Francisco. Mentored by Larry Menkin (Screen writer), find myself not only acting, but directing as well. Meet Tennessee Williams, am allowed to sit in on rehearsals as Mr. Williams re-works "Two-Character Play". This takes me to Amsterdam, the Netherlands. From there to Vienna and the International Theatre. Worked as an actor, directed and taught workshops. Following that, found myself returning to Portland.

Begin working on a script about a slave who bought his freedom by playing the fiddle. Through AAPEX and a fellow I have come to know as Jazmn, received a script by Hershell Norwood. Being a Jazz fanatic, fell in love with the story.

Thanks to AAPEX and Jazmn, am producing/directing Mr. Norwood's "Billie's Blues-Tonight at Mama's Jam". Should you be out this way or are already here, start the New Year off by seeing this play. If you haven't been bitten by the lust for standing up in front of people and blabbering away, you might well be after seeing this show.

Charles Rule

To see a video trailer Mr. Rule made for the production, please click here.

Please click here to visit Fertile Ground website.

AAPEX Writer Norwood's BILLIE'S BLUES to Raise Funds for Barak 10/18 (NYC)

Dear People,
Please come ready for an exciting night of live performances, great wine and good people. The silent auction will start as soon as the event begins. We are looking forward to seeing you, and supporting Barack Obama in his quest for the President of the United Sates, while promoting Hershell Norwoods' play, Billie's Blues.
Smile & laugh often,
Bankolé

Press Release

York, NY, October 1, 2008 -- On October 18th, 2008, Rush Philanthropic Arts Foundation and Nkiru watches will host a silent auction fundraiser of its prestigious timepieces in the Danny Simmons' Corridor Gallery to benefit playwright Hershell Norwoods' play Billie's Blues. The benefit, entitled "Time on Our Hands," is named after a Billie Holiday song, and will raise funds for the new play "Billie's Blues," written by playwright Hershell Norwood. The play tells the story of the legendary artist's interpersonal struggles and shows the viewer a place filled with frustration and fear, mixed with musical elements that foster possibilities and joy. Her art became her life, and this play will give the audience a true sense of her experiences. "Billie's Blues" is produced by Mugendai Entertainment, a production company based in New York City, and directed by co-founder Bankolé.The event hosted by "Billie's Blues'" producer Jackie Jeffries and director Bankolé, on October 18th will be from 7 p.m. to 10 p.m. at the Danny Simmons' Corridor Gallery located at 334 Grand St, Brooklyn NY. Billie Holiday songs will be performed by Celiné Justice, who stars as Billie Holiday in the play. Danny Simmons, himself a bigsupporter of Bankolé, and an owner of an Nkiru timepiece, invites the public to participate in the festivities and good spirits of the night. A percentage of the proceeds will go to the Rush Philanthropic Arts Foundation (http://www.rushphilanthropic.org/) and to The Barak Obama campaign.

Contact: Nina Ziefvert
The Corridor Gallery
718.230.5002

Stephanie Williams(To RSVP)
stephanie@mugendaifilms.com
1-347-564-2359

AAPEX Writers Open And Close Downtown Urban Theater Fest 6/18-29 (NYC)

Click Images to Enlarge.

Jamal Williams' OSAGE AVENUE and Hershell Norwood's BILLIE'S BLUES open and close the Downtown Urban Theater Festival June 18-29th at the Cherry Lane Theater in NYC. Congratulations, Jamal and Hershell! For more information, click here.

Hershell Norwood's BILLIE'S BLUES 4/18 (NYC)

Click image to Enlarge.

AAPEX Presents BILLIE'S BLUES 3/19 (NYC)

Below are the bios of the actors who will be reading

Hershell Norwood's

BILLIE'S BLUES TONIGHT

AT MAMA'S JAM

at the

Players Club

16 Gramercy Park South

at

1 pm on Wednesday, March 19.

The reading is free, so please join us!


Hershell Norwood (playwright) has an M.F.A in acting from Brandeis and is currently working to complete doctoral degree in history/theory and acting/directing from Texas Tech University. His interests feature playwriting and developing a Black Aesthetic Theory for theatre. He spent growing years in the metropolitan New York and New England areas and currently resides with his wife and grand children in Coeur d’Alene, Idaho.

Thierry Saintine, (director) recipient of a BA in Theatre and Speech from City College, author of My Heart's Talking (book of poetry) which won him the Lowell Fellowship Award, Diamond Lovers (screenplay) and BitterSoul (stage play), Mr. Saintine is currently pre-producing Diamond Lovers which will begin production this summer under his newly founded Struglife Productions.

Juliette Fairley was discovered by Spike Lee in 2007 when she was hired to play a principal role in Mayor of New York (M.O.N.Y), a TV pilot commissioned by NBC in March 2007, produced by Tom Fontana with Barry Levinson (Oz, The Jury). Prior to booking her breakthrough role, Juliette hosted Cha Ching Money Makers, a tv show that aired on the Discovery Channel. She played a principal role in a re-enactment Segment for A&E TV's Watching the Detectives, airing in April 2008 and appears in a McDonald's TV commercial on Spanish television. Miss Fairley recently wrapped a lead role in the stage play Mulatto's Dilemma, which was a semi finalist in the 2008 Strawberry One Act Festival. View press clippings and her show reels at http://www.juliettefairley.info/ and at http://www.imdb.com/.

Ken Dashow (Jack Hearald) is a fish-monger from Brooklyn who has actually fooled people into letting him act, write, and direct His play, “The Wingding Doodle Club,” is in discussions for an Off-B’way run after its successful debut at the N.Y. Fringe Festival. Ken can be heard each afternoon, 4-8 PM, on Q104.3, “New York’s Classic Rock,” where he practices his day job of spinning mounds of sounds platters-that-matter. You can also find-out other junk about him at http://www.dashow.com/, and http://www.q1043.com/.

Zeretha Jenkins (Mama Sadie) Multi-talented as an actress, author/playwright and producer, Zeretha Jenkins has acted in TV, film and theatrical projects including: American Adoption, Who’s the Man, NYPD Blue, Law and Order, The Rape of Leila Meshki, Dancin’ on Moonlight; and various commercials/videos: Dove’s Fresh Take with Alicia Keys; I Apologize with Anita Baker; Pfizer; MasterCard. Her book, Walking By Faith: An Afro-American Trilogy, is a collection of dramatic works. Her plays -- Trial of the Race and Illusion in Blue, were presented at the prestigious National Black Theatre Festival. As producer, she currently has two projects in development. For more information, visit: http://www.walkingbyfaithonline.com/ and http://www.efs-enterprises.com/.

Jermaine Small (John Levy) is a proud Howard University alumnus, originally from Atlanta, Ga. He has performed in numerous productions, ranging from TopDog Underdog to Black Eagles. He would like to thank God, AAPEX, his family, and friends.

Liliane Klein (Katie Rose) NYC: Me and My Girl (McGinn/Cazale Theatre, Musicals Tonight!), I Wanna Be Rosie (La Mama, E.T.C.), The Greeks (MET, IMUA!), Narrative Intervention (Here, IMUA!), Do I Hear $5 (St. Clements). Regional: Fat Pig (Speakeasy, *Elliot Norton and IRNE Award Nominee), A Streetcar Named Desire (Foothills), Love's Labours Lost (CFS), Cyrano de Bergerac (CFS), As You Like It (CFS), Smokey Joe's Cafe (Ivoryton), Dido (001 Gallery, Scratch Theatre), Legend of Sleepy Hollow (Broadhollow,) Nunsense (Acting Up Theatre Co.). National Tours: Titanic (Candlewood), Scrooge (NYSO), Cyrano De Bergerac (NTAE), The Little Prince (NTPA), Tikki Tikki Tembo & Friends (StorySalad). Liliane plays Terry the Turtle on Kid Fitness (PBS). Recording: Stage Stars GYPSY (Mama Rose). Training: Boston University (BFA). Member: AEA, SAG, CFS, NJ Rep, The Players. http://www.angelfire.com/folk/lilianeklein -- www.myspace.com/lilianeklein

Arlene Love (Narrator) Among Arlene's many theatre credits: Nominated Best Actress in a Full Length Production off-off Broadway by Spotlight On for Lunch at Armageddon by Richard Lay. Appeared as a nun and as a prison inmate on One Life to Live and as the evil maid in the Nicole Kidman film,Fur. Studied with Anthony Vincent Bova. A proponent of The Eric Morris System. AEA SAG AFTRA.

Jimmy Gary Jr (Bobby Tucker) is a former NFL football player and Graduate of West Virginia University. He has appeared in "LAW & Order", "Rescue Me", "All My Children" and a number of independent films. He has just completed filming "A Long Road to Nowhere" a feature film that will make its way into the public eye in 2009. He is freelancing with agents Karen Goldberg & Associates and The Krasny Office.

T. Bankole. The last twelve years T. Bankole has been involved in producing and directing film, documentaries, and made for television projects. In 2000 Bankolé co-produced and acted as assistant director on a film entitled Conversation Piece with partial monies given by Miramax films, In 2002 Bankolé produced and directed a made for television pilot for Vh1 entitled Verses, which involved Wyclef John as a co-producer, He was also involved with a Japanese film production entitled Collogue of Our Lives which premiered at the 2003 Tribeca Film Festival. He has also produced and directed a numerous amount of plays that he secured, and controlled funding for under the auspices of the New Federal Theater, ran by Woodie King Jr. Noted actor Armon Assante and Italian legend Marrio Fratti were involved with a production of his entitled Parallel Lives. He has had the opportunity to work with great names, from actors, such as Ruby Dee to Dave Chappell and Aretha Franklin to John Legend. Over the years Bankolé has built great relationships with music video directors, producers and industry insiders, he is associate producer for The national Black theatre c/o NFT, http://www.newfederaltheatre.org/.

We would love to thank our sponsors:

AAPEX (The African American Playwrights Exchange) was founded January 1, 2007 by dramaturg Jaz Dorsey to preserve, present & promote new works by African American playwrights and new works by any playwright which deepens our awareness of and connection to our African American heritage. Visit us at http://www.africanamericanplaywrightsexchange.blogspot.com/ AAPEX is a program of TRU (Theater Resources Unlimited).

S.O.A.P.I.F.F (Southern Appalachian International Film Festival), A film festival held in the majestic mountains of East Tennessee every October that celebrates the beauty and history of the Appalachian mountains. For more information go to http://www.soapiff.com/ and also on
www.myspace.com/soapiff or contact Mark Compton at 423-743-soap.

TRU (Theater Resources Unlimited) was organized in 1992 to provide information and a variety of entertainment-related services and resources that strengthen the capacity of producing organizations, individuals producers, self-producing artists and other theater professionals. TRU produces monthly seminars on a wide range of subjects important to theatrical producers and directors. In 1996, TRU served as the umbrella organization for a co-production by member companies as a part of the first annual NY Fringe Festival. The organization has expanded its production efforts by creating the TRU VOICES Annual New Plays and New Musicals Reading Series in which TRU underwrites developmental readings of new works. Shows developed through the series that have gone on to off-Broadway productions include The Great American Trailer Park Musical, Nor'mal, Pied a Terre and Taxi to Jannah. TRU is ciurrently the associate producer with Animated Theatreworks for Missives by Garret Jon Groenveld, a play from the 2006 TRU series that is opening March 20th at 59E59 Street Theaters.

Donations to this project are welcome and can be made by contacting Jaz Dorsey at jazmn47@aol.com.

Program provided by Ginna Bellamy 423-367-2584 www.myspace.com/themusicchic or at ginnabell2000@yahoo.com

AAPEX stages 3/19 reading at famed Players Club (NYC)

On Wednesday, March 19,

AAPEX has the honor of presenting a reading of

Hershell Norwood's play

BILLIES BLUES TONIGHT AT MAMA'S JAM

at the famed

Player's Club

in New York City.

For those of you who are not familiar with this historical organization , see below.
For more information on this event, contact Jaz Dorsey, Dramaturg, AAPEX at jazmn47@aol.com

The Players, which is its proper name, is a social club founded in New York City by the famed 19th century Shakespearean actor Edwin Booth who purchased a magnificent 1847 mansion located at 16 Gramercy Park. During his lifetime, he reserved an upper floor for his home, turning the rest of the building over to the Clubhouse. Its interior and part of its exterior was designed by famed architect Stanford White. Known also as The Players Club, it was named a National Historic Landmark in 1962. In 1989, women were invited to become fully participating members. The Players still maintains its entryway gaslights, among the few remaining examples in New York City.

Reasons for founding
On April 14, 1865, Edwin's younger brother John Wilkes, a popular actor, assassinated President Abraham Lincoln, after which the life of his family, and all actors, changed. Understandably, they found themselves despised by the society of the time. Perhaps inspired by London's Garrick Club, Booth established a social club which would bring actors into contact with men of different professions such as industrialists, writers and other creative artists. The building was completely redesigned, furnished, equipped and decorated with Booth's personal possessions. When ready, a series of meetings was held, and a small group of founding fathers turned the place over to newly invited members in a grand ceremony on December 31, 1888. Thus The Players was born. The word "club" does not appear in the club's official name. In the title papers, it is stated that Edwin Booth should retain a furnished apartment for his own use where he could be left undisturbed as he wished. It was in that revered room on the third floor, remaining undisturbed still, that he died at 1 a.m. on a stormy night, June 7, 1893, aged 59.