Unsilence

by Erica Bennett

 

I cut off my hair to spite him

And grew it out to spite her.

What is a chameleon

To do when there is no

Environment from which

To transform?

When even with the dawn there is

Shadow

And the edge of the cliff

Tempting yawns.

From Girlishness

 

I heard slam poet and activist Andrea Gibson state she was challenged to write only what most scared her. She said, as a consequence, she wrote nothing for six months. But the stuff I’ve seen her deliver, videotaped and uploaded onto Youtube, is so personally challenging, I have to wonder, are her parents still alive? I mean no disrespect. I heard her perform a poem filled with such pain, yet, acknowledge her youthful silence was for the love and sake of her family. When does the unsilence begin? Is it with the death of the family? Or is unsilence, a possible rebirth of the family?

The “M” Word–Revisited

by Guest Blogger Liz Femi

Liz Femi
Liz Femi

A few weeks ago, I wrote about my quest to cure, or at least temper, my marketing phobia. I would have easily lived peacefully with humdrum marketing anxiety for the rest of my days, until I wrote a play…and decided to produce it. I scoured the web for marketing tips that were suitable for theatre and settled on Clay Mabbit’s blog: Sold Out Run and his marketing kit: Reaching A New Audience. Over the past few weeks, as my team and I promoted,  Take Me To The Poorhouse (our show at the 2013 Hollywood Fringe Festival), we applied Clay’s marketing strategies in Reaching A New Audience.

I am happy to report that the experiment proved successful.

Our efforts culminated in sold out shows almost every night of our run, not to mention a few laurels and an invitation to extend the run. (BEST OF FRINGE EXTENSIONS, BEST INTERNATIONAL, DUENDE DISTINCTION award nomination for excellence in acting)

How did it happen?

A combination of Clay’s Mabbit’s excellent suggestions and a darn-good, dedicated team.

What did we do?

We applied the modules in Reaching A New Audience, which include:

  • Foundation (marketing basics to create a well-oiled machine)

  • Your Perfect Audience (how to identify and tailor your marketing niche)

  • The Schedule (a detailed marketing calendar with suggested tasks)

  • Worth A Thousand Words (“visual ammunition”)

  • Use Your Cast (tapping into the talent you already have)

We tailored Clay’s ideas to fit a one-person show, along with our mix of flair–like a step-and-repeat for audiences to take pictures after the show, and raffles/token giveaways related to the story.

Reaching A New Audience image

Hits of Reaching A New Audience:

  • We varied our social media content so it wasn’t always focused on promoting ticket sales (Facebook, Twitter, Instagram).

  • We produced a pre-preview night generate pre-festival buzz.

  • We committed to a strong involvement in the fringe community by comp swapping, filling seats for other shows, seeing as many shows as we could, engaging in “fringeships” on twitter and in person at Fringe Central.

  • Identifying our audience and reaching out to target groups within and outside our networks (ex: African Artists Association, Los Angeles Female Playwrights Initiative, Directors Lab West, Actors Mastermind Group, friends in and out of the industry, and of course, family members)

  • We were also nominated for Best Trailer!

  • We attracted press to (podcasts, radio, blogs, print) to every show, even with almost 200 shows running simultaneously.

  • Weekend evening shows were easiest to fill, so we brought all hands on deck for the weekday afternoon shows. With consistent and varied marketing, we sold out almost every show.

    • On June 8th and 14th–we oversold and added an extra row of chairs

    • June 16th–full house without many advanced tickets but lots of walk-ups

    • June 19th–slow sales. Reached out to fringe community and Directors Lab to fill house. Quite a few walk ups as well.

    • June 21st–sold out. Extra row of chairs.

    • June 28th–full house.

Misses:

None.

Well…there is the price of the kit, which currently retails $147. You do have to carefully weigh the cost of the Reaching A New Audience with your production goals. For example, depending on the size of a production, one could rationalize the purchase as the cost of 10 seats at $15 a ticket, to get practical, effective, and organized tactics to help build an audience. In my opinion, the price would be too hefty for a one-show run.

Reaching A New Audience image

Finally, nothing beats the power of a strong team to help you get these marketing ideas off the ground and running, and even playing with your own variations along the way. That’s the best part…when marketing becomes a fun game.

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Poorhouse-Postcard-FRONT

Take Me To The Poorhouse is currently on a BEST OF FRINGE EXTENSIONS run in association with Theatre Planners.

Friday, July 12th @8:00 pm

Thursday, July 18th @8:00 pm

Friday, July 26th @ 10:00 pm

Running time: 60 mins

Venue: The Lounge Theatres (lounge #2) 6201 Santa Monica Blvd, Hollywood 90038

Tickets: $15. Available here.

 

Write What You Know

by Erica Bennett

 

Light became my friend in

1994

At 4:31 AM, Pacific Standard Time,

When Reseda

Boulevard and Strathern Street

Rocked and roiled for an interminably

Long nearly

20 seconds.

 

My favorite Northridge story came

From a friend

Driving home that early morning.

He turned off his vehicle when

The Earthquake struck,

And said, out loud, “Wow,

Engine’s gonna blow.”

I laughed; after.

 

But in the darkness, then, in the

Early morning, in the pitch

Black before dawn,

After the Noise of a million

Breaking pieces of glass

And falling brick,

I couldn’t escape

My own home.

 

And so starts, BLOODLETTING AND POE, a slam poem I’ve written that expresses my grief over the loss of a recently deceased long-term… friend; for lack of a more descriptive word. I have heard, “write what you know.” In this, my experiment with form, I wrote what I was experiencing. I’ve always thought I immersed myself in my work, but this was the first time I actually “knew”, in the moment, what I was writing… I won’t, can’t, go back.

Brown, Blue and Elemental Love

Women on the Fringe!
LA FPI Video Blog featuring female playwrights @ the Hollywood Fringe Festival

LA FPI Video Blog Brown

Fire: The rapid oxidation of a material. The exothermic chemical process of combustion. The release of heat, energy, light and various other reactive products.

Meghan Brown’s disposition is reflected in her clear blue, kind eyes much like the sky reflects the ocean. During our interview, Brown’s self-knowledge is as apparent as her self-confidence, which translates into the ability to be vulnerable. A self-aware artist who also has the ability to embrace her vulnerability is what ultimately distinguishes the average from the extraordinary creative being. 

Brown’s ability to create an extraordinary netherworld is a testament to her old soul.  The Fire Room is a well versed, visually poetic confession of grasping at true love beyond the grave.  Here ghostly protagonists navigate through combusting emotions as the narrator and her silent chorus bear witness to the release of love’s undeniable heat.

In graduate school, I studied award-winning films in a specific manner because I was sure it would help me become a better screenwriter. First, I would watch the film as anyone would; second, I would watch with the filmmaker’s commentary; and third, watch with the sound off because, after all, film is behavior. Due to its visual ardency, if you had to, you could watch the Fire Room with the sound off.

Playwright Meghan Brown and the Fugitive Kind make a great team. Enjoy the video.

 

Figuring Things Out

By Nancy Beverly

I don’t know about you but I periodically think someone else has Things Figured Out. Y’know, the perfect balance of creativity, money, job stuff, and time to write. I’m a fan of Ellen “EM” Lewis and yep, I thought she had Things Figured Out. A few years ago she was awarded a fellowship to WRITE FULL-TIME — score! But recently she mentioned in a Facebook post that while she managed to stretch that one year into three years of writing full-time (three new plays to her name!) by living lowcost, doing a few side teaching gigs and getting some commissions,  she’s now realizing her meager earnings are not covering her expenses. So she’s looking for a full-time teaching gig and asks if this is the right thing to do, if it’s the right time… and admits she’s winging it.

She posted her musings at a time when I’ve been swamped at my day job and worried I’m losing my soul to accountants and checks and scanning journal entries (what the fuck are journal entries?!) in the financial world of UCLA.  Up until now, this job has been super good to me — excellent pay, benefits and a fair amount of downtime at my desk to Do Other Things. But not the past few weeks and I don’t know when or if Things Will Get Back to the Previous Reality.

So neither Ellen nor I have Things Figured Out, which is to say life once again reveals itself not to be perfect, and yet, I’m excited because I have rewrites on my screenplay SHELBY’S VACATION to get to because (FINALLY!) I have a director who is going to stick with my project and we’re giving the script this weekend to an excellent script consultant to read for feedback.

I would write about the wonderful Hollywood Fringe Festival, but honestly, I’ve only seen three events (THE BEATING, DOWN IN FRONT, and a slate of shorts from We Make Movies) and I loved them all…  but I don’t have time to write about them and I don’t have the time to see more, alas.  So, only one blog from me this week.

And now, back to my script.  Hope your rewrites are going well!

The Miss Julie Dream Project

by Analyn Revilla

I like dreaming – and I remember my dreams vividly, and enjoy analyzing and talking about them.  It could be a narcissist quirk, or I’m just hoping to unearth some answers to the eternal question, ‘what’s wrong with me?!’  So I’ve been reading up on dream interpretation.  I learned that C.G. Jung and Freud differed on the subject of dream interpretation and techniques.  Freud claims that dreams are rooted in sexual desires and repressions; while Jung sought to explain themes and characters in dreams as archetypes rooted in mythology.

“The Miss Julie Dream Project” straddles the real and surreal world of which is indeed like lucid dreaming.

On opening night, Mina, an actress who plays the classic heroine of Miss Julie, faces the heroine in the surreal world.  Miss Julie refuses to surrender to her written fate.  Her rebellion leads to a missing actress while her ensemble of actors and a director fumble through a performance without the lead character.  The dream weaves in and out of  the dream world and the non-dream world.   The actors playing as actors travel through a worm hole subjected to immense gravitational forces that collapses and expands bodies and minds as its pulled and pushed between two parallel worlds.

It’s a fresh theme that the Fell Swoop Playwrights developed based on August Strindberg’s plays “Miss Julie” and “The Dream Project”.  How daunting it must be for 9 playwrights to collaborate on writing one piece about two different plays.  I’m not a numbers person, and so 9-1-2 is already a lot of numbers in one sentence.  But it really worked with “The Miss Julie Dream Project”.

I watched the play at the Three Clubs theatre.  We were a tad late (sorry…), so I missed the first 2 minutes.  Miss Julie and Mina were already arguing.  Walking into the show late then trying to figure out what I had missed was doubly challenging.  The extra challenge after “I got it” was realizing that I’ve walked into Mina’s dream.  Miss Julie does not want to die again like she does every night of the performance.

In the midst of their conversation, the troupe enters with the director shouting “directions” of course.  The action moves quickly from “Where’s Mina?” to “Oh, they’re here” – the audience… “What do we do?”  It’s a quick but very subtle movement from dream to reality and then back to dream when Mina tries to tell them “I’m here”, but she’s trapped with Miss Julie who won’t allow her to return to the stage of reality.

The interplay of the characters moving from real to surreal is like seagulls beating their wings to catch the air current that allows them to soar and float effortlessly.

What does Miss Julie want, if she’s refusing to fulfill her playwright’s designed demise?  She wants to feel alive, and what could be more alive than having an affair?  Like any willful heroine she gets what she wants, but at what cost?  Who’s going to have the baby and in which life will the baby be born?  You know all these questions aren’t going to be answered in the dream.  The answers only come to blossom after the images and words have stewed in your subconscious for several days.  And this is what has happened to me.  It’s Wednesday, the fifth day, after seeing the play.  Sometimes it’s hard to appreciate what’s happened until after its taken effect – kind of like the absorption time needed to learn a new skill.

The Miss Julie Dream Project” is a fun brain teaser.  There are 3 shows left:  Thursday, June 20th; Saturday, June 22nd; Wednesday June 26th at Three Clubs.

Poeisis, Blindsided and Women on the Fringe!

Women on the Fringe!
LA FPI Video Blog featuring female playwrights @ the Hollywood Fringe Festival

In ancient Greece the playwright was poeisis: the act of making plays and the root of the modern word, poetry. It is said that poïetic (Greek for creative, meaning productive or formative) work reconciles thought with matter and time, and person with the world (Wikipedia).

The Hollywood Fringe harkens back to the 5th century’s annual Athenian competitions where notables such as Aeschylus, Sophocles, Euripides and Aristophanes established theatrical forms, which modern playwrights still rely upon. A lot has changed since these male playwrights, with their all male cast and crew, occupied the festivals of ancient Greece. With the hopes of uniting its colonies and allies, Athenian politicos exported the “festival” to help promote a common cultural identity. Today, LA FPI promotes “Women on the Fringe!,” with the hopes of uniting and supporting women playwrights.

Thought, matter, time, person, world – words poetics in their own right – remind me of my first interviewee, Jeannette Rizzi, and her one-woman show Blindsided. Jeannette is all heart. She kindly met me outside of the Hudson Theatre to assist me with parking. She warmly introduced me to her all male crew (some things never change), and eased into rehearsal as my camera rolled

Aspectabund and luminous, Jeannette graciously reveals her-story and altruistic nature in thought, word and stage presence. Throughout, she holds a mirror-like inner-strength reflecting confidence coupled with gratitude, attributes only those who practice self-love can embrace, as her comedic foothold sets the tone.

Thought, matter, time, person, world—inspiring, comedic, altruistic, confidant, gracious and self-love, these words resonated within me as I left the theatre. Blindsided is a gift of truth and beauty from writer and performer, Jeannette Rizzi. Enjoy the video.

The Katrina Comedy Fest

by Analyn Revilla

“The Katrina Comedy Fest” is based on the true experiences of 5 separate lives who survived the hurricane of 2005.  I was given a nod to write about “The Katrina Comedy Fest” because it’s still a relevant story.  Natural disasters and catastrophes, like waves lapping on the beach, erase the tracks of lives imprinted on the sand.

I’ve visited New Orleans twice.  The first time was in in 1991 when I got married in a small town called Buras.  It’s about an hour south of the Big Easy.  On August 29, 2005, the eye of Hurricane Katrina made its first landfall in the Buras-Triumph district, and the area is still in the process of rebuilding.  On my second visit in 2010, I wanted to see the effects of the BP disaster upon the environment and the people.  It’s unbelievable to see the ant work it took to watch people and helicopters putting up barriers to keep the oil slick at bay.

I sought out the old fire hall station where I was married by the JP with his deputy as witness.  Like my marriage, the white-washed concrete building didn’t withstand the forces of wind and rain.  I sought out Camp’s, the restaurant that served big bowls heaped with rice and oyster gumbo.  That one had closed too, or the owners decided not to rebuild it after the storm.  My memories of Louisiana linger, like the waft of good soul food that beckons.  It was at Camp’s where I learned how to eat a crawfish properly as demonstrated by the happy waitress.  She took one mini-lobster from the heap on the newspaper and used her thumb and index to flick the head off, and she sucked out the ‘best part’, followed by forcing the meat from the body with the same fingers.  This technique ensures “less mess” and allows for continues eating, because there are plenty of hands going into that heap.

The story telling captures the sensitivity, nostalgia and steely guts of survivors in the face of a natural disaster and caught in the web of bureaucratic foibles.  The stories of five characters, from different walks of life, belie a spirit of humor and a soul of surrender.  New Orleans, historically, has always been at the mercy of nature because of its geography – it sits on the soft silt of the Mississippi River delta, and it opens up to the Gulf of Mexico.  This relationship has grown more tenuous with the industrial revolution.  The coast of Louisiana and Texas has been identified as dead zone, and is the largest hypoxic zone in the United States (source: Wikipedia.)  Last week two explosions erupted in two chemical plants on Thursday and Friday.  If the investigation comes up with any likeness to negligence that led to the BP disaster, then this reinforces some themes common woven into the lives of the people.

“The Katrina Comedy Fest”, refreshingly, does not focus on the politics.  The play brings the event to a tangible level that can be digested as a languorous 5 course meal, beginning with the rising waters and ending with sobering shot of reality.  It becomes a speculation game as to the strength of “this one” compared to the “last one” when the levees didn’t breach.

The stories are narrated through the voice of …

Raymond, a homeless, begins his story in the stadium.  He discovers his “air freshener” ineffective against the heavy stench of bodies locked down.  He’s prepared for anything being a homeless.

Antoinette is a savvy and bold owner of “Mother-in-Law Lounge”, and widow of R&B singer Ernie K-Doe.  She keeps both her 15 year old granddaughter and a shrine of her late husband afloat during the storm.  The statue donned with a sawed-off shotgun keeps away would-be intruders.

Rodney is a sweet southern gentleman shoulders the responsibility of keeping his aging parents plus new comers entertained and alive during the siege of rising waters.  He keeps well inebriated with whisky and at the close of the storm realizes he had spent more with his parents than he’s ever done in a long long time.

Judy is a sweet and naïve older woman who meets up with 5 young people.  She wanders out in the street of her neighborhood which had already been evacuated.  She receives texts from her son, “Get out now!”  She meets the pot-smoking youths who takes her with them to San Antonio in her son’s unreliable car.  It is a miraculous trip that opens the life of Judy to young attitudes and wider latitudes.

Sonny, a tourist guide, stays a while and ends up in Oklahoma with high-pitched voiced black woman who likes to scream.  His cool logic and street-wise experience keeps the situation moving until he is investigated by the FBI, because he’s carrying a big wad of cash in a plastic bag.  How else does a person whose business is cash-based supposed to flee the floods of New Orleans?

The Katrina Comedy Fest” was written by playwright is Rob Florence and directed by Misty Carlisle.  It’s showing at The Lounge from Wednesday thru Sunday.

 

 

The Fringe and The Other F Word

by Analyn Revilla

The Fringe Festival is in full swing.  I’ve seen three shows of different genres and flavors, all of which proved to be fresh, fitting and funny.  The Fringe is about all these and more, which are reasons for attending a performance and more to tickle your senses and blow your imagination.  A stage and players with powerful stories to share is a lever to enlighten our minds, elevate our spirits and encircle the range of humanity in our hearts.

In writing about the the Fringe plays I’ve seen.  The question in my mind is, “How is today unlike any other day?”

In Alyson Mead’s play, “The Other F Word”, today is unlike any other day for four women invited to a focus group about a pen designed for women, and it is PINK!  The women are racially, socially and economically different.  Carol is Asian and is married with children.  She is shy and demure.  Roxanne is black, a lawyer and single.  She exudes power in her Armani suit and accoutrements.  Daniella is of East Indies descent (it seemed to me), and she’s a man in transition to be a woman.  She’s thoughtful and sharp, but hides showing off these gifts. Lastly, there’s Evie, Caucasian, beautiful, educated and single.  She’s opinionated and outgoing.  The women attend the focus group with different motives – whether it is for the $100 compensation, curiosity, opportunity or to fit in, they are forever changed by the dialogue initiated by a pink pen.

Sitting in the Lounge Theater at 4pm last Saturday, I listened to the monologues expressing their inner thoughts and true feelings.  It wasn’t just verbally expressing to the moderator “Tammy” about the pen.  Firstly, what kind of a name is Tammy?  Is that even a real name? or is it a psychological setup for the bearer of the name to be a stripper.  The women bark their opinions about the others which is a microcosm of their day-to-day life.  It’s really not about the pen.  It’s about their own perception, opinion, belief and attitudes about themselves, other people and situations.  This is cleverly played out in the story by using the pen as the instrument – a great metaphor.  The power of the word birth from thought and emotion as carried out with the pen.

They receive their checks in the mail, and again a tool is used to reveal a meaning – what is money? Roxanne deposits the check immediately, because she was taught by her parents that time and opportunity is wasted by an un-deposited check, and she’s saving up for fertility treatment.  Daniella saves the money for her operation, a dream to realize her inner nature.

The journey that the women had embarked upon at the focus group, has conscious shifts and unconscious impacts on their views.  Some can accept the event as a blessing that moved them to another direction on their path.  For example, the shy and demure Carol grows.  She breaks out of her self-imposed beliefs of only being a mother and wife, and becomes a successful leader and organizer of a group in her community.  To another participant, Evie, she recognizes her pattern of dating losers, and breaks out by learning to spend time alone, by herself, to discover her inner beauty and to love herself.

In case you’re curious to know… the story of play evolved from a real-life event in 2012 when a company began to market the Bic Cristal “For Her” pen.  People posted cutting and sarcastic reviews on Amazon that lamb-basted the marketing features of the pen as … “elegant design – just for her!” and “a thin barrel to fit a woman’s hand”.

 “Finally! For years I’ve had to rely on pencils, or at worst, a twig and some drops of my feminine blood to write down recipes (the only thing a lady should be writing ever),” one reviewer wrote. “I had despaired of ever being able to write down said recipes in a permanent manner, though my men-folk assured me that I ‘shouldn’t worry yer pretty little head.’ But, AT LAST! Bic, the great liberator, has released a womanly pen that my gentle baby hands can use without fear of unlady-like callouses and bruises. Thank you, Bic!”

“Oh. My. God. I’ve been doing it all wrong. There was me thinking I didn’t need to worry about whether my writing implement sufficiently reflected my gender. Thank you so much Bic for showing me the error of my ways. Perhaps Bic will also bring out a new range of pink (or purple) feminine spanners, screwdrivers, electric drills and angle grinders so that I can carry out my job as a bicycle mechanic without further embarrassing myself? Luckily my male colleagues have managed to keep their disapproval of my use of their masculine tools to themselves. I’m so ashamed. And re-educated as to my place in society. Thanks again Bic!”

Dan Kaufman, a reviewer is quoted, “Men, don’t stand for this. Aren’t there enough products specific to women already? First it was tampons, now these pens? What other products will I have to suffer the indignity of being unable to purchase just because I’m a male person?”

The BIC spokeswoman, Linda Kwong, responded to a request for comment: “We appreciate hearing honest feedback from all of our consumers, whether it is regarding a promotion, advertising campaign, or product.  As a global consumer products company, BIC wants to hear these important comments.”

The pink pen has given the opportunity for women to speak out about being branded, and perhaps that is the other F word.

Verisimilitude

by Guest Blogger Dee Jae Cox

Dee Jae Cox
Dee Jae Cox

I am by nature an optimist.  I love to laugh and I don’t hold on to grudges.  I am sincerely hoping that is the key to my longevity and will compensate for the lack of physical exercise.  But as a Playwright and theatrical Director and Producer, I have also had my rose colored glasses ripped off of my face a time or two.   I try and see the glass as half full, rather than half empty.  But imagine that glass as less than a quarter full.  Imagine two equal sized water glasses, one that is 80% full and the second that is only 20% full.  Stand them side-by-side and visually take in that image.  That will give you a picture of gender parity in American theatre in 2013… or rather the lack thereof.

The Hollywood Fringe Festival is always a good jumping off point for discussions on gender parity in Los Angeles theatre.  The number of female participants is usually inflated because of the self-production element, which in all honesty, self-production is something I would encourage any woman with the skills and means, to consider at any time of the year.  DIY!   That is what motivated my Cofounder Michele Weiss and I, to found The Los Angeles Women’s Theatre Project, in 2007. I’m a Playwright and I understand the challenges that we face and I wanted to find a way to help more women get their work on to the stage, though all too soon realized that our efforts were only a small step in addressing an overwhelming need.

A playwright tells a story based on their unique perspective, which really does differ between men and women.  As female playwrights, of course we can create male characters.  And no doubt male playwrights can create female characters. But we’re talking about one simple thing.  Truth.   I had a cherished mentor and writing instructor who taught me the word, verisimilitude, the appearance or semblance of truth; likelihood; probability.  He used to say that it was essential that a play possessed verisimilitude.

There is a serious lack of verisimilitude in American theatre, when eighty percent of the plays that are produced are written by and about men.  The absence of gender parity is a crisis and has not progressed in the past century; so waiting for it to catch up to the times is not going to happen on its own.  Not only are women’s perspectives and voices denied, but also the trickle down effect of this discriminatory practice is insidious and seeps into the pours of how we produce theatre.  The dysfunction is reflected in the lack of protagonist and leading roles for actresses. It is reflected in the low percentage of female directors, stage crew and it most certainly impacts the number of stories about women or even stories from a woman’s perspective. When the majority of critics who review plays are male, it slants the reporting, the reviews and even the amount of media coverage and awards that women receive.

Perhaps we’ve been indoctrinated that if we get on our feminist soapboxes and demand equality, we are just being downright rude. Theatre is not just entertainment, it is an ageless reflection of our communities, our culture and our lives.  If that reflection has historically lacked gender parity and truth, do we simply acquiesce to the status quo? Or do we find the courage to undertake the mission of creating equality in the art that we value so greatly?  As Producers of theatre, we can not be willing to sacrifice verisimilitude or to deny our right to expect it.

 

“I’m forming a new ad hoc committee in Los Angeles to explore fresh ways to solve the gender parity issue in theatre. Join me on July 20, 1-4 p.m., at the next LA FPI Gathering at Samuel French Bookshop, to learn the details and become part of it.”

 

Dee Jae Cox is CoFounder and Artistic Director of The Los Angeles Women’s Theatre Project (www.lawomenstheatreproject.org).   

www.deejaecox.com    |    https://twitter.com/Deejae1