The Texas State Black and Latino Playwrights Conference is in its 12th year. Eugene Lee is the Artistic Director for the conference. Mr. Lee is an established actor, director and writer. I have admired his work as an actor for years. A fellow LA FPIer, Laura Shamas, told me about this conference and although my play did not get in that year, 2012, it was a finalist which warranted a call from Mr. Lee. To have someone actually get your story and be able to pick it apart and see things you didn’t know you wrote into the piece was wonderful.
I went to the conference this year because I was needing to be in the room with other artists at work. I really wanted to see the process. I am so thankful that I went. I learned a lot, made some friends and shook whatever that thing was that was on me keeping me from my computer. I am hoping this conference stays around for a very long time, its a great place to get things done.
One of the first things Eugene Lee said at the conference was that he had all male playwrights but it was not intentional. What I found very interesting was that all three of the plays were female-centered and very good vehicles for female actresses and the honored playwright’s play was directed by a woman. It was a very good vibe. I believe this conference can be great and am hoping that next year, more theater artists show up like I did just to see what they are doing…
The Black and Latino Playwrights Conference was established to fill a void where the voices of Black and Latino playwrights can be heard, nurtured and celebrated. The plays can be about whatever the playwright deems stage worthy; it’s the voice of that playwright this is most important to this conference. It’s a place where student artists can become familiar with the other voices that make up American Theater. In this vein, the most rewarding part of the conference is to hear those diverse voices, to see those playwrights at work at their craft, and to watch the students jump in fully committed to the scripts. Eugene Lee has a vision for the Black and Latino Playwrights Conference that can change the way minorities are viewed in Theater; his generous nurturing of the artists is greatly appreciated. And too, the generosity and foresight of Texas State University at San Marcos to seek out Mr. Lee to start such a conference is awesome. Thank you, Texas State! Thank you, Eugene Lee!
Every culture, in this multicultural place we call America, deserves a seat at the table. It’s places like San Marcos and this conference that can… that make room and give sustenance to playwrights kicking against the pricks….
Associate Artistic Directors for the conference are Joe Luis Cedillo and Nadine Mozon. Production Manager for the conference is Shannon Richey (AEA).
The 2014 Black and Latino Playwrights Conference (BLPC) held in San Marcos, Texas at Texas State University honored, Texas playwright, Ted Shine with a Distinguished Achievement Award.
Ted Shine and Eugene Lee, Artistic Director for Black and Latino Playwrights Conference.
Dr. Shine is in his eighties now. He preferred ground travel to flying in for the conference; he preferred to let the younger theater artists sit on the panel discussion about “Swimming Up Mainstream” as an artist of color. However, being the hungry little children we were in that room, we begged a little. No we were not to proud to beg and we were so blessed with his wisdom even if from his seat in the audience. I don’t normally gravitate to people but I really liked talking to Dr. Shine. He shared a lot of information about perseverance and learning the craft of writing plays. He was so humble.
“Contribution” by Ted Shine is a play about the Civil Rights movement – the sit-ins to be exact. It is one of three one-acts in a collection titled “Contributions” which includes the plays: Platoon, Shoes and, Contribution. First presented in 1969 by the Negro Ensemble Company, Contribution is a brave piece of literature. Written as a three character female –centered play, Contribution is set in the early 1960s in a small southern town. It was poignant, it was funny and it was a little sad…
The director Nadine Mozon took a very interesting approach to staging the piece; “she enhanced it,” as Dr. Shine said. Mozon’s enhancement involved adding a citizens ensemble to give a visual effect to moments of description in the play. None of the authors words were changed. At that time, I had not read the play and turned to the playwright after the reading, “was that in the play?” “No, but I wish I’d written it that way.” Dr. Shine really appreciated that staging of his play. Earlier I had asked Dr. Shine how he felt about directors and the way they approached his work. He said that there were directors that he could trust with his work and could just leave them alone and they would always enhance the work but he had found out that there were some who weren’t so trustworthy. A playwright needs someone who understands their play and can elevate rather than diminish the piece. I asked him if he felt Ms. Mozon was one of those directors he could trust and he nodded, “yes” with a smile.
I have to agree. She lit that stage up with her vision and the actors were on point! Johnique Mitchell as Mrs. Love* was hilarious and amazing; George James gave a good performance as Eugene; the timbre of his voice worked well to give the words a certain undercurrent to the thought of being a black man during that time but being considered a boy – the absurdity of it, the pain of it… Katy played by Kia Malone held the right amount of fear-bred inactivity to give a full view of the times. The ensemble members: Matthew Drake Shrader, Morgan Macinnes, Taylor Joree Scorse, Ava L’Amoreaux, Vincent Hooper, Kelsey Buckley, and Chas Harvey were all the way LIVE! The sheriff! Stole every moment he was animated…The doctor/store owner, the angry mob, the pantomime of the young men at the counter, these visuals made for very lively storytelling. Even the stage directions were read excellently. I loved the surprise in this reading which was more like a production.
Director Nadine Mozon, also Associate Artistic Director for the conference (standing far left), Johnique Mitchell (standing fourth from left), George James (standing in white shirt), Eugene Lee, Artistic Director of the Black and Latino Playwrights Conference (standing far right), Kia Malone (in yellow sweater far right), and honored playwright Ted Shine (seated). Stage manager: Tommie Jackson III. Stage directions read by Sloane Teagle and Tony Hinderman. The ensemble members: Matthew Drake Shrader, Morgan Macinnes, Taylor Joree Scorse, Ava L’Amoreaux, Vincent Hooper, Kelsey Buckley, and Chas Harvey and stage crew.
Ted Shine and a family member after the reading of his play, “Contribution”.
*(Mrs. Love was played by Claudia McNeil in 1970 (the original Lena Younger from Raisin in the Sun)
The Playwright. How do you repeat the same line four times in a row and make the room move? First you have to have a character that can say it in context without losing authenticity and second, this character has to be written by a playwright who knows how to evoke earthquakes/eyes in a storm/imagery that speaks volumes/…into a still room… with nothing save words and the voices that speak them; Harrison David Rivers is such a playwright.
Harrison started his week explaining to the actors that the women don’t use “periods” and that the actors are to step over “dashes.” Mild mannered but firm, he came to work…
Playwright Harrison David Rivers with actors and director for his play, “sweet”; all eyes on him. Director David Mendizábal in white hat, Dramaturg Jeremy White (next to Mendizábal). Picture by Joe Luis Cedillo, Associate Artistic Director.
The Play. “sweet” by Harrison David Rivers was read at the Black and Latino Playwrights Conference. Harrison brought his director, David Mendizábal, with him and it was very clear that the process of working on the play was greatly enhanced by the way the playwright and director flowed together. Ana Uzule as Retha (pronounced “REE tha”) and Dionna Jenkins as Nina (pronounced “NEE Na”) found the voices and rhythm of their characters from the moment they opened their mouths. Playing off the strong characters of Retha and Nina, George played by Johnny Brantley III also gave a good first read – his first words made you see George right away. I was very moved by the female -centered story. “sweet” is full of emotion, forbidden fruit, and brokenness yet hope and belief that the spirit can and will prevail in the face of any obstacle. Harrison and Mendizábal both described the play as being about longing, desire and restraint. The play was described in ethereal terms; I found that interesting and different. As the week went on, I could see exactly what this meant. Making the intangible tangible is as much a part of the story of “sweet” as it is the way the play is written.
The imagery of “sweet” is like incense floating heaven-ward with each word. Retha’s handling of laundry creates a visual so strong; the mere mention of laundry conjures up Retha. I wondered what the title meant up until the performance, I had tried unsuccessfully to figure it out then “end of play” was read and I felt that I had just had the sweetest experience of any play I have ever seen. Sweet is the essence that lingers in the room as the characters exist; sweet is the experience that stays with you once the story has been told.
Being around the table. There was an extra actress in the room from day one, Tiffany, she participated in discussing what the script meant and how the characters appeared to be and she seemed to love just being around the table with the others sharing the moments. On the third day of rehearsals, Harrison stated that he had been contemplating another facet to the play which would add another character or two. So, now, Tiffany was added to the lineup to read. Dramaturg Jeremy White had pulled information for the playwright off the internet including some sound bites/footage about outer space travel. I am not sure if Jeremy was asked to do it or just saw the need to get some data for the playwright to look over; Harrison seemed really pleased and humbled by it. The group did a roundtable read of the extra pages and Harrison said something to the affect of “I’ll decide what I am going to use but it will be somewhere along these lines.” I thought it was risky but it was his play to do with as he chose – it was either going to work or turn his lovely play into a hot mess. Just my thought. Said a little prayer for him and left for the night.
The Actors. On the third day of rehearsals, I witnessed actress Dionna Jenkins settled completely into her Nina-ness. It was subtle and it was awe-inspiring to see and hear the extra layers of her character come through the lines. She no longer looked like Dionna reading the lines; she looked like Nina sitting at the table having conversations with Retha and George. I could feel the pull – the more Nina, the more new places the other characters were pushed to explore… It started a domino effect. I wanted to ask Dionna what she felt as she was letting go, how she got from one dimension to the next to the next to multidimensional and what the moment felt like to her when she became Nina. You see Nina had a big part to play in the success of the four consecutive, “Nina’s” too. If Dionna doesn’t bring Nina to the stage in a strong enough force, the meaning behind the words would be lost. Like Retha’s laundry, it is Nina’s name that conjures her up.
Nina…Nina; you moved in with the rest of your baggage and planted your feet firmly on the ground. Third day of rehearsals. Around the table: Director David Mendizábal (facing the actors), Playwright Harrison David Rivers (next to Mendizábal), student stage manager , Dionna Jenkins, Ana Uzule, Johnny Brantley III, Tiffany, Wesley Johnson and Tia Watson Picture by Joe Luis Cedillo https://www.facebook.com/joe.l.cedillo.3/
The mispronunciation of Nina: Johnny seemed to be searching up till the end for a way to not mispronounce “Nina” pronounced “Nee-na”. It was only in one place where this occurred. He was thoroughly frustrated about it but he continued to work on it and around it; it seemed every time he got there “Nye-na” would come out. The day of the reading, the way Johnny Brantley III reconciled the pronunciation of her name was as full of all the frustration and ambiguity the spelling of the name brings with it, what he went through to figure out why at that spot he could not seem to get the right pronunciation to come out, what “George” his character was feeling at the moment and what Nina, the character was evoking out of George at that point in the story. I will say the end result was nothing short of brilliant! He twisted that name the same why Nina was twisting George and the audience felt it and knew they felt it. Bravo, Johnny! This is not to say the rest of his performance was not stellar but to say that as I watched all the actors go from a magnificent cold read of the script to dissecting the nuances, what separates out the actors with potential and fire to be great is how they listen to their characters, the words, the moments coupled with the director’s vision for the piece and how they use their craft to make it work. Sometimes, making it work involves some painful stretching…
Homework for Ana Uzule on Thursday night was to find ways to say Nina up to four times with meaning behind it (my interpretation of the assignment). The actress admitted to not having a reference point. Harrison told her to play around with it but not to say more than four as there were only two on the page. She looked bewildered; Harrison and David gave her input on what to pull from, a few others in the room shared but ultimately, Harrison required the actress to rise to the occasion. Was she up to it? I believed she was but it would require some stretching. Harrison believed she was capable, otherwise, he would not have matter-of-factly told her to do it. Night of the reading, she brought the house down; I had chills, pushed back tears and when I looked over at Ted Shine who was sitting next to me. We were both overcome in awe of these young actors who made “sweet” so sweet (pun intended).
Not to leave out Tiffany who sat in character the entire play, only animating to do her radio spots about the moon landing in 1969. Yes, Harrison’s interjection worked! Tiffany was so focused that even the way she sat – motionless – brought a certain fortitude to the play. Her portrayal of the journalist was era specific and profound. I remember those days and she took me back.
Even the stage directions were read well and kept the feel of the play active. Wesley Johnson and Tia Watson did a very good job in that area.
The Director. David Mendizábal was as enthusiastic about “sweet” as the playwright. His excellent direction brought things out of the young actors that I am sure they will use for the rest of their live. “sweet” took wings and soared. The thing about really good direction is that it does not take away from the piece but brings more out of it – the essence – of the piece… It was so smooth, I had that sit back moment – you know, the moment where you don’t want to leave because you need to savor something? In this case, it was the sweet, oh, so sweet aroma of Harrison David Rivers play “sweet”.
This play is a must see. Audiences will enjoy it!
The Honored Guest. I was sitting next to playwright Ted Shine during the performance of the reading and we both agreed that the actors and the play were excellent. Ted Shine, is the Texas playwright honored at the Black and Latino Playwrights Conference 2014; he has been writing plays since the 1950s and after the reading, he wanted to speak to each of the actors about their performance. He was really blown away at theire talent. What a treat – another moment that lasts a lifetime. So, one by one, they came to speak to him…
Ted Shine and Ana UzuleTed Shine and Dionna JenkinsJohnny Brantley III
Ted Shine and Tiffany
Actors: Ana Uzule (foreground) “Retha” and Dionna Jenkins “Nina”.
“sweet” cast and crew after reading. Dramaturg Jeremy White (second from left back row). Actors: Dionna Jenkins (second from left, front row), Ana Uzule, Wesley Johnson (behind Ana), Johnny Brantley III, Tiffany, Harrison David Rivers, and David Mendizábal (second from right).
Crickets as big as two inches shared the Super 8 room with me, I sat up all night because I could not fathom sleeping in a bed full of them or other creepy crawly jumpy things. The old worn out and faded carpet looked like a rug that had been stretched to the walls in pretense. The furniture was a hodge-podge of stuff that had been gathered over the years. The tub mat – to keep one from slipping – was so dirty that when the water hit it a rush of mud-like slush immediately filled the bottom of the tub. Had I been able to lock that darn rental car I had (one of those keyless types), I would not have even taken my things inside. It was the night of the Navy versus Texas State football game and all the rooms were taken in San Marcos including one of the nights of my stay at the Viola Street Inn so I had to find elsewhere to stay for that night. There was a rowdy bunch out in the parking lot most of the night after the game; they partied well into the wee hours of the morning. Had they not been there, I probably would have slept in the un-lockable rental car.
I was really looking forward to hearing Mando Alvarado’s play “(O)n THE 5:31” read. All week he had been rewriting it. I thought he was crazy – certifiable! – the way he was deconstructing his play and reworking it – in a week. Well, Alvarado is an excellent playwright because he not only pulled it off but it read like he had been working on it longer than the few days. Joe Luis Cedillo said it best at the question and answer segment after the reading, and this is how I remember it “just playwright jealousy, I wish I had thought of that. It’s brilliant.”
Directed by Ruben Gonzalez, (O)n THE 5:31 delivered. Each actor brought their A game. The reading was so magnetic, audience members were blown away.
Playwright Mando Alvarado seated (in cap). Director, Ruben C. Gonzalez seated next to the playwright. Artistic Director of the Black and Latino Playwrights Conference, Eugene Lee (standing in striped vest). Cast and Crew of O(n) THE 5:31 with Cedillo in red taking a picture.
This play is quick witted and has a tempo that jolts you in your seat. I found that the play hit me like a dream – the flow, cadence, and unique way the story was told kept me in it on a level that I only reach when I pull all nighters in my own writing where I am so drained and bare the only thing that’s coming out of me is the purest part of the story. Alvarado’s play deals with the present, past, and thoughts in between, the story is also centered around a female character. In less skillful hands, this structure could be confusing to an audience but Alvarado’s writing is very clear. It keeps you in the moment. Alvarado’s play makes you punch drunk but all your senses are aware of every high and low of the ride he takes you on, a ride like you never thought existed.
During the week, as I watched the rehearsals, actor Bernardo Cubria possessed an innate ability to articulate the playwright’s words no matter how up heaved. Cubria has worked with Alvarado on several of his plays; this familiarity was helpful to the playwright I am sure but also to the other actors. I watched the actresses as they searched for their characters, worked on spot directions and then changed it as the pages changed. The end result of these three thespians navigating the script that resulted was top rate. There is a lot to be said for actors who come ready to work; these actors were a perfect fit for O(n) THE 5:31. This was not a “Latino” play; this was a play by a playwright who happens to be Latino. I for one will be watching for his work from now on. My favorite line in the play, is the title line and I won’t say more. You really need to see this play.
Actors: Emily Reas, Bernardo Cubria and Kaylie Hyman; Photo by Joe Luis Cedillo, Associate Artistic Director and Dramaturg for (O)n THE 5:31.(O)n THE 5:31 actors: Elyssa Trevino and Joseph Paz reading stage directions, Emily Reas as Gina, Bernardo Cubria as Benny, and Kaylie Hyman as Sandra; Photo by Joe Luis Cedillo, Associate Artistic Director and Dramaturg for (O)n THE 5:31.
