Alonzo @Baltimore Book Festival

Lucky enough to be invited to host a table for the Baker Artists Awards at the Baltimore book Festival. Now Alonzo did not himself WIN a Baker Artist Award, but had a great time speaking to a variety of folks about “the playwright life” and “B-Side Man”. Baker Artist tends to focus on literary arts, and other genres — performing, interdisciplinary, poetry and the intersections of them there other disciplines. But merrily I roll along, doling out my simple little plays (inject some passive-aggressive kinda emoji).

Which brings me back to the happy happy time I had at the Festival. It was a unique experience speaking with folks at their very first Book Festival, or others with that always effervescent “been there, done that” demeanor. Everybody’s really hoping to rub elbows with some genuine “creatives”. Have a lil fairy dust float their way. Boyfriends being led along by Girlfriends hoping to catch a little culture, or just showing their BF that they’ve got aspirations. Or maybe young women with other young women artfully revealing to each other their creative writing bonafides. “I’ve read everything she wrote.” That’s how things rolled along, like one long literary art basel.

It was a delight explaining what I do, what Baker Artists Awards can do (and did I mention that Alonzo DID NOT win a Baker Artist Award?). Somehow the world is such a better place when you’re able to encounter playwrights-in-the-wild. I think that’s kinda what we are to people. Exotic creatures with “dramatic” secrets. “Lion and Tigers and Bears — oh my!”

Hey, brush up on your Tin Man.

Tiger’s Heart Players

Look who’s back! Yes, as they say, “it’s been a minute”. After a much needed break I’ve returned to my little island in the sun. My little pleasure palace. I started “zulufits” about 12-15 years ago. In my mind that’s easily a full lap around the track. But I do it mainly to keep a record for myself, to show whatever activity (or lack thereof) I have going on. Just to say “hey I was here, I wrote some plays and I tried to get from A to B”. I get to whine, procrastinate, and maybe shed some light on my own “Quixote-esque” writing journey. The older I get, the more windmills I still have to slay.

This past weekend I had a zoom excerpt from “B-Side Man” read by Tiger’s Heart Players. Who the dickins are Tiger’s Heart, you ask?

The Artistic Director is Wayne Paul Mattingly, who’s currently located in Spain. And the actors, audience and playwrights came from with playwrights and actors from India, Australia, France, Spain, California, Tennessee, Maryland, Pennsylvania North Carolina, Virginia, New Jersey, and NYC…

Here’s what was presented:

B-Side Man (Part 1) by Alonzo LaMont

Hell is Empty by Brian Petti

Plastic Castle by Rebecca Kane

Periot by Allison Whittenberg 

Louis and Clark by David Guaspari

The feedback pretty much supported my thoughts about “B-Side” that I’ve had from the git-go. That it’s got alotta “rock-em sock-em” drama to it. So Tiger’s Heart gets two thumbs up from me. Fall is my most favorite season. Who doesn’t love the transition from summer to changing leaves, cooler nights and all the self-reflection you can handle. Should ya choose to go there.

Black Theater…This n Thats

Hey, I’m not digging down into the entire netherworld of black theater. That’s a dive for mightier men than me. Just going-to-a go-go from my little corner of the world. Recently, within the last several years, there have been a couple plays that advertise performance dates that are “black only,” or “black out” .

The Playwrights are concerned about creating spaces for black people to be free from the shackles of the dreaded “white gaze”. Lemme tell ya, after many years of trying to get people in the seats for my plays, and coming up short on more than one occasion — I’ve (unfortunately) managed to avoid the “white gaze” “the black gaze,” and pretty much all the other potential gazes that’re available.

Maybe it’s me, but I don’t see the point. There have been so many famous and outstanding black playwrights who were willing to expose their work to any audience willing to walk through the door. What makes “today” such a special moment that you need to jerry-rig your production for what’s essentially a “member’s only” audience. Why is there a need to shelter for safety? I never thought theatre was about that. At all.

BUT……

I’ve also been around long enough to understand some hard truths about what a white audience brings to the experience of watching a play produced by a black playwright. Here ya go: a white audience will not laugh out loud unless they see or hear black people laughing out loud. A white audience will not take the journey into the world of your play unless they’ve previously been told that’s it’s an “important work”. And white audience will think that important works by black playwrights are defined by their proximity to social injustice, social causes and social inequality. In other words, if it’s been already stamped as “deserving of our gaze,” because of the parameters that were created — then gaze they will. If the aforementioned points are in place it will surely make a white audience experience a more rewarding evening of theater.

If a black writer is lucky enough to present a fully realized character or play that explores a kind of blackness (not talking sanctimonious blackness, just everyday 🙂 that a white audience hasn’t experienced in their everyday life, then it makes it easier to keep an arm’s distance from the work presented. If you’ve never really known any black people in your own life — then I think you only realize people of color for the causes they represent, or the suffering their ancestors must have endured.

For me, an example of this was played out for broadway and off-broadway audiences in the 60’s who were exposed to various protest dramas. I think when Broadway received first-hand knowledge about the struggles of black folks they were happy to receive the info. But over time, who wants to spend an evening exploring some kinda “angry urban drama” that probably felt so real it hurt?

As always this is just my two cents.

I’ve been writing since forever and I honestly feel as though most of what I’m commenting on is the result of one group of people having little to no exposure to another group of people in their daily lives.

Ahhhhhh……”Submittable” — Thoughts on the process.

If you’re writing and submitting a play for a festival, contest, production or anything else that involves play submission — chances are you’ve gotta fill out a form from submittable. Many organizations use it. You give you name, address, gender, (maybe preferred pronouns, racial category and a few other “deets.” Finally, you enter the crucial stuff: bio, resume, play synopsis and perhaps a few “genuine” thoughts about yourself.

If you’re submitting plays left and right, you become all-too-familiar with the process. I’ve often wondered if this is any better than William Shakespeare’s (the good ole “days of yore”) time at the Globe Theatre. From my itty-bitty research it seems William relied on his poetry as his money source, rather the paltry amount he received as a Playwright. Good for him! Funny how that’s still very much a reality. I think “don’t quit your day job” was BORN from one Playwright speaking to ANOTHER Playwright.

Like all the Arts, the business of playwriting works just the same. Sometimes, it’s who you know, or who knows you and the roads to fame and fortune are littered with the likes of one-hit wonders, or actors who never get a second chance, or painters who lack a “benefactor” with deep pockets. Ask Jackson Pollock. If you accept all the above as your “working premise” then you’re in the right lane.

For the last few months I’ve worked on finishing a new play, and rewriting several older ones. This has been enormously rewarding since you have to love what you writing — and I definitely LOVE what I’ve written. When I can still laugh my ass off, I know I’m in good territory. If you don’t feel that way about what you’ve written, maybe you shouldn’t be writing. Whatever you do, just don’t be expecting Peggy Guggenheim to come strolling around the corner.

My friends at Next Exit Productions in the Chatt’Nooga be THRIVING!

Happy to say that Next Exit Productions, Jason Tinney and Holly Morse-Ellington are pulling off some damn good theatrics down Tennessee Way. They’ve picked up where they left off from their play “50 Miles Away” and started a 10 minute play festival. Not content to do JUST THAT they’ve headed off into the creative stratosphere with a FREE playwriting workshop this April.

I’ve known Holly and Jason for more than a few years now, we’ve collab’ed on several occassions and always put in the work for scripts, we both had off-broadway shows and “come through the fire” a bit in terms of getting “the next thing” (writing-wise) turned around. Went down to Chattanooga to see “50 Miles Away” and was not disappointed in the least. They’re quite a powerhouse. Here’s some info on their respective backgrounds. Jason is now the resident artist at Barking Legs Theatre and he’s started “Cast Iron Storytelling.”

If you’re scrolling through Instagram you can see all they’ve been up to. So big congrats on their new journey, I’m sure they’ll create a positive buzz in the theatre scene and perhaps some much-deserved appreciation will come their way. It’s always good to see talented folks “get up on it,” as Biz Markie would say.

Ahhhh, the sweet smell of (yr own play being produced) success….

It’s been about a month since “That Serious He-Man Ball” was done in Atlanta, but I feel like I’m still sipping champagne. You know, of course there’s the actual production (which I saw three times !!!) that gets your attention but for me it’s also all the time before and after you see the show. I got to hang out at some GREAT breakfast/lunch spots in the ATL. Hats off to The Flying Biscuit (on Peachtree Rd.), Buttermilk Kitchen, and the very unforgettable “Thumbs Up Diner” (lunch with my best bud Tom Jones).

Being able to hang out and talk theatre, or talk sports, or just talk shop was wonderful. I think everyone involved in any production needs somebody to vent, share, rant or just laugh with. It’s something that doesn’t usually get conveyed when someone “back home” asks “so how was the plays?”

True Colors Theatre did a great job. I was over-the-moon pleased. Director Eric Little, and actors Eugene H. Russell IV, Neal Ghant and Enoch King were too good to be. They totally inhabited their characters, and their performances were so good it made me cry. Really. Well, maybe the writing also had a lil something to do with it……………. just saying. Even the Atlanta Journal Constitution got in the act (a little late, but they helped spread the post-play vibe).

It made me cry because listening to the language and watching the action unfold was such a delight. Knowing that 1) my choice to update the play WORKED. And 2) having everything unfold on a basketball court (with no escape!!!) kept everything contained and intense. Which led to 3) watching the audience reaction — watching them drawn into the drama and the world of the play, feel like icing on the cake with a cheery on top.

So what’s the next step? What’s the next event? Wish I had that fortune teller sitting next to me, my friends.

True Colors in Atlanta Poppin That Soc. Med!

I’m thoroughly enjoying the production of “That Serious He-Man Ball” in Atlanta. True Colors Theatre seems to have a new post every day. “Arts Atlanta” (below) covers lotsa ground.

In True Colors’ “He-Man Ball,” the game reflects real life emotion and truth

And they’re performing at events and places around the ATL. So great to see a creative team put these occasions together. Everybody seems like they’re having a……….blast.

That’s Eugene H. Russell IV doing the honors. Opening night was wonderful and many actors involved with the Youth Ensemble of Atlanta were in attendance. But as they say, “this too must past”. I’m lovin the ride, and maybe they’ll even be some positive fallout moving forward. I think everybody in the arts hopes for some semblance of this same journey.

Alonzo Reading & Teaching This Fall

I’ve discovered a great learning spot just outside of Baltimore. It’s Manor Mill and it’s in Monkton, MD.

I’ll be teaching a Playwriting Class, “So You Wanna Be a Playwright” in September and October. Excited about that. Also, I’ll be doing a reading of “B-Side Man” (scroll down and you’ll see my info). Actually, wiffee and I went to a performance in this gorgeous space they have, and we both thought it’d be great for an intimate reading. I think “B-Side” will be a wonderful partner to the space.

This is the loft, (below) and I’m excited to get an evening to read. Aside from being in front of a new audience, and this would definitely be a new audience in many regards, I’m just READING the play this time, not performing. I’ve decided that it’s way too much for me to re-start memorizing 27 pages of dialogue, which I’ve done 4 or 5 times in the last couple of years. See, I go all-in and the process consumes me! But…….to just be able to read it aloud, script-in-hand, should be almost as good. Maybe even better since I won’t be worrying about LINES or where I’m at in the story. And that’s what “B-Side Man” really is. Storytelling. Every time I perform the play I’d say audiences are pretty stunned. Inna good way.

So here’s to another opportunity to do more of the same. The reading takes place during my teaching time at Manor Mill, so I’m hoping a few of my class will attend. I’m looking forward to teaching the class and the reading because it’s all about the opportunities that you make and the ones that come your way. I intend to keep embracing and seeking out both because this is the life I’ve chosen, and this is the art that I enjoy. If there’s an audience, why should I ever stop, my friends?

Historically Speaking

Trust me, I don’t dwell in the past. I’m as forward thinking as the next person. So that’s my disclaimer.

I think it’s fabulous when, as a new production gets mounted, that I don’t really have to be the driving force in creating social media content. I add my little bit, but I’m very VERY happy that True Colors Theatre has something in place.

Oh yes, I know the artist has to do their share (don’t blink or you’ll miss part of me doing my share)

Over decades my wife and I have at various times mounted productions of my original work and, as you can imagine, it’s been a labor of love. Because as times change, it’s not enuf to just have a production, an opening, an installation, a music-thingie or even a reading — get on it’s feet. You have to: get. the. freakin. word. out. So after your rehearsal time is over, you have another job that has to be addressed. It might be using a soc-med platform, or just trying to a splash at work, or with friends. Some of whom have been loyal, faithful followers of your work FOREVER and you can’t help feel “hey, yeah, it’s me again doing another DRAMA THING.”

So I welcome when another entity steps up to the plate. And in this case that entity chronicles the progress of rehearsals and provides a lil archival perspective.

This is my current cast below, dressed to SLAY — left to right Neal Ghant, Enoch King and Eugene H. Russell IV.

And here’s cast (and True Colors Theatre posse) in “basketball camp.” To my knowledge, there’s never been a production that had basketball camp PRIOR to rehearsals. I’m mighty mighty impressed. “That Serious He-Man Ball” opens September 22nd and runs till October 15th at the Southwest Arts Center in Atlanta, GA.