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.
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.
Who doesn’t love Applause! Hahaha! Yes, that’s the actual applause! There’s no Chatgpt folks. It’s the Real McCoy. Safe to say I’ve watched this a couple of times. Love my time in Atlanta. Going back again before the play closes. Enjoy the video, my friends.
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.
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.
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?
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.
The pic below comes from True Colors Theatre. The Play opens September 19th and runs till October 15th.
In the middle, Thomas Jones (former Artistic Director of “Jomandi Productions,” and the man who asked me if I’d like my play produced in Atlanta), and to his right is Kenny Leon (current founder of “Kenny Leon’s True Colors Theatre” and big-time nationally known theater celebrity)
Here we are again — one yea later — and yes indeed once again (apologies to my friends who may think I’ve only written ONE DAMN PLAY) it’s happening down in the ATL. Kenny Leon’s True Colors Theatre is about to start rehearsals. And I’m absolutely “pickled tink” bout it all. Like Kevin Hart explaining the one time his mother let him cuss, it’s ABOUT TO GO DOWN, my friends.
That the play was first produced 30 years is amazing. That they’ve chosen it to open True Colors 20th Anniversary season is equally amazing. That I can watch it unfold is a joyful experience. I never thought — 30 some years later — that I was creating something so long-lasting. I was confident about the play, and have ALWAYS been confident about the play. Even though other plays & movies have included black men and basketball as a setting, I knew mine was still pretty unique. Confident? Over-confident? Well it really doesn’t matter because, as James Brown says in “Money won’t Change You,” — “time will take you on.”
And let me sound the trumpets for my good friends and stellar performance buddies Holly Morse Ellington and Jason Tinney who’re acting in their play “50 Miles Away” at the Barking Legs Theatre in Chattanooga, TN. in August. Directed by the very talented Stevie Ray Dallimore, I think “50 Miles” is a knockout and believe they’ll have a, excuse my French, memorable-ass production.
Like a fine wine “He-Man Ball” ages in style. Last September it was scheduled for a September opening at True Colors Theatre in Atlanta. But got “Covid’d.” True Colors said they would do it in September, 2023. And here we are — a few months away and they’ve got some PR in place. Brings joy to my heart, yes indeed. This is True Colors 20th Anniversary Season and their theme is “Reclaiming Ours.” The statement below lays out their perspective for their upcoming season.
About “Reclaiming Ours
“Reclaiming Ours”, the theme for True Colors’ 20th Anniversary Season, speaks to the accomplishments of the past that have made True Colors what we are today – a leading regional theatre that centers Black artistic expression and that creates space for honest dialogue on issues that affect our human community. The season includes three performances – a world premiere, a reimagining of a Black musical classic, and a revival of a 1988 production – each of which is associated with a True Talks event that places artists and experts in front of community members to explore the messages in the productions. In the midst of the political, social, economic and emotional tensions of today, True Colors productions provide a window through which audiences may see themselves working through family dynamics following a tragic loss (Good Bad People by Rachel Lynett),coming of age through a world beyond home (The Wiz by William F. Brown and Charlie Smalls), and establishing their identity despite external perceptions and internal expectations (That Serious He Man Ball by Alonzo LaMont, Jr.). Looking through the window creates just enough distance to allow empathy to develop and flourish.
For me, this feels like such a wonderful privilege. THAT they chose “He Man Ball” to kick off heir 20th Anniversary is humbling. THAT it was considered a classic in Atlanta Theatre makes me sit back and wonder about the incredible odds of having a play that was performed 30-some years ago leaving that kind of impression.
Years back I remember feeling incredibly stifled trying to get my plays produced, or even considered by theatres in Baltimore. I had a reading of another play in D.C. and met Tom Jones, one of the founder of JOMANDI PRODUCTIONS in Atlanta. Tom asked me to send a script his way. JOMANDI produced that play and then they produced “He-Man Ball”. It made a big splash.
If I hadn’t set my sights on another geographic area, I would have remained stuck in B’More trying to convince somebody to read a script. Getting a start in Atlanta was a game-changer as doors and opportunities started to come my way. From Atlanta, “He-Man” was produced in New York at the American Place Theatre, was published, and many more productions came afterwards.
I think writers look for places that welcome their work. I happened to find Atlanta, and was treated to opportunities that completely surprised me, especially with regards to the “relationship” (or lack thereof!) I had with theatre companies in Baltimore. And might I addd, it’s a relationship that remains very much the same. If I hadn’t looked elsewhere, I’d probably still be stuck trying to convince the same cast of characters (artistic directors, etc.) of my worth. So I raise a toast to finding a place, and people who considered my writing worthwhile to produce.
Hey now……it’s been a hot minute since I wrote something. During that time I had a very successful performance of “B-Side Man” at The Ivy Bookshop. Wonderful audience with Q&A afterwards. I thought I did the best job I’ve ever done. I put endless time rehearsing that bad boy, but it paid off. The key for me, since it’s a good 50-60 minutes of JUST ME going solo is staying in the moment and not letting my mind jump to the next point — losing my place with the point I’m in. Something tells me I’ll be doing “B-Side” again.
On a less happier note, “That Serious He-Man Ball” at True Colors Theatre in Atlanta was cancelled, Not cancelled forever, but till NEXT SEPTEMBER. That’s right, September 2023. Reason? True Colors hasn’t quite recovered their pre-Covid audience and they’re cancelling their season till January. When they contacted me they were concerned that “He-Man” wouldn’t have the audience that think the play deserves. I was kinda crushed. I’d talked up Atlanta and was excited. Ahhhh, but theater does have a way of keeping you on your tip-tip-tippy toes with that sort of excitement.
So, in short, Fall fell flat.
I’m convinced that True Colors genuinely wants to produce the play. I have no reason to believe otherwise. It’s just that a helluva lot can happen inna year. Mentally you just have to roll with it. On the bright side, I’m starting a new play with a tentative title that will change by the time I finish this sentence. So I’ll hold off on releasing that. Not that there was a public outcry for my next big “play title” reveal.
Life of Alonzo / Playwright 