My next “Waxter Wisdom” presentation will be Maya, and I gotta say — where to begin? She’s led quite a remarkable life, and there’s so much-much-much material to choose from. She was the first black cable car conductor in San Francisco, for goodness sake. How’d she get to that?

   Also, many folks don’t know that she was an actress, and starred in “Porgy and Bess” and “The Blacks” (review from a fairly recent production in England) by Jean Genet. I’ve got my work cut out for me, but I plan on incorporating her poetry with dance and music. Maya had 5 or 6 lifetimes. I’ve got 45 – 50 minutes to investigate how they all came together.

I’ve been attending New Day Campaign sessions around town. It’s quite an undertaking that Peter Bruun is launching. My goal is to participate as a producer and artist. I’m also working with local musician ellen cherry and the veterans from Telling on a live-with-audience webcast performance. ellen is much more than a singer-songwriter, she’s got that “visionary” gene lurking about. Watch/Listen to the hand-cranked puppet theatre film “Pickett’s Charge” that ellen does the song for. ellen also suffers from PTSD, and that’s why/how Peter “brokered” (his words not mine) our acquaintance.

   This will all be shaping up during the summer, with New Day exhibits/performances/speakers and events scheduled from between October 1st to Dec. 31st. Lots to do, lots to do……

March has been a VERY busy time. This past week I presented the “Marian Anderson” performance (I wrote and directed) at the Waxter Center and it went over like gangbusters.

Laura Sligh was Marian, accompanied by (once again!) Chris Henry (my super-duper deluxe piano player from the Welch Library.)

Not the best pics — but the performance by Laura (standing & sitting) was ASTOUNDING. She did six (count ’em, 6) song by Marian, and the script had a few amusing moments. It focused on the denial by the DAR (Daughters of the American Revolution) of Marian’s request to sing at Constitution Hall. It created quite a brou-haha, at the time. And brought all sorts of allies (Eleanor Roosevelt, Walter White, Howard University) to Marian’s side. Marian’s life as a trailblazer was so amazing that, as I told the audience in post-performance comments, “tribute must be paid”. Not surprisingly a few “Amens” accompanied my comment.

Less than an hour later I was at a Greater Baltimore Cultural Alliance Brown Bag Lunch, one of three panelists, who talked about Arts and Healing. More than a few sparks flew at this event, because, in more than a few cases — someone in the audience and on the panel, had experience dealing with an extreme personal loss. There were a few tears shed as people shared remembrances. The conversation on how the arts attempts to “rescue” (my words) those who’ve suffered was, in fact, a very

healing process, in and of itself. I heard someone relate how they’d recently listened to a monologue by a girl who’d been abducted into the slave trade, and that sparked something in me. I want to get involved with that. I can only imagine how it must feel to reflect on that — writing something that gives a glimpse into that fascinates me to no end. There were many art therapists who came, and I of course relayed my personal loss (son Charles) and my work with the Telling Project. I give great thanks to

Jeannie Howe, Director of GBCA (and recently appointed Secretary of the recently revived Callaway Garrison Improvement Association, CGIA — Yours Truly is President) for the for the invite.

   A couple days later I was a member of the NEW DAY CAMPAIGN planning session, hosted and founded by Peter Bruun. One of Peter’s assistants worked on this drawing, that actually outlines the goals we’re hoping to achieve, during the entire two hour meeting. The campaign breaks down how — starting in the fall — we’re concentrating on Performance/Sharing/Readings/Exhibits/Speakers to bring attention to how the various artistic expressions work to challenge stigma associated with existing behavioral conditions.

Again, more exciting stuff that I can’t wait to get started on — AFTER I’VE SPENT THIS SUMMER DOING SOME SERIOUS BIKE RIDING. Last summer I was consumed with “Telling,” and didn’t have time to smell the roses on two wheels. This summer will be different. Especially since this past winter it was so ARCTIC that I couldn’t do that riding I wanted. This summer it’s, as they say, “not going down like that”.

Oh Happy Day…….

Who says February is a cold, dreary month. Not Alonzo. I think it’s a fabulous month. And even though March has come in like a lion, it feels pretty fabulous to me also! Let me tell you why winning this grant surprised me. I told Wiffee Nicole two days before I got the notice that I didn’t think I had any chance. “B-SideMan” was such a new concept for me (not for the style of the play), and I just didn’t think it had the juice MSAC was looking for. We’re so conditioned to negate the presence of positivity. Well I have to eat my words. And I am, one smile at a time. This is the 4th MSAC grant I’ve won, and I’m thrilled to pieces. As always for artists, it’s ALLLLLL about the recognition.True Dat. I imagine winning an Oscar feels almost as sweet. What I’ve found is I really want to savor the experience. Bask in the glow. Enjoy the MSAC reception. I sure did back in 2012. That’s me below, outside the American Visionary Art Museum.

It was a starry night. And I enjoyed the company of everyone who was there. Especially a couple artists I’ve known for a good long while. Ahhhhhh, yes. It good to reflect back and see where you’ve been. And yet, still love where you are right this moment. As the character “Alonzo” says in “B-SideMan,” — “one thing started to inform the other.” Congrats to everyone who won. Congrats to those who didn’t. I’ve been to both places, and will be back to both again.

But right now, I’m enjoying the fact that I’m a Playwright. And stuck with it.

That’s me at Single Carrot on a frigid Thursday night. Next to me are several of my “Telling: Baltimore” cast members. Standing is Jim Perry, and sitting almost out of sight if Jeremy Paris. We’re in the small rehearsal space, that was PERFECT for an intimate reading. We had about 15-20 people, some of whom had come for the first reading — mine was the second. The “B-SideMan” reading was all I could have hoped for and more. Received LOADS of positive reaction. And, since I was the only reader, I have to say it felt great to see that my ideas and stories within the play can work. It’s such a free-form script, just a long monologue — BUT — the recollections and themes are pretty spot-on. Not only with how my life has played out artistically but also how my marriage to Nicole and my loss of Charles have ENHANCED who I am as an artist. Ahhh, it sounds so simple.

The painful moments worked, funny moments worked and the overall thread of the play stays true. What I now want to do is make the valleys and crevices of the connections run deeper and wider. Actually, the next night we went to a jazz concert featuring Oliver Lake and a former student from UMBC who’s not a Piano Powerhouse, Lafayette Gilchrist. The last time I saw Lafayette was about 10 years ago. He was playing an outside concert at the Baltimore Museum of Art. The Oliver Lake concert brought back lots of remembrances about the first time I really heard jazz — and it was at (of all places) Marlboro College in Vermont. My teachers offered me tutorials in jazz, black drama and black literature — they wanted to make sure I connected to my roots. They knew I was an outsider at Marlboro (only black man there for three of my four years), and a couple folks in particular Geoffrey Brown and Tom Toledo got me good and exposed. As I’ll be mentioning in “B-Side” the first time I heard Coltrane and Sun Ra and Pharoah Sanders was at Marlboro. And I also got a healthy dose of “Black Arts Movement”  artists and creative politics. So all of that will factor in with my revisions. But how lucky am I to be able to have a new play read in the dead of winter?! I could be at home grumbling about the weather. But, instead I worked FURIOUSLY to get the script into shape. There’s nothing better than working on a new play, my friends. 

So, this past week I was invited to be one of 3 guest speakers for the Greater Baltimore Cultural Alliance (GBCA) Brown Bag Lunch. We’re all speaking on the theme of Arts and Healing. Here’s some info on the other speakers:

• Peter Bruun, artist, educator, curator and community activist. You can learn more about Peter here, and his new project, The New Day Campaign, here.
• Monica Lopez-Gonzalez, cognitive scientist and multidiscinplinary artist. You can learn more about Monica here.

Again, what a fantastic invite! I recently met Peter Bruun and I’m looking forward to meeting Monica Lopez-Gonzalez at the event. They couldn’t have picked a better topic for me to be speaking about.

I’d have to say that February has been very kind to me. And still with a few more days to go!

Yes, “B-SideMan” has a reading sponsored by the Dramatist Guild. I’m psyched because I’m reading it. How ’bout dem apples. Him wrote it. Him read it. Want details? Of course you do. No disrespect to Ted Gettinger, but I highlighted ALONZO’S info. I’ve been working like A HEBREW SLAVE over this play. And if my buddy Michael is out there — yes, it has the story of our bicycle ride to the reservoir and the complications that arise over butt-dialing. But the play description says it all really.

Baltimore Footlights

Thursday, February 19 @ 7 PM
Baltimore Footlights Reading Series presents two works in process:

Corn, a one-act play by Ted Gettinger
B-SideMan, a narrative solo performance piece by Alonzo LaMont
Regional Rep Brent Englar hosting at Single Carrot Theatre
2600 North Howard Street, Baltimore, MD 21218
Free street parking is available in the surrounding neighborhood.

Please join us for readings of two new works by DG members:

Corn is the story of two lifelong friends living what appears to be the perfect life in paradise. After one faces a devastatingly public humiliation at the hands of the girl he thought was “the one,” these two friends must determine how to continue living when the dream has become a nightmare and paradise has become your own personal hell.

In B-SideMan, a middle-aged African-American man reflects on growing up black but not angry, his life as a playwright, experience as an exotic dancer, the loss of his son, his journey from “individual satellite” to married man – and ultimately his ongoing battle to keep his creative journey alive.

The event is free and open to Dramatists Guild members and non-members. You may reserve tickets by emailing Brent Englar atbenglar@dramatistsguild.com. (Tickets are not required, but they will help us know how many attendees to expect).

A brief talkback with the writer will follow each reading. Please note that we will begin at 7 pm to better accommodate both readings, and we will serve complimentary wine between readings.

Brent Englar
Baltimore Regional Representative
The Dramatists Guild of America

So as January “springs” (8 damn degrees out last I checked) into focus, I’ve got a bit more info about my next project sponsored by the the Department of Housing. Actually, my acting buddy Tyrone Requer brought me into the fold and he’s doing the organizing. They Dept. of Housing is sponsoring “Waxter Wisdom”which will be monthly dramatic presentations of influential African-American women, as the poster says 12 African American Women Who Changed Our World. And boy did they ever.

Most you’ve heard about, but there may be several who might raise a question mark or two. There are 3 writers in the project, Alonzo being one of the chosen few, who’ll write the scripts, and work with the actresses representing the women.I’ll be creating a script for Marian Anderson, Harriet Tubman, Wilma Rudolph and Ella Fitzgerald.

As much as I do my own writing, it’s actually exciting to do some research about famous folks who no doubt, overcame obstacles GALORE to reach the pinnacles that they reached. So, it may sound corny, but it’s a true honor that I get to be part of this. The presentations will last about an hour, and I think they have the potential to be performed in a variety of other venues.

See, this is the great thing about where I’m at with writing. If you’re lucky enough to have opportunites come your way, then you gotta SQUEEZE those suckas! I’ve been writing my entire adult life, and to still have projects come my way is really —- all gravy. It’s like blogging. I don’t blog to get a zillion followers, I blog so I can chronicle what I do — so I can see it in black and white. Now, if anyone reads what I blog — again, — more all gravy!

A couple other things on the horizon. I would love to present WHAT I DO AS A MATURE PLAYWRIGHT to Creative Mornings. I’ve spoken with the representative from Baltimore and expressed my desire to present. Also, On February 19th I’m doing a reading of “B-SideMan” at Single Carrot Theatre in my old Remington neighborhood.

As I get more info I’ll pass it along.

 

In the midst of all the Holiday/Christmas/Spreading-A-Lil-Joy celebrations that I try and do (this consists of me accepting invitations and arriving places where I’m wined and dined!), I always apply my time with a bit of reading and writing. For reading, I’m stretching the actual finishing off the latest Walter Mosley “Easy Rawlins” mystery, “Rose Gold”.I’ve read every book about Easy, and find the development that Mosley includes about Los Angeles, starting from the ’50’s, to be a revelation. Half of the fun in the books is “watching” black folks acclimate to LA, and vice versa. Many are from the south, and as readers we’re given an inside peek at how various elements (community, society, police departments, wealth and poverty) influence the world Easy travels through. He changes his perspectives, as do we. It’s almost a cultural travelogue. If you haven’t seen “Devil in a Blue Dress” with Denzel and Don Cheadle — it’s an absolute must read AND see. Cheadle as “Mouse” is a CLASSIC. Mouse’s motto is shoot first, to hell with the questions! But there are so many juicy visual “film noir elements”, it’s breath-taking. That’s no exaggeration.

I don’t know why “Devil” didn’t become a HUGE hit. It’s film noir Afro-Sheen. I’ve also read almost all of Raymond Chandler’s books, so I appreciate the genre. Also on my to-do list is “Unbroken”. I’d never heard of Louis Zamperini, but just hearing a little bit of his life story is jaw-dropping stuff. How could we know so much miscellaneous stuff and never know about a genuine hero. Beats me. But we don’t promote heroes these days, so I get it. Also on the docket is “High Cotton” by Darryl Pinckney. It’s from the early ’90’s, but I was intrigued so we’ll see. And who says Playwrights don’t read any plays — I’ve staring at “Copenhagen” by Michael Frayn right this moment! It asks great big questions and Frayn wrote another favorite, “Noises Off” (about backstage life in a hit play, well the cast may or may not think it’s a hit play). The audience may be suffering from the same dilemma…….

I also finished writing a short play called “Bagel Shop Smear.” It’s about an incident that happened with a co-worker of mine. It was something I overheard at an office gathering, and the next day asked her about it. This is how I get ideas. Anyway, my co-worker and her longtime boyfriend went to a bagel shop and were approached by the owner. He, playfully, wondered why she was with her paramour, suggesting she could do better. But at the real heart of the interaction are questions, raised by the owner — pondered by the couple — of moving forward as a “Jewish” couple, if that’s what they’re to be? Would this happen? Is this something to be considered? A few “innocent” comments from the owner and the couple realized this was an uncomfortable exchange that hit a bit too close to home.

So that’s all in play this Holiday. But above all, here’s my own 2 cents on the best movie I’ve seen in a good, long while — “Birdman”. Easily the HIPEST movie you’ll see in years. I’m not giving any description, there’s enough out there already. But, the soundtrack ALONE (think jazz drumming) will make you aware that you’ve entered a world that you and Miles Davis (along with a few other true hipsters) could occupy. Yeah, it’s the complete realm of all things cool, baby.

“Telling: Baltimore” finished at Center Stage last weekend, and I can’t say enough about how fantastic the experience was. The cast was

so psyched to perform in such a “legitimate venue”. And they rose to the occasion. Here we are taking a break during dress rehearsal. From left to right that’s Nick Lutwyche, Lisa Lutwyche, Maureen Stewart, Jim Paris, Jim Perry, Aisha DaCosta, Susie Cooper, Tracy Miller and cut off at the end if Karin Rodney-Haapala. That Alonzo, sitting in the audience. Some would say that’s my “best” side — I beg to disagree. As I told our audiences, and the cast, this was one of the best experiences of my life. Especially with regards to Theater. The cast was so unpretentious and sincere it made working with them easy as pie. They never fell into any of the typical “traps” that can sometimes come along with performing. And they listened, and trusted me — who can ask for more? It wouldn’t surprise me if I end up working with a few of them, if not more, somewhere down the road.

We all wished we could take our show on the road, having been in and out of rehearsals since June, we were all VERY comfortable about what we put onstage. And, we performed excerpts from the show at three different Baltimore schools during the week leading up the show at CS. We answered lots of questions, had some truthful engagement with a variety of students (high schoolers) and staff. “Telling” was 100% volunteer and boy did I put time, effort and energy into it. That’s no freakin lie. Ahhh, but what rewards. As I told wiffee Nicole, it’s something I can look back on and say “Yeah, I did that.”

What’s upcoming for 2015? Well, since I seem to be doing a cavalcade of projects “on my way to being famous,” I’m working with the Baltimore City Dept. of Housing, specifically Tyrone Requer an actor buddy who I’ve worked with on “East Side Story,” and I’ve been asked to create 4 one-hr. dramatic profiles of famous African-American Women. These will be performed as solo narrative pieces at the Waxter Center through 2015. The women I’ve chosen to write about are Marion Anderson, Ella Fitzgerald, Harriet Tubman and Wilma Rudolph (below). An eclectic mix, to be sure.

We have 12 months with a different woman featured each month. Our illustrious Mayor, Stephanie Rawlings-Blake will be doing the final month, not sure who she’s profiling. Also, and this is a mighty BIG also — “B-SideMan” will have a reading in Baltimore. I know it’s in February, but beyond that I’m unsure. It’s being sponsored by the Dramatists Guild (they find me a Theatre and send out the invites) and Alonzo will be doing the reading.

So today I saw someone ask this on twitter — “what inspires you?” And it actually gave me PAUSE. I mean, that could be all over the place. You may think of a particular person, a particular event. So as I ruminated, it came to me.

These are two actors performing the first play I ever saw in New York. It’s called “Swezi Banzi Is Dead” and it’s by a South African Playwright. Set during Apartheid, it knocked my socks off. I couldn’t believe that just these two actors could produce something so dramatic and powerful. It set my little Playwriting apetite on fire! I knew that plays didn’t have to be these big productions. I saw how far “intimacy” travelled with an audience, and that the task of taking an audience on this journey wasn’t impossible. “Swezi Banzi” has been made into a movie (it’s by no means a “major motion picture) and produced many, many times. Here’s some Wiki info to peruse.

Feel free to share what inspired you…..