Interview by Jen Bush

David Arthur Bachrach is a New York actor, singer and dancer.  A noted classical actor, Bachrach is credited with acclaimed productions of Macbeth, Richard III, Hamlet, The Cherry Orchard, Three Sisters, Much Ado, Cymbeline, and – after this play – As You Like It.  He will be appearing as John Huston in the upcoming production of Carson & Huston. The play is   based on a true story about a meeting between novelist and playwright Carson McCullers and film director John Huston in Ireland.

 Mr. Bachrach has a tried and true creative process that has served him well throughout his artistic journey.  “The steps in my creative process are to research the role(s), gloss all references, understand the context in which the roles appear in the play. Next, assimilate the director’s vision for work, then begin memorization.”

Carson Mccullers and John Huston are instantly recognizable names with a vast body of wonderful work between the two of them.  This is what attracted Mr. Bachrach to this play.  “What drew me to Carson and Huston was a familiarity with Huston’s work and an eagerness to acquaint myself with Carson’s.”

 Regardless of the subject matter, actors have a responsibility to honor the work and provide a genuine portrayal of their character.  A seasoned actor like Mr. Bachrach takes this responsibility seriously while also using his skills to make the role his own. “While I feel a responsibility to represent John Huston fairly and accurately, this is nonetheless a work of fiction so, within that, I feel free to leaven the role with my own wit and personality.”

Live performances have returned though Covid is still an unwelcomed guest.  Mr. Bachrach has done his part to ensure the health and safety of himself and others and is working in an environment where proper health and safety protocols are fully in place.  “My understanding is that Equity requires that the audience show proof of vaccination and wear a mask in the theater.  I’ve tried to take all personal responsibility and cautions (vaccinations, tests).  That’s what can be done, for now.

Theater by definition is a ‘large tent’ – broad, encompassing many variables and talents.” 

Covid is a global unwanted shared experience.  Post-Covid, many artists including Mr. Bachrach feel that this will spawn future artistic works.  “In my view, post-covid is similar to any shared life experience and ought to be reflected when appropriate in theatrical works.”

 After Carson & Huston, The Bard will be keeping Mr. Bachrach occupied at the beginning of another beautiful New York fall.  “Next for me is As You Like It by Shakespeare.Frog and Peach Company, Lynnea Benson, director.  Theater 71 at 152 West 71st Street, Manhattan.  September 29, 2022 – October 23, 2022.  Thursday-Saturday nights at 7:30pm, Sunday afternoons at 3:00pm.”  

Review by Alice Greenwald, PhD.

There is a style of musical (pre-dating the golden age of musicals slightly) that’s was called “the musical play” as opposed to musical comedy. It is a solid and serious piece exploring important social content through a book that could stand alone and music that complements the mood and the players. ThreePenny Opera heads a list of this type that would include Lady in the Dark, Showboat, Pal Joey, and Cradle Will Rock (I’ll include Carousel as well). This type of musical play is all but extinct in my eyes.

Until now.

A Symphony For Portland deftly explores a post-pandemic America forced to resort to drastic means to survive. A world that looks uncomfortably like depression-era America. We meet a cacophony of working homeless (those individuals that have jobs and academic lives but go home to an abandoned building or shelter), unwilling sex-workers (the fodder for every exposé on sex-trafficking) and those middle-class parents who are sure this cannot happen to their children – until it does.

One might digest this synopsis and shy away for fear of sitting through a dower declamation. You’d be wrong. A Symphony for Portland is a joyous, uplifting inspiring evening of exquisite writing coupled with an old-fashioned opera-into-musical theatre score and some genuine and exuberant performances.

Christina Hemphill gives us a harsh scenario but well-peppers it with genuine faith and perseverance in her words and music. Strains of her lilting melodies stick in your head as you find yourself feeling for each character as if you knew them well. Her journey into the operetta style musical was daring, but bountifully paid off.

Jay Michaels, a familiar name on many fronts in the New York theatre scene, directed the 90-minute opus with clever subtlety in conveying the messages of play and characters but handed us just enough of his trademark physical humor and “schtick” allowing the message to shine while handing the audience necessary moments of humor and customary musical theatre catharsis.

The main plotline involves Starr and her father, a busy businessman unable to love his daughter due to the death of his wife. Starr falls in with the wrong crowd (of course) in the form of Jesse, a smooth talking flesh-peddler and Nick, a good old-fashioned malcontent – crooked cop and dealer in all things illegal. Coming to her rescue are a gaggle of good-natured indigents including Jordan, an abandoned son who has now found God; his lover, Aaron, a wild-haired free-sprit who always hears music. They are the leaders of a “Hair”-like tribe of sex-workers, bible-thumpers, and fellow homeless. The ending is predicable, how they get to it will make you cry.

Kristen Smith and Demetrius Kee well-inhabited the role of disinterested dad and innocent child. Smith’s beautiful voice and wide-eyed wonder made her interactions with deadpan dad humorous. Kee found his stride after Starr goes missing and his odyssey of search and song became heartbreaking.

Mathew Cohen and Jamiel Burkhart as unlikely lovers were quite brilliant – together and separate. The bespeckled Cohen kept us grounded with a solid, thoughtful performance while Burkhart was a singing dancing ray of sunshine culminating with an 11:00 number worth the price of admission alone.

Isaac Williams was simply perfect as Jesse, the flesh peddler. Williams’ stage presence allowed the audience to hate him and feel for him at the same time. He also packs a powerful voice. The number “Love in the Rain” showed the power of his and Smith’s voice as well as the beauty of Hemphill’s lyrics. And to have the number done amid a sea of umbrellas enhanced the mood perfectly.

Ashlyn Prieto as the obligatory nun endeavoring to help those around her was a bright spot among bright spots. A superb voice and flawless comic timing made her a joyous addition to any scene. She was shadowed by a do-good-or-at-least-trying novitiate sweetly played by a silent Sarah Rosa. Caitlyn Sommerville and Lauren Rathbun offered a look into the souls of ladies-of-the-night with two diverse and truly engrossing performances. Adding Ava Tyson as another sex-worker who, simply by reaction, told both their stories deeply, enhanced all their performances. John Stillwaggon as the bereaved parent of the abandoned Jordan never left the stage, allowing us to see the events through his eyes, solidly rooting us to the message. An excellent asset to the proceedings. Hannah Bonnett as a homeless woman who showed signs of mental illness become a powerful social commentary and – believe it or not – great comic relief.

Musicals of this nature must have an irredeemable character. Ross Pivec as Nick, who sets all crime in motion, handed us the great villain of yesteryear with glee. I was waiting for him to twirl his mustache.

Larry Daggett conducted and coralled a chamber group of musicals so smoothly as to make us feel as if the artists were sharing their thoughts, not singing. Not an easy task in such a space. Another not-so-easy task is lighting such a box. Kudos to Zach Dulny for mood and visibility.

With that in mind, Jay Michaels should be praised for stuffing so much action into such an intimate space. With Covid rules still in effect, even staging needed to be paired, yet, we, in the seats, felt like we were sitting in the abandoned warehouse with a group of pure-souls. And pure they were. When the prostitutes discuss prayer; when the homeless give what they have to others; when those in the dark see the light, you cannot help but feel uplifted. This was another gauntlet thrown before Christina Hemphill. Religion is not fashionable anymore but, in this play, Hemphill lets us believe that souls can really be saved.

A Symphony for Portland runs one more weekend, closing August 28. If Heaven is listening then it needs more time and a bigger space.

https://www.asymphonyforportland.co/

Interview by Jen Bush

Juson Williams is one of the busiest and hardest working people in show business.  He is the landlord of his wheelhouse!  You can see him starring in SOLEDAD, a compelling prison drama opening soon.  “I’m an Actor/Singer/Songwriter/Director/Choreographer/ Teacher/Executive Director/Artistic Director/PRODUCER! I like keeping my hands in various facets of this crazy, yet beautiful business”

 Mr. Williams is not tied down to one specific creative process.  He does what is necessary to bring a character to life while being open to collaboration and wonderful discoveries along the way.  “LISTENING and research! That combination together is absolutely instrumental in bringing nuances to the work, that you are building and creating! I don’t have a specific process because I work with different artists and directors who may not work the way that I work, so I keep myself open so that the collaboration is epic and uniquely organic. Of course I have things I bring to the table but I’ve learned that if a being is leading the scene, rock with them while adding YOUR  few cents to the scenic party! I believe in living in the moment and allowing your soul to transform and move with the tide!”

For Mr. Williams, artistry is like a delectable box of chocolates!  He was drawn to this play for many wonderful reasons.  “The fact that it was a chocolate piece,(Yep! I’m voting for everything chocolatey) and of course directed by the courageous Patricia Floyd! When I got the call from the director asking me to read it for the possibilities of being a part of it, I said OK! You don’t say no to one of the most fierce directresses that I’ve had the pleasure of working with, as an actor, as well as, a choreographer and musical director. We’ve known each other for at least 15 years, have created many works and have collected some awards to boot. I then read it that night and was like WOAH!!!!!!  EJ Robinson is someone whom I need to know! I’ve heard of his piece SPADES, but was unavailable to check it out, due to my schedule, but the poetry and language of SOLEDAD Feels authentic with a mix of Shakespeare and August Wilson. I fell in love with the character because I’ve never truly brought a character like Floyd to life, in a play! EJ’s use of language and through lines cause for such good story telling through a rough lens that we ordinarily do not discuss. It’s bold and brave and needs me so I said YES! HECK YES! And here we are!”

When a piece has serious subject matter, artists sometimes feel an added responsibility to present the material in a more cautious manner.  Mr. Williams feels an all-encompassing responsibility to any work he is a part of.  “Hmmmm! That’s hard to say because I believe that as artists, it is our duty to tell our truth while making the characters and their journey that is represented, authentic and true to life, ALWAYS. I believe in the power of impacting, especially if it represents the time! I’ll always choose my participation in a work, only if it has something to say. So a true answer would be anytime I do something, it’s my responsibility to believe that the subject matter relates to the time or makes a huge impact on its audience!” 

Live performances have made a triumphant return in the face of COVID which still persists.  Mr. Williams feels the way many artists feel having a combination of fear and excitement.  “COVID has been a rough thing since 2020 for me! I was working in Miami when it came into full fruition, When theatre closed down March 13th 2020. COVID was running rampant in NYC at that particular time. I’ve avoided COVID thus far and have been extremely careful, but it’s still scary. My first gig, in a theatre since COVID, was September 2021 and I’ve been running ever since, so although I am weirded out about this thing looming in the air, I’m excited about life trying to come back to the theatre.”

People are divided on mask wearing.  Some people are thrilled to be liberated from them while others remain vigilant and still wear them.  Mr. Williams thinks the latter is the way to go post-COVID.  “What it should look like???? People should still be required to wear masks! It’s crazy that we are not following that protocol anymore! Shows are still closing without enough coverage to keep them open because cast members are STILL getting this! There needs to be more implanted! What that is? I don’t know, but at the least, patrons should wear mask!”

Given Mr. Williams’ talents, skills, experience and overall exuberance toward life and the arts, it is no surprise that he has a plethora of exhilarating projects happening next!  “Oh wow, I have a few things coming up!  The day after SOLEDAD ends (for the moment) I start rehearsals for this immersive piece called LOVE AROUND THE BLOCK  it will be outside on Madison Avenue, near the Hermes store! I can’t speak too much about it, but it will be a good time on Madison and 52nd. Lol

I am also working with my Choir JW’s Inspirational Singers, who was on Americas Got Talent last season, is working on an album and documentary or reality show! Anyone out there want to help? Lol check us out on Facebook and Instagram, TikTok, and Twitter! We even have a Gofund me!  

I’m also The Director of a new Ella Fitzgerald Play in Poughkeepsie NY!  it’s in pre-production right now and goes up in December! 

Passion projects and financial projects are in full bloom! I want more! Lol. I’m just moving towards my shining light!”

Part I of Jen Bush’s exposé on legendary cabaret icon, Brian Alejandro

What happens in Vegas stays in Vegas, unless you’re Brian Alejandro with some Vegas vignettes that will ring the bell on your slot machine!  You can hear his velvet voice as he croons the tunes at Pangea on August 27^th.  He was entertaining and schmoozing during the heyday of Vegas and boy does he have some stories! 

Brian Alejandro is the consummate charismatic entertainer with a captivating stage presence.   He wants to use his artistic gifts to bring joy to his audiences.  “My greatest joy as an artist is watching people laugh, smile and look happy. No matter what is going on in their lives I want them to forget about their troubles and become fully engaged in enjoying themselves. If I am able to do that, then it makes me very happy.”

Mr. Alejandro literally sailed into the arts.  He had amazing teachers and mentors who guided him along his successful path.  He is a multi-instrumentalist who is proficient in many aspects of the performing arts.  “My family came to the U.S, on the QEII and there was a fancy dress party and I was dressed as a sailor. At the time I didn’t know there was also a talent portion of the night I participated in but I had no clue what I was going to do, so I just told a joke and everyone laughed. It was at that moment that I began to contemplate pursuing a career in show business, but I wasn’t sure what my forte was. My aunt was a classical pianist and she started teaching me how to play the piano, although I wasn’t very good at it, I did learn how to read music. I later learned to play the clarinet in junior high school under the guidance of Mr. Fishkind, and quickly became first seat 1st clarinet, which was a big deal. He is still alive today and I am always thanking him for encouraging me to play in the band (Clarinet and the tuba).  At the same time I began singing with different choruses in the NYC area and landed a solo for a Bicentennial Performance that was to be held at Carnegie Hall.  As for dance, that came to me under the recommendation of my Gymnastics coach and I started studying ballet and for many years the Katherine Dunham technique performing all around the NY area. It was then that I revisited singing on a more professional level.”

Throughout his career, Mr. Alejandro has met and worked with some very impressive artists.  “Indeed I have met many great entertainers. The most surprising  person I met was Mitzi Gaynor. Her being a dancer gave me a lot of tips and ideas and few contacts. Meeting Joan Collins several times was memorable because we both came from England, the best advice she gave me was “always have a proper pen to sign an autograph.”

“I had a great opportunity to work with Martha Reeves and the Vandellas. I danced back up and sang back up with the Vandellas. I couldn’t believe it. It was so surreal because it just happened by chance. Throughout the years Lois Reeves who has been a Vandella since 1967 has coached me, helped me develop my voice, my movements and how to understand the feel of a song. She also taught me that not everything you do everyone is going to like, so just give it your best and move on to the next gig. She has given me a lot of life lessons and moral support. We speak on the phone at least once a month.”

Mr. Alejandro’s most powerful moment on stage was not Dancing in the Street.  It was dancing for the group who made that song famous.  “My most powerful moment on stage: That would definitely be when I danced backup for Martha Reeves and the Vandellas and Martha Reeves when she needed dancers for a special event in NYC. I never danced so hard and so fast in my life!!! I also can’t forget another special moment which was being called to dance on stage with Sarah Dash as her “Sinner Man ” which was a big hit for her. After that, whenever she sang it, I was asked to dance.”

The candy man can…and he did touch the life of Mr. Alejandro along with some other notable people in the industry.  “That is a very tricky question because so many people have played a part in touching my life. I’d have to say Sammy Davis Jr. for taking a chance on me and teaching me things about show business that I would not have learned without having a mentor. Miss Gloria Lynne who sang the 1965 hit “I Wish you Love, for teaching me how to take a song and make it yours, and to follow my instinct and pick songs that work for my voice; she later gave me lessons and became a mentor as well.  My dance teachers Eugene James and Joan Peters Dunham Master Teacher) taught me discipline, to be on time (15-30 minutes before a rehearsal), to be prepared, to be patient and to work hard. Believe it or not Lana Turner, she always spoke about having your look together whether you were on or off the set. She also said that people want to see fantasy and glam, the same is true for men. The minute you set foot on the stage the entertainment begins.”

 

Shranjay Arora Interview by Jen Bush

Scientifically speaking, the lens is Shranjay Arora’s laboratory.  He is a filmmaker, editor and content creator who has amassed numerous international awards for his work.  Among his accolades, he was recognized by the Paris Play Film Festival and The New York Movie Awards.  Mr. Arora is currently the editor of The Shuttlepod Show.  It’s a Star Trek podcast hosted by two main cast members from Enterprise.  He accomplished the amazing feat of making an entire short film in under 48 hours.  In his own words, we will hear about his fascinating artistic journey.

“I admire science and still study it intensely, and I firmly believe “Art is Science, Science is Art,” so I find ways to combine it in my storytelling. I was on a path to becoming a doctor. However, midway through that journey, I realized I wanted to tell stories to heal and inspire people.” 

“Storytelling has intrigued me all my childhood, especially Visual Storytelling. Having edited visual content for 14 years, I can confidently say I can feel the footage and sounds individually and understand their impact on the viewer. In addition, I find it very interesting that tiny Pixels can make people feel and even move them. These two elements interact with our human behavior and psychology, and great films use them well.”

“I believe Filmmaking is as technical as it is creative. When I am finished editing my films, I make my trusted reviewers watch them with an eye-track setup to see how I retained them and what portion of the frame was a hotspot and improve from there. It’s all about the interactions of the senses.”

“What You See Is What You Believe,” “and even in our studies, we were told that “Whatever a human eye or ear sees or hears, our brains don’t know whether it’s on a virtual screen or really happening in front of them,” and I take that very seriously. I believe it can be a powerful tool to tell the story through two human emotions that are pillars of humanity itself – Hope & Fear.”

“Without hope, there is no progress or growth; without fear, there is no change. As an artist, I find myself telling stories about technology and how it interacts with us, and the modern issues we face due to technological advancement. I find it my moral duty to keep the audience aware of where we come from and, most importantly, what we have become?”    

“Films & stories are a mirror we can look at and find ourselves within. So, to me, as an artist, my projects need to have a reflection of something real or something I went through. Because if people don’t relate, you are not telling a story.” 

“Proxy was a recent short film I directed, wrote & edited, and it was about what happens when the lines between reality and fantasy get mixed. When VR gets too real… “Spotted” was another short film I directed, wrote, and edited, which was a social commentary on how viral influencers of today’s world may become too close to the cults in history. It revolves around what differentiates a “Cult” from “Culture.”

“I want to make people question the world, their behavior and actions through my films, and that’s what I have devoted my life to.”

PART II: The American Experience