Richard Hackley’s new musical, “Bonjour Mon Amour the Musical,” scheduled for two special showings – 11:00 a.m. and 3:00 p.m. – on Thursday, February 16 at CAM Studios, 115 West 45th Street, Suite 603, in New York City (visit www.bonjourthemusical.com for further information), sports a star-studded cast:

James D. Gish plays the lead, Mike Mercy, a 21st century everyman, whose life includes a rocky love life and a stressful job. Gish currently appears on BROADWAY in WICKED and has been on the national tours of Les Mis and Beautiful.

The cast also includes Alec Michael Ryan (NATIONAL TOUR: Jersey Boys, REGIONAL: From Here To Eternity); Emily Trumble (OFF-BWAY: Soft Power, TOUR: Sound Of Music, Something Rotten); Rob Richardson (BROADWAY: Jekyll and Hyde, A Tale of Two Cities, OFF-BWAY: Kinky Boots); Haley Swindal (BROADWAY: Chicago, Jekyll and Hyde, OFF-BWAY: Sweeney Todd); Max B. Ehrlich (BROADWAY: Aladdin, TOUR: Miss Saigon, King and I); Joseph Peterson (NY: It Shoulda Been You, Angel of the Amazon, Save The Palace); Leah Platt (TOUR: Fiddler on the Roof, REGIONAL: The Prom, Which Way To The Stage).
 
Hackley’s clever domestic dramedy, sporting a 70’s/80s rock style score, is directed by Jamibeth Margolis, whose theatrical directing credits include Broadway/Off-Broadway and regional. Jamibeth served as assistant director to Tony Award winner Jerry Zaks on The Caine Mutiny Court Martial (Broadway) and also on Jules Feiffer‘s A Bad Friend (Lincoln Center Theatre). She has also helmed developmental productions of the following new musical works: Save The Palace, Owl Creek, Great Googly Moo, and Warsaw.

Andrew Wheeler serves as Musical Director
Jared Six is the stage manager

Bonjour Mon Amour, the Musical, is a contemporary story that follows Mike Mercy through ups & downs of love & life. Mike has two friends showing him both sides – an older neighbor with advice to clean up his act or risk losing the love of his life; and his burnout buddy’s much more relaxed opinions.

Richard Hackley is a distinguished member of Broadway producer Ken Davenport’s acclaimed TheatreMakers Program.

For further information or to request an invitation to the presentation, please contact Jay Michaels Communications at 646-338-5472 or at jmcommnet@gmail.com.

Rommell Sermons Interview by Jen Bush

Rommell Sermons is an enthusiastic artist about to take to the stage at The American Theatre of Actors in Resurrection.  When other teens were running around sports fields or reading comic books, Mr. Sermons was developing his craft in a theatrical youth ensemble.  Mr. Sermons was gracious enough to give us some time to discuss this current project and his art.

“My name is Rommell Sermons. I am from the Bronx USA, where I was first introduced to acting, performing in the teenage ensemble: The Temple of Youth, at Lehman college. As the saying goes, I was bitten by the bug. Years later I completed my BA in performing arts at SUNY NEW PALTZ University.   I’ve been performing for over three decades, and I’m still amazed and in awe every time I step on the stage, I become that kid all over again. Theatre is my true passion. I love the interaction between the actor and the audience.” 

Mr. Sermon’s creative process entails building a character starting with a blank canvas as well as making the character a part of himself.  “I like to approach each character with a clean slate. Which is not easy, but I try to ignore any preconceived notions or prejudices I might have. I try to walk in the character’s shoes and try to understand and justify their actions. It’s a type of symbiosis where there are two people in one. I’m at the wheel you can say, but the character is giving me directions, I listen and get out of the way as much as possible, but I can’t let us both drive off a cliff.” 

Mr. Sermons would like to audience to take away the knowledge that the tragic events of this play really happened and the repercussions that they had on history.  “First off, we want them to understand the historical significance of Black Wall Street. This is not an isolated incident it’s part of American history and culture that was pretty much buried and is now being dug up.  If you would have asked someone 10 years ago about Black Wall Street, you might have received a lot of blank stares. But now people are becoming more aware. I feel like this play not only informs but it can also help their audience empathize and understand the impact of this tragedy.”

This play is dark and tragic.  One can’t help but feel the emotional impact in some negative ways.  “I think for me this experience has been very somber. I mean I love working with my fellow actors and director. But reliving this tragedy night in and night out is very taxing. The idea that these people really fought for and feared for their lives and were killed, many in a horrific fashion. Really brings on a sense of melancholy not only for the character but for me Rommell the actor. The only solace I have is that once I walk off that stage I can return to my normal life but the actual victims of Black Wall Street never had that chance.”

 Being a part of this theatrical experience had a positive effect on Mr. Sermons.  “It refocused my dedication and enthusiasm as an artist not only as an actor but to the arts as a whole. This is an independent production so we don’t have all the resources that major theaters and companies have. As a member of this production, I can’t just focus on strictly acting, saying my lines and going home. Sometimes other things need to be done or someone needs a helping hand. If that means putting up a set or help making flyers and postcards and really trying to get the word out and advertising the show. It’s a matter of getting in where you fit in, whatever needs to be done. You do it. I never participated that fully in any productions I worked on prior.” 

Mr. Sermons feels a strong sense of responsibility to rise above stereotypes in the characters that he plays.  “As an African American actor I feel a certain responsibility in portraying characters that are not considered stereotypical. I try to stray away from playing drug dealers or criminals let’s say because I always felt like that is what is expected of me from the larger society. One of the reasons why I became an actor was because as a child I rarely saw my reflection on TV or in the movies. They were very few opportunities back then for black actors to portray characters that were treated humanely and with dignity.”

“I remember one night watching TV with my grandmother and a Sidney Poitier movie came on and whatever she was doing she stopped dead in her tracks. I believe it might have been lilies of the field. And I just remember her being enthralled by this dark skin man on the black and white screen. I never saw her have a reaction like that to anything or anyone so I was determined to figure out who this Sidney Poitier guy was.  But yet and still he was somewhat of a lone figure. It was truly an event for my family growing whenever a movie or TV show with a predominantly black cast or a black protagonist or even sidekick appeared on the screen.

And that’s what I wanted to do. I wanted to tell stories around the fire. That will make people who look like me proud of their culture and heritage.”

Mr. Sermons is hoping that Resurrection has a long theatrical journey.  What’s next for this talented artist?  “Hopefully the return of the Resurrection.”

You can enjoy the talents of Mr. Sermons and the rest of the brilliant cast from February 8-12 at The American Theatre of Actors in Resurrection.

BeLonging review by Jen Bush

A Film by Gauthier-Charbel Raad

Director: Gauthier-Charbel Raad

Writers: Gauthier-Charbel Raad and Pamela Saadeh

Cast: Romain Kachaner, Jihad Saade, Jill Alexandria, Gassia Shahabzian, Gauthier-Charbel Raad

Going on a job interview can be nerve wracking.  Being uncomfortable in a vulnerable situation is par for the course.  In BeLonging this discomfort was taken to a whole new level.

In BeLonging we meet a man who goes on job interviews in the filmmaking industry in four different countries.  The interviews take place in French, Lebanese, American and body language.  We’ll get to that!  This interviewee had a stellar CV (resume), two master’s degrees, a wealth of international experience and was fluent in multiple languages.  For most employers this person would be a goldmine and he would be snapped up immediately.  These particular interviewers asked wildly inappropriate questions.  They focused on ridiculous things like the job seeker’s name, a personal issue with a film he made and questioning how he would fit into American culture.  My favorite line in the movie came from the American interviewer who asked the character, “When Easter comes up, will you be angry?”  Cultural differences aside, the Easter Bunny and a handful of chocolate eggs can put a smile on anyone’s face!  The fourth and final interview was nearly wordless but spoke volumes.  The interviewer was blatantly smitten with the interviewee.  She stared seductively while batting her eyelashes and suggestively played with her hair before and after she removed her head covering.

BeLonging shows the surreal side of job interviews and the difficulties that can be experienced when there are cultural differences.  This 11-minute film is highly relatable because most people have been on job interviews.  It contains themes of multi-culturalism and trying to fit in.  The filmmaker’s innovative use of camera angles successfully built tension with some extreme close-ups making some of the interviewers menacing.  The film was well cast, and the material was well executed by each talented actor.  Kudos to Gassia Shahabzian who uttered only two words but got the message across loud and clear.  The humor in the film is subtle but you will find yourself laughing at the absurdity of the situations.  Job well done!  You’re hired!

My arrival at the American Theatre of Actors was memorable. It is a space this reviewer, as an actor, has performed at some time ago. At the end of the hallway, I was told there were two performances. The man at the box office informed me, The Buffalo Hero of WWI, was cancelled due to a sick Lighting Person, or Sound Person. The actors and crew only learned about it an hour before. Before I left, I told the friendly box office volunteer I was here to “review the show”. He allowed me to go in for what would be a dress rehearsal. The first time the cast would be in the bigger theater.

My first impression as the only audience member, until there were two when my friend arrived; I was impressed with the changes in this theater. The last time I was in this space, a few years ago, there was no balcony or spiral staircase. What a great space, and doing my own plays there, danced in my mind.

I walked in early enough to catch the Writer/Director, Kenthedo Robinson, a truly talented man. Also, the Lighting Technician and various cast members preparing. Ms. D (Mamma Miner) being in full rehearsal on her own.

The assistant, whom, I’m sorry to say, I did not remember to identify between Mark Robinson or Michael Banks. One was absent and they are both noted, respectively, in the playbill as Sound, Lighting and Projection. The playbill lists them both twice each. If the gentleman there was another person, it is not noted, or one is not identified in the paper playbill.

During this dress rehearsal, the lights were used, and the sound was spoken, by the assistant (on book), when there was no sound set-up.

The missing person, and the cancelation of the performance for audience, much like sound and a missing props, here and there, marked the overall performance. It is an interesting true story of Wayne Miner, the last soldier killed in World War I. Mr. Miner was an African American Kansas City fallen Buffalo Soldier Hero. Mr. Miner was boldly portrayed by the handsome and excellent actor, Alton Ray. He fit what I would imagine this hero to be, a strong performance in every way.

The cast is strong, throughout, and Mr. Ray I would say a great lead for this play. All entrances and characters were strongly identified by the actors. Particularly in Act I. Some small uneven moments in scenes as the play progressed, not as distracting to most audience members, I would think. Just as a theatre professional, fixable with tightening; the unevenness could be removed by a bit more focus to the story. Michael Julius who had a wonderfully diverse character as Franklin B. Seymour, fantastically portrayed an act of being abused very well. Yet, in describing the actual horrid act by fellow white soldiers, he lost a bit of the anger of the act. Where it seemed his anger should be growing, his ebbed during the description of the act. The event that drove him to the anger. I would have liked to see that description itself to be expressed even more strongly. Julius chose to express it more like an observer, at the moment, it would seem better to grow more there, instead of using it as calm recall.

Kassime Fofana, as Rafius Rucker, driven into shell shock and fear and cheating on his wife, was fully a great performance into this type of mental illness. There were a couple of moments, seeing the true angst on his face, softened into clear vision. I would have liked to see the incredible coming insane fear stay on his face until his decision to do what he must do, to end his internal terror.

Some may be excused due to last minute changes; for example, coming ready to perform for an audience and ending up in a dress rehearsal. Secondly, moving from a smaller space to a much bigger space. Considering this, the cast, without full sound and having some of it just being read from the front row out of the script, it was excellent. There were only a few small stops and delays, to find a missing prop or get to the right light cue.

They ran almost straight through, with a needed intermission. I would say the ending was a bit lengthy. I would not want to have missed the information, yet it felt like The Buffalo Here of WWI could have been shorter, a little long to get to the end.

Nicolas Dodge as Captain Quincy Blu is to be commended for his performance as the prejudiced, closed-minded Captain! His changes felt natural and never broke who he was as a person. He was truly the guy you hate, and eventually, almost understood he was merely the victim of his time and may have changed by the end of the war. Maybe he told the story of these men he lost?

Ms. D played way beyond her years. I felt every time she was on stage. I felt the love for her son. And if not for her performance, I would have thought, she is too young to be the mother she portrayed.

Shani Tabia as Angelica was a joy every time, she entered the stage. Her energy was the glue and if there were any lags, her performance brought up the room. Overall, the energy of all the actors was fantastic. Ms. Tabia had this and more reminding us of our purpose, no matter what others may say. That can do and will do attitude.

Final Thoughts 

Although this about a time before any of us were born. It is proof that we have not grown as much as we’d like to believe. How history, in some ways, repeats itself and even though, from the prejudice Captain Quincy Blu to the ideology of Myles Marable as Lt. Clark guiding us so beautifully, as our guru of taking people from where they are and guiding them to illuminating where we can be, with one step at a time. Marable played that he, as this character, would, ideally, have written this story of the possibilities of the future by meeting people where they are.

WHAT DO WE DO ABOUT WALTER? -Review by Jen Bush

When people think about academia, they might envision stuffed shirts sitting around engaged in profound discussions about things that are way over their heads.  Not in WHAT DO WE DO ABOUT WALTER?  With themes of infidelity, ageism, jealousy and conflict, these stuffed shirts had a lot of interesting things going on.  Secret meetings and illicit encounters are just some of what this play has on the syllabus!

The setting is Bridge College Annette is the uptight head of the English department.  Walter Knight who has been there for 17 years and was just awarded the distinction of being a Writer in Residence is a thorn in Annette’s side.  He happens to be a very well-liked and good teacher.  She feels he is too old, completely inflexible and sorely lacking in credentials such as a master’s degree.  In academia the saying constantly tossed around is publish or perish. Though Walter is the most published professor in the department, Annette finds no intellectual value in his work since it’s commercial and not academic.  She tries to enlist the support of a fellow professor who she is having an affair with and the rest of her department to push Walter out of the college.  We see Walter’s inflexibility in a staff meeting where a list of books to use for the next semester is discussed.  Walter still values the consummate classic works of literature especially Shakespeare.   The college would like to modernize the curriculum with more inclusive, politically correct works with a concentration on female authors.  Walter has become Annette’s obsession and she will stop at nothing till he has crossed the bridge for good from Bridge College.

WHAT DO WE DO ABOUT WALTER?  was written by Irving A. Greenfield.  Mr. Greenfield was a prolific author of over 300 books and several plays.  He had a wonderful professional and personal relationship with the American Theatre of Actors and the people employed there.  This play was supposed to run in 2020.  We all know what happened in 2020 and tragically, Mr. Greenfield passed away before he could see this, his latest work on the stage. Having seen several of his plays produced at The American Theatre of Actors with much of the same talent, I can say this was a brilliant artistic partnership.

WHAT DO WE DO ABOUT WALTER? was funny, dramatic and edgy.  It was thought provoking and touched on some hot button topics such as gender, feminism, inclusivity, ageism and political correctness.  It’s hard to imagine Shakespeare ever becoming obsolete and irrelevant as was suggested in this play.   Whether they went to college or not, adult audiences can find something to enjoy in this well written play.

The powerful cast expertly directed by Laurie Rae Waugh were all ideally matched to their characters.  Ken Coughlin gets an A+ for his fabulous portrayal of the mercurial Walter.  His stage experience shows.  He made an excellent military man in Banned in Bisbee and a completely credible college professor in this.  He looked the part and he gave his all in the part.  Amanda Cannon goes right to the head of the class with her villainous portrayal of Annette.  She’s so good at being so bad, trust me, you’ll root for Walter!   From The Merry Wives of Windsor to this, Michael Bordwell provided another acting slam dunk.  He rolled a lot of traits into his portrayal of one of the department professors, Steven.  He was slimy, savvy, likeable, not likeable and more.  Overall, the character was out for himself but there was a tiny bit of heart directed at Walter.  It was an excellent portrayal.  This was the third time I witnessed a performance with Manny Rey and he is always solid.  He was authoritative and funny in his portrayal of the college provost.  The cast was rounded out by Vicky Gitre, Ben Guralnik,  Alan Charney and Rooki Tiwari who were all fantastic.  Every character brought to life was genuine and interesting.

So, what did they do about Walter?  A better question might be, what did Walter do about them?  WHAT DO WE DO ABOUT WALTER gets a 4.0 G.P.A. which stands for great performance all around!

PART I in InDfilm

Meet filmmaker Gauthier Raad.  He is an international, multi-cultural and multi-lingual sensation.  He was drawn to the cinematic arts at a young age.  Following his passion, he has achieved success on several continents.  He has a vast toolbox of skills coupled with cosmopolitan experience to create innovative and compelling content.  It was wonderful to learn more about this fascinating artist.

Interview by Jen Bush

Mr. Raad’s defining moment in life was to go on a journey which paved the way to his career in the arts.  It took a lot of guts to do this at a young age but it all worked out in the end.  “I feel that the most defining moment in my life is when I decided to pack my suitcase and move to another country alone without knowing anyone there. This happened when I was 19 years old. It has taught me a lot of things… a lot of lessons. I think I became fearless.” 

Mr. Raad has a favorite genre and it’s a good one.  “My favorite genre is a psychological thriller. It is so difficult to be able to create such a genre but when it is well done, psychological drama movies haunt me for months. I think it needs a high level of maturity, professionalism, and time to be able to do a psychological thriller. This is why there are not a lot of them.”

Mr. Raad has a positive attitude and doesn’t let obstacles stand in his way.  “Obstacles are everywhere… but I believe if we really want something, genuinely – not for our ego – It will come. 

The biggest obstacle in our industry is always the network and the contacts. Most people stay in the same place and work on expanding their network. My journey is completely different. I have moved many places but this has never been an obstacle or a handicap in my professional life.” 

Mr. Raad shared his thoughts on how the pandemic impacted the arts industry.  “I think our habits have changed post-pandemic. It is important for us to start pushing back people to go out and meet, and network… I have noticed this in the film festival I manage. I think the virtual shift that happened during the pandemic is a very positive thing, however, I think that people have to put more effort to go out and meet other people. The pandemic made us lazy and so comfortable in our houses… I think venues, associations should help the festivals and the events by giving them more space to do more events so people will little by little get into the habit of going out more.” 

“What’s next?  My dreams… here I come.”  For someone who had the incentive to take the world by storm before the age of 20, I believe Mr. Raad’s dreams will be fulfilled, and we will be the lucky recipients of his art.

ALL OUT ARTS, the producer of FRESH FRUIT FESTIVAL, one of NY’s premier LGBTQ arts festivals for more than two decades is accepting submissions from NYC authors of LGBT-themed short works and full plays in three multi-media categories this year. Thanks to the generosity of New York City’s Dept. of Cultural Affairs and the NYC Council, there are NO Admission or Participation Fees required, but there are numerous financial rewards and prizes

The 2023 FRESH FRUIT MAINSTAGE MAINSTAGE: Performances April – May at the Wild Project, NYC. Looking for Stage Plays of many types; must be self-produced. Tech and FOH staff provided plus production consultation and insurance. Shows receive FREE Box Office Share (last year over $6,000 was distributed). Storage provided. Event curated by Dennis Corsi and Louis Lopardi. Deadline December 15.

The 2023 MONOLOGUES-on-Film Project: A Contest and Exhibit of self-produced monologues on video. This year’s general theme: “Seeing.”  Eight to 10 Semi Finalists will be presented for public and technical panel voting. Free technical guidance and limited post-processing. Cash stipends to ALL Semi-Finalists PLUS increased cash award to all three finalists. Early-Spring presentation for votes, plus hosting on our YouTube Channel for two seasons!  Deadline January 2. Event curated by Jay Michaels.

The 2023 RadioPLAYS: Self-produced Audio works in two divisions. Radio SHORTS (up to 25 minutes, 3+ characters). Radio SHOTS! (2.5 characters, 3 to 12 minutes).  Extensive free technical help at all levels of the production process. Free post-processing and Podcast hosting. Cash stipends $175 to $250 upon completion.  Deadline January 15. Rolling production January through May. Event curated by Jay Michaels.

Please SEE our website for Details, Rules, and Links to past winners
https://freshfruitfestival.com/all-entry-fy23/  Note: Online-Application Forms only, per each part. If you submit in more than one division, please ALSO use the Contact form on the website.

The Buffalo Hero of World War I
The Wayne Miner Story
Returning to New York for a special limited engagement is Kenthedo Robinson’s powerful drama about a group of unknown and unsung heroes of World War I.
 
Special Engagement: December 7 – 18 (Wed – Sat. @ 8:00 p.m. and Sun @ 3:00 p.m.)
Tickets $20  (Groups of 10 or more $15)
EventBrite.com     
The American Theatre of Actors is located at 314 West 54th St, NYC
Call for tickets: 212-581-3044    917-523-2823

Black Lives Mattered … even in 1918
Acclaimed playwright, Kenthedo Robinson’s retelling of the true story of three young men enlisted to fight for World Democracy during WWI returns to one of New York only remaining off-off Broadway movement venues (along with La Mama and theatre for the New City), the American Theatre of Actors for a limited run during the holiday season.
Wayman Miner (1894 – 1918) was an American soldier who fought in the Buffalo Soldier regiment during the First World War. He died in the hours between the signing of the Armistice and the symbolic 11 a.m. time it was set to go into effect, after volunteering for a mission to carry ammunition to a machine gun nest. This is his story and that of his fellow Buffalo Soldiers.

They battled many more enemies than many soldier of the time. Most battled the Ottoman Empire, but the Buffalo Soldiers discovered that racism and harassment proved to be their own personal enemy. Their most powerful weapon — the power of brotherly love and the glory of honor.    

The cast includes Ms D, Alton Ray, Shani Tabia,  Kassime Fofana,  Mike Vails,  Nicolas Dodge,  and Myles Marable
Special Effects by Nikoli Pierre; Sound Design by Mark Robinson; Lighting Design by Michael Banks;
Production written & directed by Kenthedo Robinson

The American Theatre of Actors is located at 314 West 54th St, NYC
Call for tickets: 212-581-3044    917-523-2823