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A Great American Musical from Portland
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.
The World of Juson Williams
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!”
Come to Vegas with Brian Alejandro
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 27th. 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.”
A Symphony For Portland: Christina Hemphill
Interview by Jen Bush
Christina Hemphill is the writer and composer for an exciting new musical opening in August called A Symphony for Portland. This multi-instrumentalist and singer marched her way through high school with a trumpet in hand. The key to her success has literally been the keys. For the past decade she has added composing to all her other musical talents. “I am primarily a musician, a pianist and classically trained organist. I played trumpet in high school marching band. I sang in a symphonic choir, and managed large church music programs. In the past ten years I’ve been composing.”
If you want to remember something, write it down! Ms. Hemphill subscribes to that philosophy as part of her creative process. “I have always struggled with memorization and focus. So, if I am sitting at the piano and trying to find a chord progression I really like and then suddenly find it, I have to write it down right away, or two minutes later, I won’t remember what I played. Creating a new song is a stress-filled process. Writing dialogue is easier but my best writing has come when I outlined what the characters needed to convey. Otherwise, I find myself writing superfluous story arcs or worse, having the characters setting up puns, forgetting the arc all together.”
Some of the greatest artistic creations come from a place of tragedy and heartbreak. Ms. Hemphill’s compassion coupled with a tragic familial event provided the impetus for this musical being composed. “The inspiration for the musical came from an encounter with a young homeless man, one very cold, wintry evening in downtown Portland, Oregon. Stunned by how young he was, I went home and began researching homelessness among young adults. I knew I wanted to do something, so I thought, well, I’m a musician, I’ll compose something. So, I did, a three-part string quartet piece called A Symphony for Portland. And while that satisfied something deep in my head, I was still troubled in my heart.”
“Then this contest came up for an original, unique Christmas Carol. That’s it, I thought. I can enter the contest and if by some chance my entry wins, I can take the prize money and donate it to one of my favorite shelters that specialize in caring for homeless teen and/or young adults.”
“A few months later, I’m sitting at my oldest daughter’s kitchen table setting the lyric of the carol to music. I was comparing the Biblical Mary giving birth in a stable to that of a homeless girl giving birth in an abandoned warehouse. My daughter and her husband had gone to the OB/GYN for one final sonogram before being induced. I’m working with these lyrics: “In a Warehouse, lays a girl without a home…” and the phone rings. It’s my daughter. They are on the way to the hospital. She was a week past her due date and so I thought, “grandson time!” But she tells me the baby is dead, stillborn. So instead of a baptism, we had a funeral.”
“The poem, the lyrics, ended with a lullaby, which I had planned to sing to my grandson. And in time, it was that lullaby that propelled me back to the story, that poem about a homeless girl, alone in a warehouse. How did she get there? And when I figured that out, I had written a musical.”
Ms. Hemphill is hoping that the audience gets a lot out of this production including making personal connections, becoming more accepting of people in their lives and even becoming inspired to help make societal changes regarding some of the difficult issues addressed in the show. “It is my hope, my purpose in risking so much to get this musical staged, that someone in the audience will connect to the story on a personal basis. Maybe they have a teenager with behavioral issues, maybe mental illness. Maybe it’s an addiction in the family that needs to be addressed. Maybe it’s a mom or dad, who is having difficulty reconciling their beliefs about LGBTQ+ issues and their faith and they’ve just learned that their child is now identifying as being “gay.” I want them to leave a performance moved to think beyond their preconceptions and to realize that they can love unconditionally their own child and still have a good relationship with God. Or maybe for troubled families, they recognize that the family needs help and seek it.”
“Finally, I hope families will research sex trafficking, homelessness and issues affecting the characters in this musical and then decide to do something, by volunteering or donating to their local charities that deal with these issues, thus helping reduce the instances where teenagers and young adults find themselves homeless.”
Though Covid is not over, Ms. Hemphill is grateful that the performing arts have made a comeback. She has some sound ideas about what theatre should look like post-Covid. “Two things I see for theatre, post covid. One, I hope that the trend for more representation on the stage and behind the scenes continues and becomes commonplace in theatre. I do wonder if five years from now, this will still be true. Real change takes hard work, including safe, but possibly uncomfortable conversations. Simply stating “we are making a commitment toward more inclusive theatre making” doesn’t mean long term meaningful action will, in fact, take place. Unless all voices are part of the decisions on just how to make inclusive theatre happen, this will be just a false signal blip on the social justice radar. I do read about good and positive change happening. Good work is getting done. I just hope it continues.”
“Two, I think you will see more musicals including original ones. Covid didn’t cause the deep divide that exists in our country, but it gave time for this terrible wound to fester and grow in its virulence. As we move past the direct effects of the illness, I think audiences are going to crave more feel-good stories, love stories and stories that inspire them.”
Next on the horizon for Ms. Hemphill is time with family, more productions of A Symphony for Portland in bigger venues and finishing two very interesting sounding musicals. Her talent and experience will surely guide her to further success in the arts. “I am looking forward to quality time with my family. If the show is as successful as I hope, I will be pushing it to the next level, with performances back home in Utah and with hope, Off-Broadway. Then surrounded by my wonderful husband, two dogs, two cats and family visits, I will be busy working on completing two more musicals. One is a love story that began when my late aunt asked me if that “internet-thing” could look up an old boyfriend, a soldier she knew who died during WWII. And the other musical, an interactive fun show written with a friend of mine, Bill Forrest, centering around the guests in a fictional piano bar on a cruise ship. It will be a combination of real piano-bar type audience sing-a-long and the story arcs of the characters sitting around the piano one night, forced to re-examine their lives when the ship’s emergency whistle begins to blow. “
Shranjay Arora Interview Part I: the lens is his lab
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
Big Talent … Big Heart, That’s JUDY
Judy Pancoast Interview by Jen Bush
Judy Pancoast is a singer, songwriter, recording artist, and Grammy nominee for Best Children’s Album. She loves everything about creating songs but likes writing lyrics the most. She wrote an exciting musical called Girl On The Moon. Ms. Pancoast is a little bit Country and a little bit Rock and Roll! After formal training and a degree in music she paid her dues performing different genres of music from Honky Tonk to straight up Rock. Ms. Pancoast’s Christmas spirit paid off when her one hit wonder Christmas song took the world by storm and can now be heard outside countless homes with synchronized holiday decorations. She even spun vinyls and then discovered that writing and performing music for children brought her great joy. She’s hoping Girl On The Moon, her youth musical geared for 10-18 year olds reaches stratospheric popularity.
It’s typical for mothers to sing to their infants. In Judy Pancoast’s case, it was the other way around. “I was born musical- my mother would say that I sang before I could talk.” Ms. Pancoast feels “on top of the world” whenever she hears a Carpenter’s song. “I began writing songs at age twelve and thought I was going to be the next Karen Carpenter. She was my idol, and The Carpenters were my main musical inspiration, along with all the top 40 hits of the 70s. My musical journey after attaining a BA in Music from the University of Maine took me through piano bars, rock bands, jazz bands, and a foray into Country in Nashville in the 80s. All this time I was working full-time as a radio deejay to support my music. In the mid-90s I decided to leave music and radio and become an elementary school teacher in order to give my daughters a more stable life, but Music had other ideas. During my studies, I began writing music for children, and by the time I earned my Master’s in Education in 1997 I had a new career as a children’s musician, which eventually led to a Grammy nomination for Best Children’s Album in 2011.”
“While focusing on children’s music I also branched out into Christmas music, and my song, “The House on Christmas Street,” became a world-wide phenomenon, playing at the houses of decorators all over the planet who synchronize their outdoor light displays to music!”
“In 2016 I was asked by the author Joe R. Lansdale to adapt his novella, “Christmas with the Dead” as a stage musical, and thus began the latest phase of my career!”
The inspiration for this musical came from Ms. Pancoast wanting to empower little girls creatively and vocationally. “When my daughter was performing in theater in middle school I realized that there were far more girls involved than boys, and I thought I might write a piece that would have several very good leads for girls. I’d often told my two daughters how fortunate they were that they could choose any career they wanted because back when I was young things were different for girls. I used to say, “Barbie could be a teacher, a nurse, or a secretary. Never a doctor or an astronaut.” From that saying sprang the idea of a girl growing up in the 60s-70s who wanted to be an astronaut, so she invites her best friends over the watch the moon landing. I knew it would focus on the growing awareness of women at that time that changes needed to be made in the way they were treated.”
For the premiere of Girl On The Moon Ms. Pancoast began performances locally till the pandemic had other plans. Like much of the performing arts during the lockdown, a virtual show was possible. Ms. Pancoast was over the moon when in-person productions began once again. “It was slated to premiere at my local school- Mountain View Middle School in Goffstown, NH- in spring of 2020. Rehearsals were already underway when the pandemic shut everything down. We were able to pivot to a virtual show, and that premiered on YouTube in the spring of 2021. From there the show was performed by the Luminescent Moon Theater Company in Massilon, OH in August, ’21, then at Parkside Middle School in Manchester, NH in November, ’21, and at Mojave High School in California in April, 22. The show was such a success there that they are planning to present it again this fall.”
Some productions worked better than others. Though this is a play targeted at a youthful demographic, it’s important for the people involved to be cognizant of the historical perspective associated with this show. “It’s really important that the actors understand a little bit about the history of women’s rights, especially during that time. I want them to feel what it was like to have their choices limited just because of their gender. Of course, the songs are very important and so the music director will need to work closely with the cast on learning the music!”
Ms. Pancoast would like to have an impact on the young ladies who come to see the show who might not be aware of the past struggles of women. “I’m hoping the girls will have an appreciation for all those who came before them who had to fight to get equal rights, and that we aren’t even there yet. I worry sometimes that the current generation of young people doesn’t realize that people didn’t always have what they have now.”
The current political climate is having an influence on new artistic works. It just so happens that the subject matter of Girl On The Moon addresses some of the same issues that America is dealing with right now. “We are in a strange era where hard-won women’s rights are being threatened. Freedoms that we’ve had for generations are being taken away. It’s more important than ever that young women and girls know about what it took to get to those rights and that we need to work that fiercely once again to hold on to them.
Ms. Pancoast gives her regards to Broadway but her ultimate goal is to share her musical with the impressionable youths of the world. “I would love to see “Girl on the Moon” performed at every middle and high school in the country! It will be far more valuable to the school community than yet another “Jr.” version of a famous musical because it has an important message that needs to be heard now more than ever. And, of course, I’d love for youth theater groups to present it as well.”
Ms. Pancoast has some more musical delights in the works. If you’re good, Santa may bring you a ticket to her Christmas show! “I’m currently working on a new musical for general adult audiences, and that is going to be ready for its staged reading in early 2023. I already have plans for my fourth musical, a family Christmas show based on a song I wrote called “The House on Christmas Street.” Whether it’s cheering children or entertaining adoring adults, Ms. Pancoast has enough music and passion to go to the moon and back!
“Shot” hit the mark.
A Shot Rang Out Review by Jen Bush
I have a black friend. In fact, I have many friends of diverse ethnicities and sexual orientations. When I was learning to ride a bicycle, this one particular friend held on tight to the back of it so that I wouldn’t fall. We played together and our families socialized on a regular basis. He enjoys a successful career as an elementary school teacher and we are still friends to this day. Sadly, in many cases, if a black boy approached a white girl on a bicycle and held the back of it, I don’t have to spell out the rest of the scenario for you. An assumption might be made. Assumptions is a germane word here. The police officer in A Shot Rang Out held many assumptions about boys of color to the detriment of his moral and ethical obligation to serve and protect ALL in his community.
A Shot Rang Out takes place in a warehouse. While a violent protest is happening outside, a police officer is trapped in the warehouse with a young black man and an angry white teacher. The young black man was simply trying to stay alive and seek safety from the escalating protest. The police officer assumes that he is a thug and acts accordingly attempting to arrest him. The word thug is thrown around a lot in this play to emphasize the perception of people of color. The teacher enters the warehouse, surveys the scene and tries to protect the boy. She is angry that so many innocent lives are being taken. The situation spirals out of control and the lives of all three characters are changed irrevocably.
This contemporaneous commentary on social injustice and the abuse of authority in law enforcement will bring to the surface a whole host of emotions from audience members. FYI, the feelings won’t be warm and fuzzy. You will be saddened and enraged which is the desired result of seeing this play. For a nation that has made so much progress in so many areas, the continued divisiveness is confounding. This production highlights a racially motivated epidemic problem in the current state of law enforcement nationwide.
Michael Hagins is an African American playwright, director, fight director, actor and producer. He used to write more lighthearted plays, but societal ills have caused this talented playwright to take his work in another direction. This play was inspired by the real-life incident in Ferguson, Missouri when a white police officer killed a young black man. His brilliant script demonstrates that he has his finger on the pulse of contemporary issues plaguing society. He is a voice of social injustice. This play is raw, emotionally charged, and necessary. Mr. Hagins is using his artform as a platform to educate and draw attention to a problem that needs to change.
The actors that were cast all shined in their roles. Marquis Neal played Terrell Brown who sought refuge from the protest. This passionate performer has been connecting with audiences since the tender age of eight. He crafted a convincing and compelling portrayal of an innocent young person just trying to survive among the dangerous chaotic situation outside. Another early starter, Samantha Simone has been in the industry since the age of 10 and her professionalism shows. Her interpretation of a frustrated and compassionate teacher was riveting. It was smart of the casting director to put James Smart in the role of Officer Randy Kilmer. He knocked it out of the park and evoked a lot of emotional responses as he acted his way through difficult subject matter. Intuitive direction by Rachael Langton was the cherry on top of this production. Well done all around.
Coral Mizrachi: Can’t Kill Me Now
Can’t Kill Me Now Review by Jen Bush
Coral Mizrachi began her artistic journey in her birthplace of Israel. She took her passion for acting and telling stories to the stage where she starred in shows like Into the Woods. In 2017, she was accepted into The American Academy of Dramatic Arts in New York City, one of the most prestigious acting institutions in the world. In 2020 she had the lead role in a television serios Trippin Stacia and then the unthinkable happened, a cancer diagnosis.
Can’t Kill me Now is a biographical music video of this beautiful young artist’s struggle and ultimate triumph over cancer. It’s difficult to watch yet uplifting overall. Wes Aldrich composed a haunting and stunning piece of music that provides a wonderful companion to this poignant video. We see the pain, the anger and the fear associated with this horrific illness when we see this beautiful young lady screaming under water receiving hypodermic needles and IV hookups. Make no mistake, even without hair, Ms. Mizrachi looks beautiful and even healthy, but your heart will break when she looks at her own reflection with such deep anguish. In this video we also see a strong, brave, and resilient warrior who reclaims her life as she gets better and stronger. She takes paint and transforms a canvas into a gorgeous seascape. She laughs and dances and finds joyous moments by the ocean. This story had a happy ending. There are many more stages and screens waiting for the artistry of Coral Mizrachi. May the rest of her journey unfold with the best of health, joy, and prosperity.
Just in time for PRIDE: “Here We Are” by Seda Anbarci & Lissette Camacho
Here We Are-Web Series Review by Jen Bush
Seda Anbarci journeyed from Istanbul to Los Angeles to fulfill her dream of being in the arts. She went from lab flasks to lens filters when she said goodbye to science and hello to filmmaking. Seda is the talented director and co-writer of Here We Are, created and produced by Lissette Camacho.
Just in time for Pride Month comes an LGBTQ+ family drama/romance web series called Here We Are. There are two short episodes so far with more to come. In addition to Seda Anbarci’s expert direction and writing, this series was created by Lissette Camacho who also stars in it..
In the opener set on a gorgeous beach, we see Evie, a college age adult sitting on a blanket writing poetry. Lia, also a college student but premed, approaches Evie for some sunscreen. The two strike up a conversation and end up exchanging phone numbers.
In Episode two, we meet Evie’s mother and sister. Evie is struggling with texting Lia. Evie’s mom gets a little nosy and Monica interferes in her sister’s affairs.
It will be exciting to see where the diligent director takes this summer love series. The trailer suggests a lot of mama drama. The acting was solid with the cast all well suited for their roles. Lissette Camacho is delightful as the angsty Evie. Katy Corbus is wonderful at the assertive Lia. Barbara Saba provided some fun comic relief as Evie’s mom. Johanna Martinez was great as Evie’s feisty sister. The cinematography is stunning. You will want to be transported to that beach immediately upon seeing it. The music was upbeat and complimented the scenes nicely.
The short episodes leave you wanting more. Will Evie be able to send a text? Will Lia return to school in New York? Stay tuned!
Arts Independent 