(Chicago, IL) Opening tonight, “IRL” at Goodman Theatre, is Highway Patrol—Emmy Award-winning actor Dana Delany’s (China Beach, Desperate Housewives) true personal story crafted entirely from her digital archive of hundreds of tweets and direct messages on Twitter. Together with three-time Emmy Award nominee Dot-Marie Jones (Glee’s Coach Beiste) and emerging Chicago actor Thomas Murphy Molony (A Christmas Story, The Musical at Marriott Theatre and Fun Home at Paramount), Delany stars as herself in the world-premiere production she assembled with co-creators Dane Laffrey, Jen Silverman and Mike Donahue, who also directs. The creative team includes Laffrey (Set Design), Enver Chakartash (Costume Design), Jen Schriever (Lighting Design), Sinan Refik Zafar (Sound Design) and Yee Eun Nam (Projection Design). Highway Patrol appears in the 856-seat Albert Theatre January 20 – February 18, 2024. Tickets ($25 – 90; subject to change) are available at GoodmanTheatre.org/Highway or by phone at 312.443.3800. Highway Patrol is presented by special arrangement with Mark Gordon Pictures and is the winner of a 2023 Edgerton Foundation New Play Award. The Goodman is grateful for the support of the Edgerton Foundation (New American Plays).
TIMESTAMP: October, 2012: “@DanaDelany, Are you married? If not, I’d marry you.” When Cam (Thomas Molony), a 13-year-old fan in a desperate medical situation captures actress Dana Delany’s attention on Twitter, she’s quickly swept into an intense, around-the-clock online friendship with the whole family—including Cam’s care-giving grandmother, Nan (Dot-Marie Jones). But when Cam starts relaying messages received from beyond, Dana is thrust into a world where unexpected revelations raise the question of how far we go to love and be loved.
Highway Patrol Playwright and Text Curator Jen Silverman Based on the Digital Archives of Dana Delany Created by Dana Delany, Mike Donahue, Dane Laffrey and Jen Silverman Directed by Mike Donahue January 20 – February 18, 2024
Dana….. Dana Delany Nan, Others….. Dot-Marie Jones Cam….. Thomas Murphy Molony
Understudies for this production include Meighan Gerachis (Nan, Others), Brennan Monaghan (Cam) and Rachel Sledd (Dana).
Assistant Direction by Jamal Howard Set Design by Dane Laffrey Costume Design by Enver Chakartash Lighting Design by Jen Schriever Sound Design by Sinan Refik Zafar Projection Design by Yee Eun Nam
Line Production by Malkia Stampley Casting is by Lauren Port, CSA.
ENHANCED AND ACCESSIBLE PERFORMANCES
Visit Goodman theatre.org/Access for more information about Goodman Theatre’s accessibility efforts.
ASL-Interpreted: Friday, February 16 at 7:30pm – An American Sign Language interpreter signs the action/text as played.
Touch Tour and Audio-Described Performance: Saturday, February 17, 12:30pm Touch Tour; 2pm performance – The action/text is audibly enhanced for patrons via headset.
Spanish Subtitles: Saturday February 17 at 7:30pm.
Open-Captioned: Sunday, February 18 at 2pm – An LED sign presents dialogue in sync with the performance.
It’s the 47th Anniversary of Jackie Taylor’s holiday classic hit “The Other Cinderella.” It’s been almost five decades and Cinderella is proving to be ageless. The story line remains the same – Cinderella is from the projects, the Stepmamma works at the Post Office, the Brothers are from the Hood, and the Fairygodmamma hails from Jamaica! At the helm of the Kingdom of Other is the King and the Queen and everybody – even Dorothy – has soul. This fun-filled story will have you laughing and dancing in the aisles. Of course “The OtherCinderella” always brings something new to the party every time she takes the stage. So expect a few intoxicating and wonderful surprises. “The Other Cinderella” has lasted for many generations because her message is timeless – “You’ll have a lifetime of hopes and dreams of successes and failures in planning life’s scheme – there will always be heartaches that you must go thru – but you live through them all – because of the spirit in you.”
**IMPORTANT INFORMATION** If you require wheelchair accessibility seating, please call the box office at 773-769-4451. Your E-ticket will be sent to your email. For your convenience, you can print your ticket at home or bring it on your mobile device. Valet Parking is available for $10 (CASH ONLY)
Chicago, IL – Stewart Music Emporium presents performer Gregory Stewart, 2023 Jeff Award nominee (Reasons: A Tribute to Earth, Wind & Fire) in a limited run of his tribute Just One of Those Things (And More): The Nat King Cole Story, December 8, 2023 – January 7, 2024, at Venus Cabaret Theater, 3745 N Southport Ave. The opening is December 9, 2023 at 7:00pm.
Tickets, $60-$70, are on sale at MercuryTheaterChicago.com. Performances are December 8-9 at 7pm, December 10 at 3pm, December 21-23 at 7pm, January 5-6 at 7pm and January 7 at 2:30pm.
In Gregory Stewart’s production, he reveals the perseverance and tenacity of a musical legend who made an indelible mark on the music industry during the height of racial and social unrest. Stewart will perform all of Cole’s best-known melodies, including the favorites “Unforgettable”, “When I Fall In Love”, and “The Christmas Song”, among others.
Music heals the soul, and Nat King Cole bridged the racial line by leading with love. Just One of Those Things (And More): The Nat King Cole Story, is about a remarkable human being and trailblazer. His catchphrase, “Just one of those things,” reflected his attitude toward the world during his time.
Stewart will be joined by musicians Will Oats (piano), William O. Whitehead III (drums), and Isaiah Horne (bass). The creative team includes Janine Stroemer (director), Ameer Roberts (creative direction and set design), Janine Stroemer and Aundria TraNay (writers) and Jessica Taylor (hair and make-up).
Gregory Stewart comments, “If it weren’t for Nat King Cole, there wouldn’t be a lot of entertainers that we love so much performing today. Nat became the first of many historical moments. He was the first African American to be a host on national television. He was the first African American to have a residency in Vegas. He was the only African American man to build and be the face of Capitol Records. The music industry would not be as powerful as it is today if it were not for Nat King Cole’s contribution and his fight for equal opportunities for everyone. Nat was faced with endless obstacles, and he still rose to the top. I am honored and proud to pay tribute to an icon that deserves more recognition than what he is getting.”
Gregory Stewart, Jr., became a music enthusiast at an early age. As a child prodigy on the Southside of Chicago, Gregory was shaped by diverse types of musical genres that helped establish his career in the entertainment industry. In 2018, Gregory’s talent brought him to live abroad in Osaka, Japan where he completed a two-year foreign entertainment contract with Universal Studios. While in Japan, Gregory produced multiple independent musical performances featured in nightclubs, entertainment venues and events.
After returning to Chicago, Gregory established his roots as a professional entertainer throughout Chicagoland, including as one of the lead singers of the popular band Maggie Speaks. Gregory was nominated for a Jeff Award for the role of Philip Bailey in Reasons: A Tribute to Earth Wind & Fire at Black Ensemble Theater. Gregory performs as a cross-cultural entertainer, paying tribute on stage with renditions of historical artists that have made indelible marks in the music industry. He produces his own productions under Stewart Music Emporium and will release his debut album, “Back in Love,” in early 2024.
Born and raised in St. Louis, MO surrounded by successful business owners within her family and a grandmother who shared her life in the entertainment world, Kalonda followed in her footsteps and began dance and music as early as five years old. She began dancing at Judy Best Talent Center and began singing opera at the Fox Theater’s Annual “Nutcracker” production from age 6 – 15 with the Gospel Music Workshop of America.
She has used her many talents and has been blessed with opportunities in various areas of entertainment. She began teaching dance throughout the St. Louis region as early as 19 years of age. In 2010, Kalonda earned a leading role in the historical Urban Hip-Hop musical held at the historical Black Repertory Theater based in St. Louis, MO. “Real Life” was directed and produced by Joel PE. King, founder of JPEK Theatre Group as her first acting experience. She not only had a leading role but was also cast as a lead dancer and vocalist. Kalonda continued to utilize her dance experience throughout the years by performing with many national and local recording artists.
She also received a record deal as a vocal artist with Universal Records at the age of 21. She’s currently an independent lead singer showcasing with various local bands performing at various public and private events throughout the area.
Kalonda recently dabbled more into her acting career. She worked as a lead actor alongside celebrity actor Carl Anthony Payne II for the “On the Set” Summer Film Camp in Nashville, TN and casted on the BET (Black Entertainment Television) Network for an upcoming series and a lead role for “Don’t Go There” on St. Louis Public Radio.
She’s a jack of all trades. Kalonda was also the Associate Director, Lighting Director, and Choreographer for the recent play “Meeting at the Elder’s Circle” under the direction of Joel P.E. King in August 2022, at the Grandel Theatre. In September 2022, she performed two lead monologues for Sankofa Live under the direction of writer Maya Maedell Singh at the Grandel Theatre. She has performed with national and local recording artists. Kalonda recently signed a management deal with Major Moves Music Group. She is co-owner of Under Grace Home Health, Adult Day Program, U.G. Commissary LLC, and New Avenue Inc.
GO BANG! Magazine: Well, hello there Kalonda Kay. You’re a quadruple artistic threat, being a singer, actress, dancer, and performer. What is it about the entertainment industry that attracted you to it?
Kalonda Kay: I truly believe that the industry pulled me in subconsciously. I was too young to know anything about the life of entertainment, however I knew good music when I heard it. I knew how the music made me feel when listening. I realized that it was therapeutic and that because I had a gift to sing, I wanted to share with the world the sensation I received when I listened.
GO BANG! Magazine: Your first talents blossomed in singing and dance. How was your talent discovered and when did you know that you wanted to pursue the entertainment industry professionally?
Kalonda Kay: I have always been very shy, but whenever I was put on any stage, I became a different person. I lost all shyness. My mother was the one who placed me in many events and competitions as early as six years old. At that time, I only knew I enjoyed performing and drowning myself in my talent. Many of my teachers and community groups would sign me up to sing and/or dance for programs and various events. They must have seen something in me that I had no idea would place me where I am today.
GO BANG! Magazine: Soon after, at age 19, you started acting and landed the lead role, lead dancer and vocalist in “Real Life,” an urban, Hip Hop musical. What was the highlight of that fantastic opportunity and what did you learn from it?
Kalonda Kay: I had never acted a day in my life! (Lol) That experience gave me more confidence in my talents and introduced me to the brand-new talent of acting. My highlight was the “baby momma dance.” I would perform in the very beginning of the show. I was interpreting the worst nightmare in my castmate’s dream. The dance was always everyone’s favorite. The entire musical was fast paced and intense, especially since I played so many parts (actor, singer, and dancer.) “Real Life” taught me how to juggle many things at one time, to be quick on my toes, and how to multi-task when it comes to my talents.
GO BANG! Magazine: At the age of 21, you were blessed with a record deal from Universal Records. Being your first commercial record deal had to be quite an exciting time. What did you like the most from that experience and what shocked you the most about the music industry?
Kalonda Kay: Being able to walk into a label and perform for label execs and they see my talent. What a blessing!!! I enjoyed meeting and working with Static Major. What shocked me was to hear him tell me how talented and how professional he thought I was. That meant everything!! He was an amazing talent for the world to witness. Especially ME! I also traveled and enjoyed meeting so many other talented individuals. It was definitely an experience that I’m grateful for.
GO BANG! Magazine: More recently, you’re strengthened your acting chops by working alongside famed “Martin” hit tv sitcom star actor Carl Anthony Payne. Please describe that experience and what it was like working alongside a famed actor.
Kalonda Kay: Wow, Wow, Wow!!! That experience was hilarious and so fulfilling. Before filming, I studied my lines to be sure I would be ready to work with such an icon. However, the day of filming on set with him, he basically freestyled. All my studying went out the window. He pushed me to fall right in order with his goofiness. I was honored. He said I did an awesome job, especially because he was so off script. I enjoyed every minute.
GO BANG! Magazine: You currently have a hit new single “Too Soon”, produced by 3x Grammy Nominated Producer Joe “Capo” Kent. “Too Soon” is bringing back the 90’s feel in a modern way. Please describe your hit single to our readers, “The Bangers”, who may not have heard it yet?
Kalonda Kay: “Too Soon” is a vibe. It’s a song you listen to when you’re doing your weekend cleaning, riding in the car, or pretty much anywhere. The song gives you that 90’s feel, but the video gives you a more visual vibe of the song. I love it and it feels good.
GO BANG! Magazine: What other new music or projects are you working on that our readers should be on the lookout for?
Kalonda Kay: I’m planning to release my next single in June 2023! It’s also synchrotronic to “Too Soon” as far as the vibe is concerned. My goal for my entire project is to create “timeless” music. Something anyone can listen to and enjoy. I’m looking forward to the release. I’m currently lining up shows and appearances to build connections which will lead to more opportunities.
GO BANG! Magazine: In addition to being a super-talented artist, you are also technically gifted, being an Associated Director, Lighting Director, and Choreographer of a recent play “Meeting at the Elders Circle.” Please describe that experience and how working behind the scenes differs from working in front of the camera.
Kalonda Kay: I enjoy the planning and operations of many genres of entertainment, as well as in family or business settings. I’m the “Hostess with the Mostess,” as the saying goes. I go over and beyond with anything that I do. I like to give good products, whether I’m on stage or behind the scenes. What’s important to me is what the audience will like and how it makes them feel. I’m always intentional when it comes to bringing a writer’s vision to life.
When you’re on stage, you can’t see everything. You miss the good stuff, as well as the things that need to be adjusted. When you’re looking from behind the scenes, you see it all. I’m such a perfectionist at times. It’s probably a good thing that I can’t see what’s happening when I’m on stage. (lol)
GO BANG! Magazine: You are also an entrepreneur, being the co-owner of Under Grace Home Health, Adult Day Program, U.G. Commissary LLC, and New Avenue Inc. Please tell our readers about your businesses and how to contact you if they are interested in your services.
Kalonda Kay: I have been working for myself since 2017 and it has been a blessing. I wish I had stepped out on faith many years ago. Yet, I also believe everything happens when it should.
My businesses all focus on helping the community. Each business has its’ specific area of expertise. Under Grace Home Health program helps individuals to receive assistance with daily needs in the comfort of their own homes. The Adult Day Program, on the other hand, gives a safe space for seniors or disabled adults to come and experience many different recreational activities with their peers. UG Commissary provides a commercial kitchen incubator for food truck operators, caterers, bakers, and business owners to create and expand their businesses. New Avenue Inc. is a Non-profit organization that is dedicated to the mental, spiritual, physical and financial enrichment of family by introducing or re-introducing strategies to create healthy sustainable lives and businesses.
GO BANG! Magazine: In conclusion, what do you want your legacy to be Kalonda Kay?
Kalonda Kay: I want the world to see the joy in my journey. How I didn’t set the bar but allowed GOD to move me as HE saw best. I want to always be remembered for my loving spirit and how I love and accept everyone for who they are. Also, how trauma, bad experiences and things that didn’t work out never poisoned my spirit. Lastly, for those who know me or see me from afar, to remember that I’m always smiling.
GO BANG! Magazine: Well Kalonda Kay, I want to thank you for granting me this interview. I also want to inform you that you have now been officially BANGED!!! GO BANG!
FOR ADDITIONAL HISTORY, PLEASE FOLLOW KALONDA KAY ON SOCIAL MEDIA:
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
David Stamps is a 55-year-old, LGBT, veteran, living in St. Albans, Queens, NYC. He’s recently been named 2023-24 Artist-in-Residence at The Kennedy Center by Karina Galiano, at THE REACH program, for the cultural and social impact of his latest project. a poetry play entitled,” The Black Bullet Dichotomy” aka “The BBD.”
“The BBD” is a negative-low-energy matrix created to dehumanize the Black family for a free, powerful, labor force to power a perverted version of the “American Dream.” Where the Black man is deemed 3/5ths of a man. You can’t take a piece of paper and transform a man from 3/5ths a man to a whole man. Either he was a man in the beginning, and you lied, or he’ll never be a man in your eyes. That’s why they have no problem killing us.
The Black family must employ unconditional love, spiritual alignment, and in-depth understanding of “The Law of Attraction” to bypass this culture-specific travesty. The BBD is a CHOREOPOEM of one poet’s existential crisis concerning the unhealthy relationship forced on the Black man in reference to the bullet in America using Hip Hop, Spoken Word/Poetry, Dance, and Song. It’s quite literally where Hip Hop meets The Twilight Zone!
The BBD was hand-picked as a finalist in the AITAF Bridge Award Competition for 2022 by Pulitzer-Prize winning playwright Paula Vogel. It afforded David a three-day writing retreat on Cape Cod with Paula. She also mentoring him with the marketing for the ground-breaking play.
Karina Galiano, the Social Impact Director at REACH, will be forwarding his package to THE ROOTS, the house band for The Jimmy Fallon Show. They’re already in-residence at The Kennedy Center, to do the original score for the BBD. Also, Debbie Allen, Oprah Winfrey, and Simone Echols, the Curator of Hip Hop at The Kennedy Center, will be receiving the package in the coming weeks.
Lastly, the BBD has been selected to kick-off the 50 year anniversary celebration of The Frank Silvera Workshop, in association with The Billie Holiday Theater’s Virtual “New Play Reading Series” scheduled for February 26, 2022, at 7PM EST. That’s the last Sunday in Black History Month. It’ll be completely online, FREE OF CHARGE, and if you can’t make the actual Virtual, online performance it’ll be posted on YouTube.
THE BLACK BULLET DICHOTOMY WRITTEN BY: DAVID M. STAMPS SYNOPSIS A moment of your time, I’d like to make the case for Black-on-Black rhyme…
I grew up on the means streets of Detroit, Mich. There was this brother, let’s say his name was,” QP!” Now QP was LGBT. To be LGBT, in the H-O-O-D, now that’s a hard thing to be. So QP picked up that gun, and he got his respect too, but he got shot down dead in the street.
I was LGBT in the H-O-O-D, but I had emotional intelligence. So that’s what The BBD address, the decisions this poet makes when he feels unworthy as opposed to the decisions he makes when he embarks on the transformational journey to embrace his worthiness. Have you noticed a disproportionate number of black men being shot and killed in America?
I’ve stumbled upon the underlying culprit. It’s The Black Bullet Dichotomy. What is that? I’m so glad you asked. The BBD is a CHOREOPOEM of one poet’s existential crisis concerning the unhealthy relationship forced on the Black man concerning the bullet in America using Hip-Hop, Spoken Word/Poetry, Dance and Song.
It’s quite literally “Where Hip-Hop meets The Twilight Zone.” SYNOPSIS: A volatile young poet accidentally shoots and kills a “pillar of the community.” He realizes he’s the victim of The Black Bullet Dichotomy, but before he can expose it, he gets shot through the head, but he doesn’t die.
He goes into a coma where he’s led by a Spiritual Guide to the mystical city of Utopia, MS. Martyrs of the dichotomy, like the Spirit of Tupac Shakur and ancestors like the Spirit of Harriet Tubman, explain the dichotomy to him. He experiences an awakening.
He sits up in his casket at his own funeral to denounce the hypocrisies of the dichotomy. But what about the zealots out to take revenge on him for killing an innocent man? What will become of this poet with a message of love for the world? Will he live long enough to expose the Black Bullet Dichotomy?
GO BANG! Magazine: Where were you born and raised?
David M. Stamps: First, thanks for this opportunity to discuss my work. It’s awesome. I was born in Fontana, CA. When I was two years old, we moved to Detroit, Mich. I did my high school years in Flint, Mich.
GO BANG! Magazine: How would you describe your childhood and teen years?
David M. Stamps: I had an amazing childhood! My father beat me in the street every day with an extension cord. My “heterosexual” brother beat me and grinded on me every day. My hygiene was extremely poor and yet I maintained a 3.4 grade average, starred in the school play, and almost won the talent show. It was amazing. That’s where I learned about the power of unconditional love.
GO BANG! Magazine: Do you have a role model, or someone that you look up to or who inspires you? If so, who would that be?
David M. Stamps: There are two. First, August Wilson. “The Piano Lesson” is one of my favorite plays of all time. There’s such a foreboding in the air of the piece, juxtaposed with this truly hilarious comedy. Brilliant,
Second, James Baldwin. He was so good in “The Uncondition.” If you listen to Esther Hicks then you understand that. And if you don’t listen to Esther Hicks on YouTube, for FREE, you don’t know what you’re missing. I’ve seen James Baldwin be authentic amid a deeply troubling narrative around the Black gay man in his day.
GO BANG! Magazine: What inspired you to write “The Black Bullet Dichotomy?”
David M. Stamps I grew up on the means streets of Detroit, Mich. There was this brother, let’s say his name was,” QP!” Now, QP was LGBT. To be LGBT, in the H-O-O-D, now that’s a hard thing to be. So QP picked up that gun, and he got his respect too, but he got shot down dead in the street.
I was LGBT in the H-O-O-D, but I had emotional intelligence. So that’s what The BBD address. The decisions this poet makes when he feels unworthy, as opposed to the decisions he makes when he embarks on the transformational journey to embrace his worthiness. Have you noticed a disproportionate number of Black men being shot and killed in America?
I’ve stumbled upon the underlying culprit. It’s The Black Bullet Dichotomy. What is that? I’m so glad you asked. The BBD is a CHOREOPOEM of one poet’s existential crisis concerning the unhealthy relationship forced on the Black man, concerning the bullet in America using Hip-Hop, Spoken Word/Poetry, Dance and Song. It’s quite literally “Where Hip-Hop meets The Twilight Zone.”
GO BANG! Magazine: What do you hope The BBD accomplishes?
David M. Stamps: Because I know emotional intelligence and spiritual alignment is the only way to get out of the low energy-matrix that is the Black Bullet Dichotomy. For the sole purpose of manifesting destiny, the White slave owner dehumanized the Black family. When they convinced Black people that they were worthless, through religion, unspeakable abuses, and torture, they lowered our vibration and confused us on our connection to “source energy.” Thereby making us vulnerable to “The Black Bullet Dichotomy.”
Some people believe supply created demand, but I heard once heard a wise person say that “DEMAND CREATES SUPPLY.” The souls of my ancestors and brethren slain at the hand of gun violence cry out at the senseless murders by gun both, by the racist’s White supremacists and the misled Black man trying to imitate “Massuh’s philosophy.” Unconditional love is the key. Hence, THE BLACK BULLET DICHOTOMY – A 78-page CHOREOPOEM. Use this ground-breaking award-winning poetry play to move all people, but especially the Black man to seek spiritual alignment, because as The Poetess says,” When you’re in alignment, you’re out of harm’s way.”
The only way to become impervious to the bullet is to employ spiritual alignment, Unconditional Love, and develop an in-depth knowledge of The Law of Attraction. It’s the only way to raise our vibration and bypass The Black Bullet Dichotomy. I’ve created a multimedia production of “The Black Bullet Dichotomy” debuting February 5-9, 2024, using my Artist-in-Residency at The Kennedy Center. It includes a $10,000 grant, via THE REACH AFTER HOURS Residency at The Kennedy Center in Washington, DC.
GO BANG! Magazine: You classify The BBD as a choreopoem. Please define what a choreopoem is.
David M. Stamps: When I saw “For Colored Girls” this year, I thought it was a brilliant production. I could see that it was word and ritual in this textured space. At least, that’s what it was for me. But I’d say, when I labeled “The Black Bullet Dichotomy”, it was more about the dance this young man, “The Heckler”, (a volatile poet and lead of the piece played brilliantly by Myles Wright) is doing with time. The way the poetry dances off the page and then the tribal, urban dance inspired from the text.
GO BANG! Magazine: Congratulations on The BBD being selected as a finalist in the AITAF Bridge Award Competition. Please describe how you felt when you learned of this honor.
David M. Stamps: It was amazing!
Erica Newhouse, Artistic Director at (AITAF) Arts in the Armed Forces, a nonprofit that sponsors the annual “BRIDGE AWARD COMPETITION” exclusively for military veterans, called me as I was getting out of the shower. I freakin’ lost it.
Paula Vogel and David Stamps
Photo courtesy of Tim Bellow Sr.
Being a finalist afforded me a three-day writing retreat with three-time Obie winner and Pulitzer Prize winning playwright, Paula Vogel. Paula was amazing. She was warm and inviting, and completely available. It was a once-in-a-lifetime experience that I can’t wait to have again! Paula’s helping me develop the marketing plan as well as mentoring in all things “BLACK BULLET DICHOTOMY.”
GO BANG! Magazine: In addition to that, your marketing package will be forwarded to some very prominent individuals in the entertainment industry including Debbie Allen and Oprah Winfrey. How does that make you feel?
David M. Stamps: It’s all so exciting! The premise of the piece is “when you’re in alignment you’re out of harm’s way!” Getting the message of unconditional love, spiritual alignment, and an in-depth understanding of “The Law of Attraction” out to my people has led me into some amazing conversations in some amazing rooms.
The fact that living legends like Debbie Allen and Oprah Winfrey will receive my materials is beyond exciting. All I must do is meditate and allow. Just don’t focus on the “how” but instead focus on the “why!”
GO BANG! Magazine: Can you please tell our readers about your upcoming participation in the Billie Holiday Theater’s Virtual “New Play Reading Series”, which part of the 50th Anniversary celebration of the Frank Silvera Workshop, which is being held on Zoom on Sunday, February 26, 2023 @7pm EST.
David M. Stamps: A director I knew, invited me to narrate this cool play called, “Faces in My Fist!” I loved the play and had an awesome time working with Kimberly Gunn. She’s the Virtual Producer, and anything else she needs to be over there to make sure things run smoothly. It’s been an awesome experience. Shout out to the Frank Silvera Workshop and Garland Thompson Jr.
GO BANG! Magazine: In conclusion, what do you want your legacy to be?
You know, I’m reading this incredible book by John Truby. It’s named,” The Anatomy of Genres.” It’s like a seven-hundred and forty-something page must-read. But in that book, he accesses that the SCI-FI genre’s really about “immortality.” It’s about mastering a thing, until you leave behind a work that stands after you’re gone. Thereby becoming immortal.
Well, The Twilight Zone’s definitely SCI-FI, and this story’s definitely epic. I want my legacy to be that I brought a sense of immortality to the Black man’s innate sense of poetry. 😊
GO BANG! Magazine: David, I want to thank you for granting me this interview. I also want to inform you that you have now officially been BANGED!!! GO BANG!
You are invited to a Zoom webinar. When: Feb 26, 2023, 04:00 PM Pacific Time (US and Canada) Topic: FSWW Play Reading: The Black Bullet Dichotomy Register in advance for this webinar: Welcome! You are invited to join a webinar: FSWW Play Reading: The Black Bullet Dichotomy.
Crowdfunding Campaign – Financial support with the fundraising effort which consists of a T-shirt with The Key Art, a complimentary download of my latest Spoken Word Song, produced by Platinum-selling producer, Glenn Mosley, entitled,” The Nightmare.” All for $100
Mentoring – Looking for help in structuring the nonprofit and putting together a BOARD.
Support– If you know an agency that can provide administrative support in these endeavors.
Spread the word – Let people know about “The Black Bullet Dichotomy”, and what it means, and the goal. To spread unconditional love, gain daily spiritual alignment, and to develop an in-depth understanding of the “Law of Attraction” and to bypass the culture-specific travesty that is “The Black Bullet Dichotomy!
A short film by David Stamps “The Deadly MS Sue Aside”
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
Surprise Your Valentine with Tickets to Reasons: A Tribute to Earth, Wind & Fire.
Previews start February 25th!
Written and directed by Daryl D. Brooks
Previews February 25 – March 4
Opening March 5
Running Through April 16
Reasons takes us on a journey of how Earth, Wind and Fire was formed from their humble beginnings, to become the musical revolutionaries that changed the course of music. They took a vision that no one said would work, and turned it into a musical powerhouse that still lives on today.
TWO-TIME PULITZER PRIZE WINNER LYNN NOTTAGE RETURNS TO GOODMAN THEATRE THIS FALL WITH CLYDE’S, STARRING DE’ADRE AZIZA, KEVIN KENERLY, REZA SALAZAR, NEDRA SNIPES AND GARRETT YOUNG
***KATE WHORISKEY DIRECTS THE CHICAGO PREMIERE OF THE BROADWAY TRIUMPH, SEPTEMBER 10 – OCTOBER 9***
Yesterday, Monday, September 19, 2022, The National Association of Black Journalist (NABJ) granted me access to attend the incredible stage play “Clyde’s.” At this performance, the principal role of Clyde, usually played by De’Andre Aziza, who is currently out (non-Covid-related), was EXCELLENTLY played by Danielle Davis. She has been standing in as Ms. Aziza’s understudy for the last five performances, and will continue playing Clyde until the principal fully recovers. From Director Kate Whoriskey: “While we were met with the challenge of having to make the show without our principal actor, we want to celebrate the work of our understudy.”
I HIGHLY RECOMMEND THIS STAGE PLAY AND I GIVE IT 4 STARS!!!
(Chicago, IL) Celebrated creative collaborators over two decades, Pulitzer Prize-winning playwright Lynn Nottage and director Kate Whoriskey return to Goodman Theatre with their latest Broadway production, Clyde’s, launching the Goodman’s 2022/2023 Season. The cast of the Chicago premiere features Tony Award-nominated actress De’Adre Aziza as the hot-tempered Clyde, whose eponymous truck stop café’s kitchen staff of formerly incarcerated people—Kevin Kenerly (Montrellous), Reza Salazar (Rafael), Nedra Snipes (Letitia) and Garrett Young (Jason)—dreams of creating the perfect sandwich. Clyde’s appears September 10 – October 9 in the 856-seat Albert Theatre; opening night is Monday, September 19. Tickets ($25 –$80, subject to change) are now available at GoodmanTheatre.org/Clydes or by phone at 312-443-3800. The Goodman is grateful for the support of JP Morgan Chase & Co. (Lead Corporate Sponsor) and Winston & Strawn LLP (Corporate Sponsor Partner). Clyde’s is a co-production with Center Theatre Group in Los Angeles, where it will appear November 15 – December 18, 2022.
“I am beyond thrilled to be returning to the Goodman Theatre, which has been so instrumental in nurturing me a theater artist,” said playwright Lynn Nottage, whose works at the Goodman include Sweat (2019), By the Way, Meet Vera Stark (2013), Ruined (her Pulitzer Prize-winning world-premiere Goodman commission and co-production with Manhattan Theatre Club, 2008) and Crumbs from the Table of Joy (2006). “I can’t wait to share Clyde’s with the Chicago community, and with audiences in Los Angeles at Center Theatre Group later this fall.”
Director Kate Whoriskey, whose world-premiere collaborations with Ms. Nottage include Sweat (2015), Ruined (at the Goodman, 2008), Fabulation or The Re-Education of Undine (2004) and Intimate Apparel (2003) said, “I’m thrilled to work with Tony Award nominee De’Adre Aziza, Nedra Snipes and Garrett Young—as well as to continue developing this play with our original collaborators Reza Salazar and Kevin Kenerly.” Chicago audiences are first to experience Clyde’s following its Broadway run, where it earned five Tony Award nominations and was critically hailed as a “delightful new play” (New York Times) with “feisty comedy on the menu” (Washington Post), a “winning recipe” (Deadline) with “brilliant writing” (Daily Beast), and a “flavor-bomb of a new comedy about survival, second chances and digesting whatever life serves up” (Variety).
“It’s enormously exciting to welcome audiences to our new season with a sensational new work from one of the Goodman’s most-produced playwrights,” said Robert Falls. “We’re also thrilled to welcome back Lynn’s longtime artistic partner, director Kate Whoriskey, and to collaborate with our friends at Los Angeles’ Center Theatre Group to extend the life of this wonderful production.”
Added Center Theatre Group Managing Director / CEO Meghan Pressman, “Clyde’s was a highlight of last year’s Broadway season, and our partnership with Goodman Theatre allows us to bring this outstanding production to Los Angeles. Clyde’s will be the second time we have produced Lynn’s work in Los Angeles, and we are thrilled to bring this bold, engaging, and entertaining play to our audiences for its West Coast premiere.”
Understudies for this production include Danielle Davis (Clyde), Lewon Johns (Montrellous), Maya Vinice Prentiss (Letitia), Arik Vega (Rafael) and Gage Wallace (Jason). The creative team includes Takeshi Kata (Set Design); Jennifer Moeller (Costume Design); Christopher Akerlind (Lighting Design); Justin Ellington (Sound Design); and Justin Hicks (Composition). Casting is by Lauren Port, CSA and Rachael Jimenez, CSA, and Nikki Blue is the Production Stage Manager.
A playwright and a screenwriter, Lynn Nottage is the first woman in history to win two Pulitzer Prizes for Drama. Her plays have been produced widely in the United States and throughout the world. Chicago credits include Ruined (Goodman Theatre); Sweat (Goodman Theatre); By the Way, Meet Vera Stark (Goodman Theatre); Crumbs from the Table of Joy (Goodman Theatre; Steppenwolf) and Intimate Apparel (Steppenwolf). Broadway credits include her plays Clyde’s (2ST) and Sweat, and the libretto for the musical MJ. Other work includes the libretto for the opera Intimate Apparel (Lincoln Center Theater); co-curating the performance installation The Watering Hole (Signature Theater); the libretto for the musical adaptation of The Secret Life of Bees; as well as her plays Mlima’s Tale; Fabulation, or the Re-Education of Undine; Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por’knockers and POOF!. She has also developed This is Reading, a performance installation in Reading, Pennsylvania. Ms. Nottage is the recipient of a MacArthur “Genius Grant” Fellowship, among other awards, is an associate professor at Columbia University School of the Arts and is a member of the Dramatists Guild.
Kate Whoriskey is a New York-based theater and opera director. On Broadway, she has directed Clyde’s, Sweat and The Miracle Worker. Off-Broadway credits include All the Natalie Portmans at MCC; Sweat, Manhatta and Ping Pong at The Public; Aubergine, Inked Baby and Fabulation at Playwrights Horizons; Her Requiem at Lincoln Center; How I Learned to Drive and Cardinal at Second Stage; Oroonoko at Theatre for a New Audience; and Ruined and Tales from Red Vienna at Manhattan Theatre Club. Regionally, she has worked at the Goodman, A.R.T, the Guthrie, the Huntington, the Geffen, South Coast Rep, Sundance Theatre Lab, New York Stage and Film among others. Internationally, her work has been seen at the Chatelet in Paris and Theatro Municipal Opera in Rio de Janeiro and Carriage Works in Sydney. She also directed Turn of the Screw at Mannis. Teaching experience includes Princeton, NYU and UC Davis. She was recently awarded Best Director from the Drama League for her production of Clyde’s. THE COMPANY OF CLYDE’S
Understudies for this production include Danielle Davis (Clyde), Lewon Johns (Montrellous), Maya Vinice Prentiss (Letitia), Arik Vega (Rafael) and Gage Wallace (Jason).
Set Design by Takeshi Kata Costume Design by Jennifer Moeller Lighting Design by Christopher Akerlind Sound Design by Justin Ellington Composition by Justin Hicks Casting is by Lauren Port, CSA and Rachael Jimenez, CSA. Nikki Blue is the Production Stage Manager. ENHANCED AND ACCESSIBLE PERFORMANCES Visit http://www.Goodmantheatre.org/Access for more information about Goodman Theatre’s accessibility efforts. Touch Tour and Audio-Described Performance: Saturday, October 8, 12:30pm Touch Tour; 2pm performance – The action/text is audibly enhanced for patrons via headset. NOTE: Touch Tours for the 2022/2023 Season will not have access to the stage due to current health and safety protocols, but will feature alternate pre-show sensory introductions.
ASL-Interpreted: Friday, October 7 at 8pm – An American Sign Language interpreter signs the action/text as played.
Spanish Subtitles: Saturday October 8 at 8pm.
Open-Captioned: Sunday, October 9 at 2pm – An LED sign presents dialogue in sync with the performance.
Please note: Our current Health and Safety Protocols require masks while in the theater. These protocols are subject to change and patrons will be notified in advance of their performance of any shift in our policies. Review our current policy at GoodmanTheatre.org/Protocols.
ABOUT THE CO-PRODUCING THEATERS
Center Theatre Group, one of the nation’s preeminent arts and cultural organizations, is Los Angeles’ leading nonprofit theatre company, which, under the leadership of Managing Director / CEO Meghan Pressman and Producing Director Douglas C. Baker, and in collaboration with the five Associate Artistic Directors, Luis Alfaro, Lindsay Allbaugh, Tyrone Davis, Neel Keller, Kelley Kirkpatrick, programs seasons at the 736-seat Mark Taper Forum and 1,600 to 2,100-seat Ahmanson Theatre at The Music Center in Downtown Los Angeles, and the 317-seat Kirk Douglas Theatre in Culver City. In addition to presenting and producing the broadest range of theatrical entertainment in the country, Center Theatre Group is one of the nation’s leading producers of ambitious new works through commissions and world premiere productions and a leader in interactive community engagement and education programs that reach across generations, demographics, and circumstance to serve Los Angeles. centertheatregroup.org Chicago’s theater since 1925, Goodman Theatre is a not-for-profit arts and community organization in the heart of the Loop, distinguished by the excellence and scope of its artistic programming and community engagement. The theater’s artistic priorities include new play development (more than 150 world or American premieres), large scale musical theater works and reimagined classics. Artists and productions have earner two Pulitzer Prizes, 22 Tony Awards and more than 160 Jeff Awards, among other accolades. The Goodman is the first theater in the world to produce all 10 plays in August Wilson’s “American Century Cycle.” Its longtime annual holiday tradition A Christmas Carol, now in its fifth decade, has created a new generation of theatergoers in Chicago. The Goodman also frequently serves as a production and program partner with national and international companies and Chicago’s Off-Loop theaters.
Using the tools of the theatrical profession, the Goodman’s Education and Engagement programs aim to develop generations of citizens who understand the cultures and stories of diverse voices. The Goodman’s Alice Rapoport Center for Education and Engagement is the home of these programs, which are offered free of charge for Chicago youth—85% of whom come from underserved communities—schools and life-long learners.
As a cultural and community organization invested in quality, diversity and community, Goodman Theatre is committed to using the art of theater for a better Chicago. Goodman Theatre’s Action Plan for Inclusion, Diversity, Equity, Anti-Racism and Access (IDEAA) was born out of the belief that progress means action, which includes building on the decades-long commitment to using art, assets and resources to contribute to a more just, equitable and anti-racist society.
Goodman Theatre was founded by William O. Goodman and his family in honor of their son Kenneth, an important figure in Chicago’s cultural renaissance in the early 1900s. The Goodman family’s legacy lives on through the continued work and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his late mother, Edith-Marie Appleton, contributed the necessary funds for the creation on the new Goodman center in 2000.
Today, Goodman Theatre is led by Artistic Director Robert Falls (Susan Booth will assume that role this fall) and Executive Director Roche Schulfer. Theater leadership also includes the distinguished members of the Artistic Collective: Rebecca Gilman, Dael Orlandersmith, Henry Godinez, Steve Scott, Kimberly Senior, Chuck Smith, Regina Taylor and Mary Zimmerman. Jeff Hesse is Chairman of Goodman Theatre’s Board of Trustees, Fran Del Boca is Women’s Board President and Craig McCaw is President of the Scenemakers Board for young professionals.
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Pierre Andre’ Evans Freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com. In addition, he’s an Author, Singer/Songwriter, Actor, Model, Poet, Dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, on Instagram @Pierre_Andre_Evans.
Do you know Langston Hughes? Everyone who cares about the fate of humanity – should know Langston Hughes. Join us to learn more about this outstanding and controversial Harlem Renaissance writer. Get aboard the A train hearing Billie Holiday, Louis Armstrong and other musical memories along the way.
In this world today we need the story of “My Brother Langston.”
**IMPORTANT INFORMATION**
If you require wheelchair accessibility seating, please call the box office.
Your E-ticket will be sent to your email. For your convenience, you can print your ticket at home or bring it on your mobile device.
Due to the challenges and uncertainties that have been brought about by the Pandemic, Black Ensemble Theater is proceeding slowly, cautiously, and carefully.
In an effort to keep our audiences as safe as possible, the production will be 90 minutes with no intermission.
Concessions will not be sold.
Everyone entering the building must wear a mask and we are asking that masks remain in place the entire time until returning outside of the building.
There will also be hand sanitizers throughout the building.
Audiences will be limited to 150 people. And of course, thorough cleaning will take place after every performance.
MERCURY THEATER CHICAGO ANNOUNCES CASTING AND ARTISTS FOR WOMEN OF SOUL – WITH A SPECIAL TRIBUTE TO ARETHA A soulful musical salute Written and Directed by Daryl D. Brooks with Musical Direction by Robert Reddrick
Chicago –Artistic Director Christopher Chase Carter, Managing Director Shane Murray-Corcoran, and Executive Producers Walter Stearns and Eugene Dizon announce the cast and creative team for the next Mainstage production of the 2021-2022 Mercury Theater Chicago season, Women of Soul, featuring a special tribute to Aretha Franklin. This production is written and directed by Daryl D. Brooks, with music direction by Robert Reddrick. Women of Soul runs January 28– March 6, 2022 at Mercury Theater Chicago, 3745 N. Southport Avenue. The press opening is scheduled for Thursday, February 3 at 7:30 p.m.
Women of Soul is a celebration of the most powerful women of soul to ever grace the stage. Audiences will jump to their feet to honor dozens of incredible women including Whitney Houston, Donna Summer, Diana Ross, Janet Jackson and Janis Joplin. This musical features powerhouse performers singing legendary music including “I Say a Little Prayer,” “I Will Survive” and “Respect.” This musical revue recognizes the struggles and triumphs these women went through to reach the pinnacle of success. This is a once-in-a-lifetime musical masterpiece that audiences will remember for years to come.
Writer and Director Daryl D. Brooks is delighted to revisit this hit show:
“Women of Soul had its world premiere at Black Ensemble Theater in 2018. This feel-good revue is being given an exciting new life and the chance to be seen by new audiences at Mercury Theater Chicago. The production is a tribute to iconic female artists. Audiences will celebrate these artists performed with love and passion by Chicago’s favorite performers,” comments Daryl D. Brooks.
The cast of Women of Soul includes Cynthia Carter, Robin DaSilva, Jerica Exum, Hannah Efsits, Dwight Neal, Colleen Perry, Rhonda Preston, Jessica Seals, Aeriel Williams, and Katherine Viviano (understudy).
The creative team for Women of Soul includes Daryl D. Brooks (Writer and Director), Robert Reddrick (Music Director), Christopher Chase Carter (Musical Staging) Angela Weber Miller (Scenic Designer), Denise Karczewski (Lighting Designer), Carl Wahlstrom (Sound Designer), Max Maxin IV (Video Designer), Rachel West (Master Electrician), Rueben Echoles (Wig Designer/Costume Designer), Nathalie Silva (Wardrobe Supervisor), Kristi J. Martens (Stage Manager), Lucy Whipp (Assistant Stage Manager), Will Hughes (Scenic Charge), and Keely Vasquez (Casting Associate).
Tickets for Women of Soul, starting at $35, are on sale now at the box office, 3745 N. Southport Avenue in Chicago, http://www.mercurytheaterchicago.com.
FACT SHEET / WOMEN OF SOUL
Title: Women of Soul Written and Directed by: Daryl D. Brooks Music Direction by: Robert Reddrick Featuring: Cynthia Carter, Robin DaSilva, Jerica Exum, Hannah Efsits, Dwight Neal, Colleen Perry, Rhonda Preston, Jessica Seals, Aeriel Williams, and Katherine Viviano (understudy).
Creative Team: Angela Weber Miller (Scenic Designer), Denise Karczewski (Lighting Designer), Carl Wahlstrom (Sound Designer), Max Maxin IV (Video Designer), Rachel West (Master Electrician), Rueben Echoles (Wig Designer/Costume Designer), Nathalie Silva (Wardrobe Supervisor), Kristi J. Martens (Stage Manager), Lucy Whipp (Assistant Stage Manager), Will Hughes (Scenic Charge), Keely Vasquez (Casting Associate) with Walter Stearns (Executive Producer), Eugene Dizon (Executive Producer), Reneisha Jenkins (Associate Producer), Christopher Chase Carter (Artistic Director / Musical Staging), and Shane Murray-Corcoran (Managing Director).
Dates: Previews: January 28 – February 2, 2022 Regular Run: February 4 – March 6, 2022 Press Opening: Thursday, February 3 at 7:30 pm
Notes of Interest: Director Daryl D. Brooks is Producing Managing Director of Black Ensemble Theater, where he previously director Women of Soul. In addition to his many Black Ensemble Theater credits Daryl recently directed Pump Boys & Dinettes and Memphis with Porchlight Music Theater.
Music Director Robert Reddrick is the music director and drummer for Chicago’s Black Ensemble Theater. He is a seven-time recipient of the Black Theater Alliance Award, and five-time Jeff Award nominee for musical direction. He has been music director for projects at Steppenwolf Theatre, University of Illinois, Free Street Theater, and drummer for many other productions throughout Chicago. He also performs with his band The R2Project featuring Bonnie Phillips.
Aeriel Williams recently returned from New York where she played Diana Ross in the off-Broadway production of Trevor the Musical.
Cast member Jerica Exum was in the national tour of Waitress and has been seen locally at Black Ensemble and Paramount, where she performed in Cinderella and Newsies.
Rhonda Preston has performed with Black Ensemble Theater for 25 years. She has traveled internationally, performing with Blues band Mississippi Heat and Gospel favorite Tina Brown and the Gospel Messenger.
Robin J. DaSilva was awarded the 2019 Jeff Award for playing the title role in Mahalia Jackson: Moving Through the Light at Black Ensemble. She has also performed at Porchlight, Theater at the Center and Theo Ubique, among others. As a vocal arranger, she has worked with many churches, recording artists, commercial, television shows and musical theatre productions.
COVID PROTOCOL: For the safety and comfort of patrons and staff, Mercury Theater Chicago will be requiring audience members to provide proof of vaccination either with a physical copy of the vaccination card or on a smartphone. In addition to proof of vaccination, all guests 18 years and older must present a government-issued ID, such as driver’s license or passport. Guests under 18 may also use a school photo ID. People with a medical condition that prevent vaccination may provide proof of a COVID-19 PCR test taken within 72 hours of the performance start time or a negative COVID-19 antigen test taken within 6 hours of the performance start time. All patrons will have to wear a mask throughout the performance when not actively eating or drinking regardless of vaccination status.
About Mercury Theater Chicago The beautifully renovated Mercury Theater Chicago is in the heart of the Southport Corridor at 3745 North Southport Avenue, within a sophisticated neighborhood of restaurants and boutiques just steps from Wrigley Field. A delightful destination, Mercury Theater Chicago is a live-theater seating 280 people, adjoining Venus Cabaret Theater (seating 80).
The building that houses the Mercury opened in 1912 as a silent film nickelodeon, named The Blaine Theatre after actor and former Senator and Secretary of State James G. Blaine. The Blaine became obsolete when talking pictures became popular nationwide in 1928. The building served a variety of uses until 1994, when it was purchased by theater producer Michael Cullen and transformed into a live theatre, named the Mercury Theatre.
In 2010 the building was sold again and reopened as Mercury Theater Chicago under the direction of Walter Stearns, a veteran theater director and producer. Mercury Theater Chicago’s second performance space, Venus Cabaret Theater, offers a unique intimate theatrical experience complemented by specialty cocktails. Mercury Theater Chicago is thrilled to be part of the city’s vibrant theatre community, boasting record-setting long runs, employing hundreds of artists and recognized with dozens of award nominations. Mercury Theater Chicago’s team includes Christopher Chase Carter (Artistic Director), Shane Murray-Corcoran (Managing Director), Walter Stearns and Eugene Dizon (Executive Producers) and Honey West (Cabaret Director). Visit www.MercuryTheaterChicago.com.
SISTER ACT the hit musical for the holidays MUST CLOSE January 2, 2022
Kelvin Roston Jr. gets into the holiday habit with Alexis J. Roston and the acclaimed cast of Sister Act for the final week of performances, December 29 – January 2
Chicago –Disco diva Deloris Cartier and the Sisters of Our Mother of Perpetual Faith are getting into the Christmas habit at Mercury Theater Chicago with the final weeks of performances of the hit musical Sister Act. The critically acclaimed production, perfect for the whole family, must close on January 2, 2022, at Mercury Theater Chicago, 3745 N. Southport Avenue.
Kelvin Roston Jr, fresh off his performance in the title role in Othello at Court Theatre, will join his wife Alexis J. Roston (Deloris) and the entire Sister Act company for the final week of the run, December 29 – January 2. Kelvin will play the role of Curtis Jackson for the final four performances.
Sister Act, based on the 1992 film, features music by Alan Menken, lyrics by Glenn Slater, and book by Bill and Cheri Steinkellne, and Douglas Carter Beane. This production is directed by Reneisha Jenkins, with music direction by Diana Lawrence and choreography by Artistic Director Christopher Chase Carter.
This feel-good musical comedy is based on the hit 1992 film that has audiences jumping to their feet! Set during the holiday season, the production is perfect for all ages. Featuring original music by Tony and Oscar winner Alan Menken (Newsies, Beauty and the Beast, Little Shop of Horrors), this uplifting musical was nominated for five Tony Awards, including Best Musical.
When disco diva Deloris Van Cartier witnesses a murder on Christmas Day, she is put in protective custody in the one place the cops are sure she won’t be a found: a convent! Disguised as a nun, she finds herself at odds with both the rigid lifestyle and uptight Mother Superior. Using her unique disco moves and singing talent to inspire the choir, Deloris breathes new life into the church and community but, in doing so, blows her cover.
The cast of Sister Act also includes Jane Grebeck-Brewer (Mother Superior), Gilbert Domally (Eddie), Leah Morrow (Mary Patrick/Ensemble), Denzel Tsopnang (Curtis, through December 26), Ed Kross (Monsignor/Ensemble), Nicole Armold (Michelle/Ensemble), Ruben Castro (Pablo/Ensemble), Isabella Andrews (Mary Roberts), Austin Nelson Jr. (TJ/Ensemble), Marcus Jackson (Joey/Ensemble), Jenny Rudnick (Mary Lazarus/Ensemble), Nicole Cready (Mary Theresa/Ensemble), Nancy Wagner (Martin-of-tours/Ensemble), Aalon Smith (Tina/Ensemble), Yasir Muhammad (Ensemble), and Lydia Burke (Swing).
The creative team includes: Reneisha Jenkins (Director), Diana Lawrence (Music Director), Christopher Chase Carter (Choreographer), Angela Weber Miller (Scenic Designer), Jackie Fox (Lighting Designer), Marquecia Jordan (Costume Designer), Carl Wahlstrom (Sound Designer), Max Maxin IV (Video Designer), Rueben Echoles (Wig Designer), Kristi J. Martens (Stage Manager), Daniel J. Hanson (Assistant Stage Manager), Will Hughes (Technical Director), and Keely Vasquez (Casting Associate).
Tickets for Sister Act, starting at $35, are on sale now at the box office, 3745 N. Southport Avenue in Chicago, http://www.MercuryTheaterChicago.com.
Recommended for ages 12 and up, but younger children are welcome with parents’ discretion.
Fact Sheet / Sister Act
Title: Sister Act Music by: Alan Menken Lyrics by: Glenn Slater Book by: Bill and Cheri Steinkellne, and Douglas Carter Beane Directed by: Reneisha Jenkins Music Direction by: Diana Lawrence Choreography by: Christopher Chase Carter
Featuring: Alexis J. Roston (Deloris), Jane Grebeck-Brewer (Mother Superior), Gilbert Domally (Eddie), Leah Morrow (Mary Patrick/Ensemble), Denzel Tsopnang (Curtis through December 26), Ed Kross (Monsignor/Ensemble), Nicole Armold (Michelle/Ensemble), Ruben Castro (Pablo/Ensemble), Isabella Andrews (Mary Roberts), Austin Nelson Jr (TJ/Ensemble), Marcus Jackson (Joey/Ensemble), Jenny Rudnick (Mary Lazarus/Ensemble), Nicole Cready (Mary Theresa/Ensemble), Nancy Wagner (Martin-of tours/Ensemble), Aalon Smith (Tina/Ensemble), Yasir Muhammad (Ensemble), and Lydia Burke (Swing). Kelvin Roston Jr. will join the cast in the role of Curtis beginning December 29, 2021.
Creative Team: Reneisha Jenkins (Director), Diana Lawrence (Music Director), Christopher Chase Carter (Choreographer), Angela Weber Miller (Scenic Designer), Jackie Fox (Lighting Designer), Marquecia Jordan (Costume Designer), Carl Wahlstrom (Sound Designer), Max Maxin IV (Video Designer), Rueben Echoles (Wig Designer), Kristi J. Martens (Stage Manager), Daniel J. Hanson (Assistant Stage Manager), Will Hughes (Technical Director) and Keely Vasquez (Casting Associate).
Location: Mercury Theater Chicago, 3745 N. Southport Avenue, Chicago
Tickets: $35 – $80
Box Office: 3745 N. Southport Avenue in Chicago; www.MercuryTheaterChicago.com
COVID PROTOCOL: For the safety and comfort of patrons and staff, Mercury Theater Chicago will be requiring audience members to provide proof of vaccination either with a physical copy of the vaccination card or on a smartphone. In addition to proof of vaccination, all guests 18 years and older must present a government-issued ID, such as driver’s license or passport. Guests under 18 may also use a school photo ID. Children under 12 and people with a medical condition that prevent vaccination may provide proof of a COVID-19 PCR test taken within 72 hours of the performance start time or a negative COVID-19 antigen test taken within 6 hours of the performance start time. All patrons will have to wear a mask throughout the performance when not actively eating or drinking regardless of vaccination status.
The Venus Cabaret Theater, the intimate performance space at Mercury Theater Chicago is now open with The Dark Night Series. The signature programming from Sundays through Tuesdays includes cabaret performances by Luminaries on Sundays, Comedy hosted by actor, comedian and OUT Chicago Radio’s Scott Duff, and Open Mic Nights with Chuck Larkin plus artists produced Cabaret. The intimate venue features specialty cocktails by Beverage Director Sarah Wurz. Tickets to Venus Cabaret Theater produced shows start at $15 with a two-drink minimum and are available at http://www.MercuryTheaterChicago.com.
About Mercury Theater Chicago The beautifully renovated Mercury Theater Chicago is in the heart of the Southport Corridor at 3745 North Southport Avenue, within a sophisticated neighborhood of restaurants and boutiques just steps from Wrigley Field. A delightful destination, Mercury Theater Chicago is a live-theater seating 280 people, adjoining Venus Cabaret Theater (seating 80).
The building that houses the Mercury opened in 1912 as a silent film nickelodeon, named The Blaine Theatre after actor and former Senator and Secretary of State James G. Blaine. The Blaine became obsolete when talking pictures became popular nationwide in 1928. The building served a variety of uses until 1994, when it was purchased by theater producer Michael Cullen and transformed into a live theatre, named the Mercury Theatre.
In 2010 the building was sold again and reopened as Mercury Theater Chicago under the direction of Walter Stearns, a veteran theater director and producer. Mercury Theater Chicago’s second performance space, Venus Cabaret Theater, offers a unique intimate theatrical experience complemented by specialty cocktails. Mercury Theater Chicago is thrilled to be part of the city’s vibrant theatre community, boasting record-setting long runs, employing hundreds of artists and recognized with dozens of award nominations. Mercury Theater Chicago’s team includes Christopher Chase Carter (Artistic Director), Shane Murray-Corcoran (Managing Director), Walter Stearns and Eugene Dizon (Executive Producers) and Honey West (Cabaret Director).
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
