Tag: Circuit Playhouse

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Theater Theater Feature

Circuit Playhouse’s Junie B. Jones: Toothless Wonder

Brooke Papritz leads the cast as Junie B. Jones. (Photo: Megan Christoferson)

It’s easy to forget, as adults, just how much of our time as children is spent worrying about our teeth coming out. I haven’t given it a thought in probably 20 years, but my son is now at the age when this is a Very Legitimate Concern. He asks me questions like, “When you were a kid, did you pull your teeth out or just let them fall out?” And I inevitably scramble to remember, how did I feel about the whole thing? It does cross my mind that this isn’t something we completely leave behind as we pass through adolescence. A quick Google search tells me that dreaming of your teeth falling out is fairly common, affecting around 39 percent of people, although I’ve never had it myself. I will confess that if my son hadn’t recently begun to lose his teeth, it probably wouldn’t have occurred to me to attend The Circuit Playhouse’s production of Junie B. Jones: Toothless Wonder. Thankfully, however, the stars aligned, because it would have been to my detriment to miss it. My 7-year-old son accompanied me, and it’s a performance we both loved. 

Junie B. Jones — she wouldn’t have us leave out the “B,” reminiscent of Anne “with an ‘e’” — is a character most people would describe as “precocious.” To me, she was fabulous — a refreshingly powerful female character and inspiration to all. A line in the show stood out: Junie B. looks at her reflection after she finally does — spoiler alert — lose her tooth. In that moment, she regains her briefly lost confidence, but she doesn’t make a reference at all to beauty. What she says is, “I think I look fascinating.” To that I say HELL YES, Junie B.! Would that we all could celebrate ourselves with such honesty. Brooke Papritz nailed that moment and, for that matter, this role. Watching an adult play a child can be an extremely unpleasant experience, especially if it’s obvious that the performer has lost connection with their own childlike wonder. Papritz, along with all the cast members playing children onstage, gave Junie B. and her classmates all the spunk and pizzazz an audience could hope for. 

Junie B. Jones: Toothless Wonder reminds us that when children are facing problems every molehill can look and feel like a mountain. This is certainly true for Junie B., a schemer who has a wiggly front tooth, with all the subsequent Tooth-Fairy-related worries that come with it, on top of being the only one who isn’t invited to her classmate’s birthday party. Junie B. is an over-the-top dramatic kind of girl, which is perfect for the theater and also for reminding us that even the loudest, most hyperbolic behavior can sometimes represent very real, raw feelings. This is a theme that seems to be getting more and more traction in today’s entertainment for kids, which I love to see. Junie B.’s “what if” soliloquies remind me of Pixar’s Inside Out 2’s character Anxiety, who was popular with adult audiences. 

Regardless of the emotional poignancy present in this play, it remains resolutely a comedy. Walking back to our car after the show, my son went through a list of his favorite moments. “And my fourth favorite part was …” It’s a good sign for any performance to garner one or two stand-out moments, let alone four. I laughed out loud several times in the show and appreciated how often timing was a punch line all on its own. 

This play may be a simple, hour-long production with a target audience of young children, but it nevertheless has every component necessary for great theater. Humor, drama, and superb storytelling (the callback to recycling is top-notch writing) make this a show worth anyone’s time. If my son’s reaction was anything to go by, your kids will love it. They may consistently call it a “movie” afterward when trying to puzzle out if the actor playing Junie B. actually lost her tooth, but they’ll still love it. 

Junie B. Jones: Toothless Wonder runs at The Circuit Playhouse through December 22nd. 

Categories
Theater Theater Feature

Katori Hall’s The Hot Wing King at Circuit Playhouse

The play opens in the kitchen and stays there for almost the entirety of the show. (Photos: Sean Moore)

It’s difficult to imagine a more Memphis-centric theater outing than the opening night of The Circuit Playhouse’s production of The Hot Wing King — written by Memphis native Katori Hall, performed by a cast of six Memphis residents, set in Memphis, and attended by none other than the mayor of Memphis.

If the audience’s response is anything to go by, this show’s success could be described not by a traditional two thumbs-up, but rather by a rapid-fire volley of finger snaps. The Hot Wing King serves up not only an often-hilarious look at the bonds and squabbles of a found family, but also a refreshing, unapologetic depiction of gay Black men comfortably presenting a full range of everything non-toxic masculinity can be.

This play has a bit of a sitcom-like feel to it, right down to Andrew Mannion’s scene design of a slightly upscale lived-in Memphis house. The play opens in the kitchen and we stay there for almost the entirety of the show, but you’ll find no complaints here as the set dressing was beautifully homey.

The Hot Wing King follows Cordell, a St. Louis native who recently relocated to Memphis to move in with his boyfriend, Dwayne. Their cohabitation seems like it’s off to a rocky start despite their obvious affection and deep feeling for one another. Cordell, who is currently looking for a job, seems to be rubbed the wrong way by the idea of being supported by another person. Thus, he pours himself obsessively into his hobby, trying to win the annual Memphis “Hot Wang Festival.” Much of the play’s two-and-a-half-hour runtime is taken up with the intricacies of the cooking, prepping, marinating, etc. of the wings by the couple and their two close friends, but the real meat in this production lies in the struggle of the characters’ internal battles of guilt and accountability, and of the external conflicts that subsequently stem from within.

One such major conflict arises when Dwayne’s nephew EJ and EJ’s father TJ make unexpected appearances in the middle of the festival prep. Sixteen-year-old EJ is in need of a place to stay, and as his mother, Dwayne’s sister, died after being restrained by police (police that Dwayne had called for a welfare check) almost exactly two years ago, it’s understandable why Dwayne wants to take EJ in. At least, it’s understandable to the audience. Cordell, on the other hand, is still struggling with his discordant relationship with his own adult children, who don’t know that he divorced their mother in order to pursue a relationship with Dwayne.

The situation is messy, yet it has an air of familiarity to it that most audience members will probably be able to relate to. Anyone who has been through great loss will understand that though everyday events and emotions are a necessity for navigating daily life, the pain is never too far away. While the dialogue occasionally drifts into somewhat unrealistically poetic expressions of this sort of grief and pain, the cast carries it off well. The jump between comedic hijinks and somber self-reflection doesn’t feel quite as stark as it could, when the actors are performing with such open honesty.

What makes this play truly special and important is the matter-of-fact presentation of queer Black men who are completely at ease with their sexuality. As a straight white woman, I can only imagine what it would mean to see that kind of representation onstage to a person struggling with their own sexual identity. What I especially appreciated was Katori Hall’s method of revealing the characters’ struggles after we had been introduced to their confidence. Again, I have only imagination and empathy to go off of here, but I think seeing these characters being their full authentic selves would be inspiring to young queer people; to see that they, too, overcame struggles to get to that point could only be incredibly validating.

When it comes to serving up quality theater, The Hot Wing King has everything to offer: heart, saucy exchanges, slapstick comedy, and even redemption.

The Hot Wing King runs at The Circuit Playhouse through June 2nd.

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Intermission Impossible Theater Theater Feature

Director Of Ink On How to Stage A Show With No Heroes

From left: David Hammonds as Larry Lamb, S.A. Weakley as Sir Alick, and Michael Kinslow as Rupert Murdoch in "Ink." (Credit: Collin Baker)

Rupert Murdoch is 92 and has an unusually active existence in real life — in the last year alone he’s continued wielding power as a media tycoon, has given depositions and will likely testify in the Dominion Voting Systems lawsuit against Fox News, he divorced Jerry Hall, he announced his engagement to someone else, and then called it off (apparently due to her religious zealotry). 

And then there’s what’s going on not in real life, particularly the popular HBO series Succession that is based on him and his media empire and family — although the fictionalized account seems to bother the real family quite a lot. Another dramatic work involving him is the play Ink by James Graham, which is closing this weekend at Circuit Playhouse. 

The play is fiction but is based on one of the key events in Murdoch’s ascension in the media world when he acquired a failing newspaper in England in 1969 and turned it into a brash tabloid that broke rules aplenty and set a tone in journalism that we still witness today.  

The story is about how Murdoch hired a friend of his, Larry Lamb, and charged him with beating the circulation numbers of the competition. The result was a crass mix of sensationalistic news reporting, goofy diversions, pictures of scantily-clad women, and low common denominator entertainment. The Sun diminished the practice of journalism and won the circulation war.

Ink is helmed by Warner Crocker, a Chicago-based director who has done plays in Memphis before. He was fascinated by the play and was eager to do the production.

“I’ve read a lot of scripts all my life,” he says. “You read good ones and you read not so good ones, and every now and then you stumble on one you get an opportunity to direct where you go, ‘this is a story I have to tell.’ This was a piece that talks about a moment in time that not only affected what journalism was going to become, but the changes we have experienced in culture, in politics, and just about every facet of our life.”

Crocker says Murdoch “is one of those individuals who, if the planet is still around 200 years from now, they’ll look back and say, he had an influence on everything and changed everything, for better or worse.”

He says that in his discussion with the cast, he likened the story to Frankenstein. “Murdoch in many ways is Dr. Frankenstein and Larry Lamb becomes the monster,” he says. “Graham presents Murdoch as a product of the moment in time who had this idea about change and didn’t necessarily understand the personal consequences of that. He certainly understood the financial consequences, and that’s what he was reaching for.”

When the changes Murdoch set in motion are underway, he finds that it’s not all a thrilling game and that there are terrible downsides. The cocky publisher is forced to reckon with tragedy. “You wouldn’t think of him as a very vulnerable individual,” Crocker says.

But neither is Murdoch a hero. In fact, as Crocker notes, there are no heroes in this play. “We watch them all take this journey together,” he says. “For example, the newsroom staff that you meet in the play come into it and there’s hesitation to begin with, but then they fall in love with the excitement and the romance of creating something new and the success that they’re having.”

It’s thrilling to break the rules and have so much fun, but before long, the staff’s “journalistic morals are challenged by some of the things that their boss is asking them to do to drive circulation. And then decisions have to be made. Do I compromise who I am and what I believe to hang on to this job? Or am I going to move on?”

Key to the effectiveness of the play is the pacing — snappy dialogue, barbed banter, and wisecracks are blended in with newsroom chaos, pressroom drama, slamming of phones, and tales told literally on multiple levels. 

“You have to create a sense of momentum where the show is always going,” Crocker says, “because if you stop and think, give the audience the opportunity to stop and think too much about what they’ve just seen, they’re gonna miss the next beat. It’s history unfolding before your eyes and history doesn’t usually give us a chance these days to pause and think about it. I like to put that on the stage.”

Ink runs April 14th through 16th at Circuit Playhouse. Tickets and info here.

Categories
Art Intermission Impossible Theater Theater Feature

Murdoch’s Legacy: Fast-Paced Ink Delivers at Circuit Playhouse

Michael Kinslow as Rupert Murdoch and David Hammons as Larry Lamb in the Circuit Playhouse production of Ink. (Credit: Collin Baker)

If you think journalism has gone to hell, you won’t get an argument from me. 

I don’t hate it — I still practice it and am grateful for the income — but the idea and execution of the industry has morphed over the decades from town criers to scandalous broadsheets to principled news organizations to scandalous tabloids to mindless aggregators. Print ruled for ages, but then radio and TV came in to further reshape it, but in any medium, journalism ultimately has to give the public what it wants — and will pay for. 

James Graham’s Ink, now playing at Circuit Playhouse, brilliantly describes one of those defining shifts in the newspaper era when, in 1969,  a 38-year-old, pre-tycoon Rupert Murdoch bought a failing British rag. To run The Sun, he hired his friend Larry Lamb away from a competitor and challenged him to boost the numbers to surpass the fusty broadsheet that had long led in circulation in the UK. 

There’s plenty of newsroom energy in the Circuit Playhouse production of Ink. (Credit: Collin Baker)

The play visits all the topics that journalists talk about — newsworthiness, ethics, objectivity — and one of the key insights into the thinking of the new endeavor from Murdoch/Lamb comes in a discussion of the five W’s: who, what, when, where, and why. 

But Lamb challenges the need for that last W: “The only thing worth asking isn’t why — it’s: what’s next?”

That philosophy isn’t deep, but sets the stage for how storytelling in newspapers would be trending along with the clearly understood primary goal of making money. Its duty to inform the public would be done by entertaining and titillating readers, not by crafting thoughtful stories for the civic minded. And The Sun would show how a news organization could shape what was next.

The Circuit staging is helmed by Chicago-based Warner Crocker, who keeps the action snappy whether its dialogue between Murdoch (Michael Kinslow) and Lamb (David Hammonds), or chaotic newsroom scenes with the entire cast throwing newspaper bundles, barking into phones, typing furiously, posing for pictures, cracking wise, and arguing tirelessly.

Graham’s script is crisp and purposeful, propelling the story, revealing the characters, and amping up the stakes. It doesn’t set up Murdoch or Lamb as good guys or bad. They have their dreams and in Act One, you may well find yourself pulling for their audacious enterprise to succeed — they are, after all, trying to stick it to the power structure. Act Two keeps the energy but gets inside the consequences of their newspaper’s brashness. How flippant can you be in a life-or-death situation?

The Circuit cast is solid and the production smartly executed. It’s entertaining from the get-go and stirs up enough issues to provoke discussions long after the final bows.

More than 50 years later, Murdoch is still around and still intent on making money from the news business — hence his multi-billion-dollar company named News Corp. His publishing legacy will include taking bold risks and shaping global news coverage as well as shamelessly pushing lies, agendas, and the lowest common denominator. 

Ink runs through April 16th at Circuit Playhouse. For info and tickets, go to playhouseonthesquare.org.

Categories
Cover Feature Film/TV News

Indie Memphis at 25

(from top to bottom) Scenes from the pioneering 1922 horror film Häxan, Howard Bell’s Jookin, and Bradford Thomason and Brett Whitcomb's Butterfly in the Sky.

These days, it seems that film discourse is dominated by discussions about the future. But while there are real issues facing the unique combination of art and commerce we call cinema, there’s more to movies than just the multiplex — and that’s what Indie Memphis has specialized in for the last 25 years. 

“We are kind of in our own lane,” says Executive Director Kimel Fryer. “Indie Memphis is like no other film festival, because Memphis is like no other city.” 

Indie Memphis was founded in 1998 by a group of University of Memphis film students led by Kelly Chandler. Known then as the Memphis Independent Film Festival, it attracted about 40 people to a Midtown coffee shop, where they watched student movies projected on a sheet hung on the wall. Nowadays, the annual festival boasts an attendance of more than 11,000, and the organization hosts programming and events year-round, such as the monthly Shoot & Splice programs, where filmmakers provide deep dives into their craft. The Indie Grants program was created in 2014 to help fund Memphis-made short films. The Black Creators Forum began in 2017 to help address the historic racial inequalities in filmmaking. During the pandemic, Eventive, a Memphis-based cinema services company that began as Indie Memphis’ online ticketing system, pioneered the virtual programming which is now an established feature of film festivals worldwide.

“It took 25 years for Indie Memphis to become an organization that reflects the city,” says Artistic Director Miriam Bale. “But each step along the way has added to what makes it special now.” 

Memphis Grizzlies superstar Z-Bo in Michael Blevins’ 50 for Da City.
Karbanová and Jitka Cerhová in Daisies.
Tahar Rahim is a jilted lover in Don Juan.

A New Leader

Kimel Fryer took over as Indie Memphis’ new executive director only a few weeks ago. But she is no stranger to either Memphis or the world of independent film. She’s a West Tennessee native whose mother has taught at Oak Elementary since the mid-1990s.
“My mom was always tough on me, and I’m grateful for it because I ended up kind of inheriting that from her,” she says. “In my mind, I’m supposed to reach for the stars. I’m supposed to overachieve.”

Fryer holds graduate degrees in law and business from the University of Memphis and the University of Tennessee at Knoxville. She has worked for companies as diverse as Lincoln Pacific and Pfizer, and left FedEx to take over the reins of Indie Memphis when Knox Shelton resigned after only a year on the job. The mother of two saw it as an opportunity to merge her professional life with her passion for film. “When I was working for Chrysler, I realized that I had this amazing job that I worked my butt off for,” she says. “It was a great company with great benefits. But I was depressed. If I wanna be completely honest, it was one of the saddest periods of my life.” 

Growing up, Fryer had tried her hand at writing, and she had been involved with theater and band programs in high school and college. In Detroit, she found a new outlet for her creativity when she volunteered as casting director for filmmaker Robert Mychal Patrick Butler’s Life Ain’t Like the Movies. “The independent film world is very visible in Detroit,” she says.  

When she landed Coming 2 America star Paul Bates for a role in the film, Butler promoted her to producer. “I said, ‘What is a producer?’ He said, ‘You’re kinda already doing it.’”

Fryer wrote and directed her own short film, “Something’s Off,” which will screen at Indie Memphis 2022. She says she got her acceptance email just a few weeks before she found out she was going to be the new executive director. “I’ve found this career where I could kind of wrap all my skills into one job,” she says. “I could actually be my full self all the time, which is really my dream.

“I’m very eager to learn and eager to meet other people, understand how they do things. But I’m also cognizant of the fact that I am coming back to Memphis, and we’ve always been a different city that has marched to the beat of our own drum. We’ve got to continue that as we continue to grow and strive for greatness in the film community. I’m really excited about what’s next. I believe in Indie Memphis. I believe in the staff. I believe we are headed towards a great film festival.” 

The Picture Taker

From the 1950s to his death in 2007, it seemed that photographer Ernest Withers was everywhere. “We keep calling him a Zelig-like figure or like Forrest Gump,” says Phil Bertelsen, director of Indie Memphis 2022’s opening night film The Picture Taker. “He was at every flash point in Civil Rights history, and then some.” 

Ernest Withers, courtesy of the Withers Family Trust.

Withers was a tireless documenter of Black life in the South. His work even appeared in publications like Jet and the Chicago Defender. “Some of my favorite photos of his are street portraits — the photos he took of everyday people just going about their daily business,” says Bertelsen. 

“I think what made him almost like a father figure in Memphis was the fact that he recorded his community’s lives literally from birth to death,” says producer Lise Yasui. “He left behind an estimated 1.8 million photos. They are of every major event in every family’s life — as we say, it’s celebrations as well as sorrows. He locked that into their histories and made sure that they had these records of the lives they lived. Those photographs are really beautiful. They have an intimacy that can only come from someone inside the community.” 

Three years after Withers’ 2007 death, Commercial Appeal reporter Marc Perrusquia revealed that the trusted photographer had been a paid informant for the FBI. The news came as a shock to many in the community, who saw it as a betrayal of the Civil Rights activists who had trusted Withers. “When you go behind the headlines and the surface of it all, you recognize that there’s a lot of nuance and complexity to that choice that he made at that time,” says the director. “What we attempted to do with the film is to try to understand that time, that choice, and the man who was at the center of it all.

“I think it could be said, without question, that Ernest was a patriot who believed in the hope and promise of this country,” continues Bertelsen. “Don’t forget he was a fourth-generation American war veteran.” 

Withers was far from the only one talking to the FBI — their reports refer to him as source #338. “I had the privilege and the workload of reading as many of the FBI files as we could get our hands on,” says Yasui. “They tell a story that’s pretty intense and really detailed in terms of names, places, affiliations, and friendships — everything down to personal gossip. The other thing that you have to understand is they are FBI records written by FBI agents. So there’s not a single document in the 7,000+ pages that I’ve read that is a direct quote from Ernest himself. It’s always through the lens of his FBI handler. That’s not to say that what he wrote was not accurate, but it’s filtered through their agenda, which was to root out radicals who were allegedly inside the Civil Rights movement. …We heard testimony that he basically kept people from harm’s way because he knew what he knew. But at the same time, he damaged the reputations of people by informing on them. It was a double-edged sword that he was wielding.” 

Ironically, it’s people like Coby Smith, a member of the Memphis-based Black Power group The Invaders, prime targets of the FBI’s COINTELPRO program, who defend Withers in The Picture Taker. “He was a man of great reputation and appreciation,” says Bertelsen. “In fact, we were hard-pressed to find anyone who had anything negative to say about him, even after it was shown that he informed on them.” 

For Bertelsen and Yasui, this is the end of a six-year journey. “We are so grateful to the many people of Memphis who helped us get this story, especially the family who really took a leap of faith by trusting us with his images,” says Bertelsen. “They’ve had to face some very painful revelations about their patriarch, and they’re still facing them. I think it shows a certain amount of grace and trust and understanding. There are a lot of ways you can interpret this story, and they haven’t shied away from the truth. They told us they learned things about their dad that they didn’t know before, through this film. That’s very gratifying to us.” 

The Poor & Hungry 

In 2021, Craig Brewer directed Coming 2 America. It was his second collaboration with comedy superstar Eddie Murphy, and the biggest hit in the history of Amazon Studios. 

In 2000, the biggest job Brewer had ever held was a clerk at Barnes & Noble bookstore. That was the year his first feature film, The Poor & Hungry, premiered at Indie Memphis. “I still feel that it was the biggest premiere that I’ve ever been to, and the one with the highest stakes,” he says. “Winning Best Feature for 2000 is still the greatest award I can ever remember winning in my life. … The festival back then was a beacon. It was the North Star. We were all making something so we could showcase it at Indie Memphis. It’s something I hope is still happening with the younger filmmakers today. I had another short that year called ‘Cleanup In Booth B.’ It was a big, productive time for me. But it was also the first time ever to see my work being shown in front of people at a movie theater.”

Craig Brewer’s The Poor & Hungry, which premiered at Indie Memphis Festival in 2000, will return to the festival.

The Poor & Hungry is the story of Eli (Eric Tate), a Memphis car thief who accidentally falls in love with one of his victims, a cellist named Amanda (Lake Latimer). The characters’ lives revolve around the P&H Cafe, a legendary Midtown dive bar which was run by the flamboyant Wanda Wilson, who plays herself. To call the black-and-white feature, shot with a handheld digital camcorder, “gritty” is a massive understatement. But Brewer was able to wring some striking, noir-like images from his cheap equipment, and the film features a series of great performances, most notably Lindsey Roberts’ stunning turn as Harper, a lesbian street hustler. 

“I think what I got right on it is something that I tried to carry over to Hustle & Flow, which was, how do you create characters that, if somebody were to just describe them to you, you would say, ‘I don’t think I would like them’? But then, when you start watching them in the story, you find that you not only love them, but you want them to succeed, and you feel for them when they’re in pain.” 

Made for $20,000, which Brewer inherited when his father Walter died suddenly of a heart attack, The Poor & Hungry would go on to win Best Feature at the Hollywood Film Festival, defeating films which had cost millions to produce. It got his foot in the door in Hollywood and earned him the opportunity to direct his second feature film Hustle & Flow, which was nominated for two Academy Awards, winning one for Three 6 Mafia’s song “It’s Hard Out Here For A Pimp.”

The Poor & Hungry will return to the festival where it premiered as part of Indie Memphis’ 25th anniversary celebration. “When I look at it now, I view it as an artifact of a time in Memphis. There are so many places that aren’t there anymore. The P&H Cafe that it’s named after is no more, and Wanda has left this planet in bodily form but remains in spirit. I’m so glad that I captured all that. It’s good to see a Memphis that may not be there anymore. But most importantly, I hope people come see it because it’s the movie that I point people to when they say that they want to make a movie but they think it’s impossible. Well, I made this with just a small camcorder, a microphone, four clamp lights, and a lot of effort.” 

Hometown Heroes

It’s a bumper crop year for the Hometowner categories, which showcase films made here in the Bluff City. In addition to anniversary celebrations of Brewer’s The Poor & Hungry and this columnist’s punk rock documentary Antenna, nine features from Memphis filmmakers are screening during the festival. 

Jookin is Howard Bell IV’s story of an aspiring dancer caught up in Memphis street life. The ’Vous by Jack Porter Lofton and Jeff Dailey is a documentary about the world-famous Rendezvous restaurant. Ready! Fire! Aim! is Melissa Sweazy’s portrait of Memphis entrepreneur Kemmons Wilson, founder of Holiday Inn. Show Business Is My Life — But I Can’t Prove It by G.B. Shannon is a documentary about the 50-year career of comedian Gary Mule Deer. Michael Blevins’ 50 for Da City recounts Z-Bo’s legendary run as a Memphis Grizzly. Cxffeeblack to Africa by Andrew Puccio traces Bartholomew Jones’ pilgrimage to Ethiopia to discover the roots of the java trade. United Front: The People’s Convention 1991 Memphis is Chuck O’Bannon’s historical documentary about the movement that produced Memphis’ first Black mayor. Daphene R. McFerren’s Facing Down Storms: Memphis and the Making of Ida B. Wells sheds light on the Black journalist’s early years in the Bluff City. The Recycle King is Julian Harper’s character sketch of fashion designer Paul Thomas. 

Bartholomew Jones in Andrew Puccio’s documentary Cxffeeblack to Africa
Jack Oblivian in the Memphis punk rock documentary Antenna

On opening night is the Hometowner Narrative Shorts Competition. In recent years, this has been the toughest category in the entire festival, where Memphis filmmakers stretch their talents to the limits for 10 minutes at a time. 

Janay Kelley is one of eight filmmakers whose works were chosen to screen in the narrative shorts competition. A junior at Rhodes College, she’s a product of the Indie Memphis CrewUp mentorship program, and two-time Grand Prize winner at the Indie Memphis Youth Festival. “This is my first film festival as an adult,” she says. 

Kelley’s film is “The River,” an experimental marriage of imagery and verse. “My grandmother told me once that the river that you got baptized in could be the same river that drowns you in the morning. I like that dichotomy of healing and of destroying, of accepting new people into your life and saying, ‘Will you help me or will you harm me?’”

Kelley provides her own narration for the film, which was based on a prose poem she wrote while still in high school. “I take a lot of inspiration from my Southern heritage, especially from the women in my family,” she says. 

The visuals reference several Black artists of the 20th century, especially the painting Funeral Procession by Ellis Wilson, which was famously featured on The Cosby Show. Kelley treats the many women, young and old, who appear in the film with a portraitist’s touch. 

“Before I started in films, I was really into photography, and you can see a lot of that still in my work,” she says. “I come from a very poor background. There is a specific picture of my mother, my grandmother, and my aunt, and they got it taken at the fair. Back in the day, they used to take people’s portraits there, so some families would get dressed up to go to the fair to get their portraits taken, because they couldn’t afford to get it done any way else. What you need to know about being poor and Black in the South is that a lot of us don’t live long. So some of the stories I’ve heard about my family members, I’ve heard after they have died, and I’ve had to kind of stare at their pictures. I think it comes out of a genuine love of the history of photography, and what it meant for people like me.”

Witchcraft Through the Ages

Indie Memphis’ October spot on the calendar means that it coincides with what Bale calls “the spooky season,” when many horror movie aficionados embark on a monthlong binge watch. For this year’s festival, Bale programed a pair of rarely seen horror classics that have significant anniversaries. The first is Ghostwatch, a British mockumentary which debuted 30 years ago. 

In the tradition of Orson Welles’ infamous Halloween radio broadcast of “War of the Worlds,” Ghostwatch was presented as a Halloween special in which real-life BBC journalists Sarah Greene and Craig Charles would broadcast a live investigation of a supposedly haunted house. But their goofy Halloween jokes turn serious when the house’s real ghosts show up and start causing mayhem. When it was first broadcast on Halloween night in 1992, the BBC switchboard was jammed with more than 1 million calls from viewers concerned that their favorite newscasters were being slaughtered by ghosts on live television. “This is a staff favorite,” says Bale. 

The second Halloween special is Häxan, which has its 100th anniversary this year. Indie Memphis commissioned a new score for the silent film from Alex Greene, who is also the music editor for the Memphis Flyer. For this performance, Greene’s jazz ensemble The Rolling Head Orchestra — Jim Spake, Tom Lonardo, Mark Franklin, Carl Caspersen, and Jim Duckworth  — will be joined by theremin virtuoso Kate Taylor. “We’ve been wanting to work with Alex for a long time, and this was a great opportunity,” says Bale.

Indie Memphis honors the 100th anniversary of the pioneering 1922 horror film Häxan with a new live score from Alex Greene and the Rolling Head Orchestra.

Director Benjamin Christensen based Häxan on his study of the Malleus Maleficarum (“The Hammer of Witches”), a guide for clergymen conducting witch hunts, published in 1486. Upon its premiere in 1922, Häxan was the most expensive silent film made in Europe. Christensen’s meticulous recreations of witches’ Sabbath celebrations, complete with flying broomsticks and an appearance by a mischievous Satan (played by the director himself), still look incredible. Its frank depictions of the Inquisition provide the horror. “I was shocked by how much of it is framed by the torture of the witches,” says Greene. “It implies that a lot of this crazy behavior they described was just victims trying to make up anything to stop the thumbscrews.”  

Released a decade before Dracula ushered in the modern horror era, Häxan is a unique cinema experience. “I think of it as kind of like Shakespeare’s time, when the English language was not as settled in spellings and meanings of words. It was a fluid language,” says Greene. “This film came at a time when the language of cinema was very fluid and kind of up for grabs, which is why you could have this weird hybrid of documentary/reenactment/essay.”  

“It’s within the Halloween realm, but not necessarily a horror movie,” says Bale. “That’s part of what’s so interesting about it. There are some silent films that just feel so fresh, they could have been made yesterday. Häxan is one of those.”  

The 25th Indie Memphis Film Festival runs from October 19th to the 22nd at the Orpheum Theatre’s Halloran Centre, Crosstown Theater, Black Lodge, Malco Studio on the Square, The Circuit Playhouse, Playhouse on the Square, and virtually on Eventive. Festival passes and individual film tickets can be purchased at indiememphis.org. The Memphis Flyer will feature continuing coverage of Indie Memphis 2022 on the web at memphisflyer.com. 

Categories
Theater Theater Feature

Circuit Playhouse’s Pass Over Provokes Emotion

Pass Over (Photo: Bill Simmers)

The regional debut of Antoinette Nwandu’s poignant and powerful play Pass Over comes at a serendipitous time to Circuit Playhouse.

For our community, watching a production that comments heavily on gun violence and race so soon after a shooting spree ripped through the city might seem like too much. I would argue that this is a perfect example of why the arts are so vitally important. Watching, though at times uncomfortable, was also cathartic and important.

Pass Over takes place entirely in one location: a Memphis street corner. Scenic designer Chris Sterling includes details that let audiences know this particular production takes place in our town: one being a small, graffitied message inside a triangle — or, of course, a pyramid — which reads, “Memphis AF.” Any theater-lover will take one glance at the set and be reminded of Waiting for Godot, a similarity which does not end with staging.

Moses and Kitch, two out of only three performers in the show, stand on the corner shooting the shit and dreaming of the promised land until a stranger appears seemingly out of nowhere, disrupting what should be a day like any other.

This is a play I might need to see twice to catch all the nuances. I’m sure I missed some of the Biblical, historical, and literary references, which are heavily scattered throughout. Practically everything in Pass Over seems to be a metaphor, a fact which is humorously called out by the character Kitch, who mistakenly uses the word “megaphore.”

The enormous success of this production would not be possible without the nuanced performances of Cleavon Meabon IV and resident company members Marc Gill and Nathan McHenry. This is a show without a single set change, without traditional scene breaks, without even an intermission. The actors carry it from start to finish, holding the audience rapt with nothing but themselves, which is no small feat.

Gill and Meabon manage to achieve perfect chemistry. Their characters’ camaraderie and perpetual confabulation are so beautifully enacted that it brings to mind partners in a dance. Moses, whose barely checked rage is simmering under the surface, ready to boil over at any moment, is a stark contrast to Kitch, who is softer, somehow, more innocent and sweet-tempered. These two men are desperate to escape the street corner, to pass over (see? metaphors) to a better life, but something always seems to be holding them back. They are stuck, held in place by forces outside of themselves.

Then there’s McHenry, playing two roles, Mister and Ossifer. It is difficult to watch McHenry’s depiction of these two racist white characters, but this difficulty is a testament to the strength of his performance. It shouldn’t be easy to watch. That’s kind of the point. Mister/Ossifer is an amalgamation of the many different shades of racism, ranging from willful ignorance to outright white supremacy.

Another thread running through Pass Over is humor, often reaching a pitch of hilarity just before the tone abruptly shifts. Slapstick, physical comedy and biting, witty dialogue somewhat lessen the thematic punches of the play. Audiences will also enjoy Meabon’s vocal talent, as there is a musical moment nestled in the middle of the show. The soulful, resonant timbre coming from Kitch adds a rich depth to the character, who is otherwise often clowning around, the source of most of the comedic relief.

This play absolutely will evoke emotion from the audience. Pass Over forces you to look straight-on at things that many people — especially white people — instinctively shy away from. Furthermore, it confronts you with the question, “Why are you looking away in the first place?”

Jared Thomas Johnson’s directorial Playhouse debut is something every Memphian should see. In a Playhouse “Meet the Cast” promotional video, Meabon says, “That’s what this show is about. It’s about humanity. It’s about, do you see people? Black people as people?”

Pass Over runs through October 9th at The Circuit Playhouse.

Categories
We Recommend We Recommend

Circuit Playhouse Hosts “To All a Good Night: A Holiday Cabaret”

Opening weekend for To All A Good Night (Photo: Carlosphotos | Dreamstime.com)

Only a few days separate us from the impending month of mistletoe threatening to embarrass us in front of our loved ones, paper snowflakes that litter hole-punched circles and triangles all over the floor, wrapping paper that leaves paper cuts and glitter residue on our fingers, and, of course, holiday music. I know I sound like a Grinch, but holiday music is the key to getting any Grinch into the spirit.

Lar’Juanette Williams, executive director at Memphis Black Arts Alliance, puts it best, “The songs delve into the things that make us think of our favorite Christmas memories.” This season, Williams has conceived of the cabaret-style show, To All a Good Night, during which the cast of four will perform songs, written or recorded by African-American artists of the past and present.

One performer — Christian Kirk — will perform her father Sidney Kirk’s song, “I Hope That You’re Happy This Christmas.” A Stax musician, Sidney Kirk played keyboard for Isaac Hayes for a while.

“The show has a heavy Memphis influence,” Williams says. “Beale Street was it back in the day when it comes to music. All the African-American artists came to Memphis to work on Beale, and that’s where a lot of this music was unleashed. The show has a worldwide influence as well, since a lot of the music that was birthed here spread.”

This show marks the first partnership between Playhouse on the Square and the Memphis Black Arts Alliance. Opening this weekend, performances will run through December 22nd. Tickets can be purchased online at playhouseonthesquare.org.

To All A Good Night: A Holiday Cabaret, Circuit Playhouse, 51 S. Cooper, Friday, November 26th, 10 p.m., $27.

Categories
Cover Feature News

2021: Here’s Looking at You

If 2020 was the year of despair, 2021 appears to be the year of hope.

Wanna see what that could look like? Cast your gaze to Wuhan, China, birthplace of COVID-19.

News footage from Business Insider shows hundreds of carefree young people gathered in a massive swimming pool, dancing and splashing at a rock concert. They are effortlessly close together and there’s not a mask in sight. Bars and restaurants are packed with maskless revelers. Night markets are jammed. Business owners smile, remember the bleak times, and say the worst is behind them. How far behind? There’s already a COVID-19 museum in Wuhan.

That could be Memphis (once again) one day. But that day is still likely months off. Vaccines arrived here in mid-December. Early doses rightfully went to frontline healthcare workers. Doses for the masses won’t likely come until April or May, according to health experts.

While we still cannot predict exactly “what” Memphians will be (can be?) doing next year, we can tell you “where” they might be doing it. New places will open their doors next year, and Memphis is set for some pretty big upgrades.

But it doesn’t stop there. “Memphis has momentum” was Memphis Mayor Jim Strickland’s catchphrase as he won a second term for the office last October. It did. New building projects bloomed like the Agricenter’s sunflowers. And it still does. Believe it or not, not even COVID-19 could douse developers’ multi-million-dollar optimism on the city.

Here are few big projects slated to open in 2021:

Renasant Convention Center

Throughout 2020, crews have been hard at work inside and outside the building once called the Cook Convention Center.

City officials and Memphis Tourism broke ground on a $200-million renovation project for the building in January 2020. The project will bring natural light and color to the once dark and drab convention center built in 1974. The first events are planned for the Renasant Convention Center in the new year.

Memphis International Airport

Memphis International Airport

Expect the ribbon to be cut on Memphis International Airport’s $245-million concourse modernization project in 2021. The project was launched in 2014 in an effort to upgrade the airport’s concourse to modern standards and to right-size the space after Delta de-hubbed the airport.

Once finished, all gates, restaurants, shops, and more will be located in a single concourse. The space will have higher ceilings, more natural light, wider corridors, moving walkways, children’s play areas, a stage for live music, and more.

Collage Dance Collective

The beautiful new building on the corner of Tillman and Sam Cooper is set to open next year in an $11-million move for the Collage Dance Collective.

The 22,000-square-foot performing arts school will feature five studios, office space, a dressing room, a study lounge, 70 parking spaces, and a physical therapy area.

The Memphian Hotel

The Memphian Hotel

A Facebook post by The Memphian Hotel reads, “Who is ready for 2021?” The hotel is, apparently. Developers told the Daily Memphian recently that the 106-room, $24-million hotel is slated to open in April.

“Walking the line between offbeat and elevated, The Memphian will give guests a genuine taste of Midtown’s unconventional personality, truly capturing the free spirit of the storied art district in which the property sits,” reads a news release.

Watch for work to begin next year on big projects in Cooper-Young, the Snuff District, Liberty Park, Tom Lee Park, and The Walk. — Toby Sells

Book ‘Em

After the Spanish flu epidemic and World War I came a flood of convention-defying fiction as authors wrestled with the trauma they had lived through. E.M. Forster confronted colonialism and rigid gender norms in A Passage to India. Virginia Woolf published Mrs. Dalloway. James Joyce gave readers Ulysses. Langston Hughes’ first collection, The Weary Blues, was released.

It’s too early to tell what authors and poets will make of 2020, a year in which America failed to contain the coronavirus. This reader, though, is eager to see what comes.

Though I’ve been a bit too nervous to look very far into 2021 (I don’t want to jinx it, you know?), there are a few books already on my to-read list. First up, I’m excited for MLK50 founding managing editor Deborah Douglas’ U.S. Civil Rights Trail, due in January. Douglas lives in Chicago now, but there’s sure to be some Memphis in that tome.

Next, Ed Tarkington’s The Fortunate Ones, also due in January, examines privilege and corruption on Nashville’s Capitol Hill. Early reviews have compared Tarkington to a young Pat Conroy. For anyone disappointed in Tennessee’s response to any of this year’s crises, The Fortunate Ones is not to be missed.

Most exciting, perhaps, is the forthcoming Black Panther: Tales of Wakanda prose anthology, expected February 2nd. The anthology is edited by Memphis-born journalist Jesse J. Holland, and also features a story by him, as well as Memphians Sheree Renée Thomas, Troy L. Wiggins, and Danian Darrell Jerry.

“To be in pages with so many Memphis writers just feels wonderful,” Thomas told me when I called her to chat about the good news. “It’s a little surreal, but it’s fun,” Jerry adds, explaining that he’s been a Marvel comics fan since childhood. “I get to mix some of those childhood imaginings with some of the skills I’ve worked to acquire over the years.”

Though these books give just a glimpse at the literary landscape of the coming year, if they’re any indication of what’s to come, then, if nothing else, Memphians will have more great stories to look forward to. — Jesse Davis

Courtesy Memphis Redbirds

AutoZone Park

Take Me Out With the Crowd

Near the end of my father’s life, we attended a Redbirds game together at AutoZone Park. A few innings into the game, Dad turned to me and said, “I like seeing you at a ballpark. I can tell your worries ease.”

Then along came 2020, the first year in at least four decades that I didn’t either play in a baseball game or watch one live, at a ballpark, peanuts and Cracker Jack a soft toss away. The pandemic damaged most sports over the last 12 months, but it all but killed minor-league baseball, the small-business version of our national pastime, one that can’t lean on television and sponsorship revenue to offset the loss of ticket-buying fans on game day. AutoZone Park going a year without baseball is the saddest absence I’ve felt in Memphis culture since moving to this remarkable town in 1991. And I’m hoping today — still 2020, dammit — that 2021 marks a revival, even if it’s gradual. In baseball terms, we fans will take a base on balls to get things going before we again swing for the fences.

All indications are that vaccines will make 2021 a better year for gathering, be it at your favorite watering hole or your favorite ballpark. Indications also suggest that restrictions will remain in place well into the spring and summer (baseball season). How many fans can a ballpark host and remain safe? How many fans will enjoy the “extras” of an evening at AutoZone Park — that sunset over the Peabody, that last beer in the seventh inning — if a mask must be worn as part of the experience? And what kind of operation will we see when the gates again open? Remember, these are small businesses. Redbirds president Craig Unger can be seen helping roll out the tarp when a July thunderstorm interrupts the Redbirds and Iowa Cubs. What will “business as usual” mean for Triple-A baseball as we emerge from the pandemic?

I wrote down three words and taped them up on my home-office wall last March: patience, determination, and empathy. With a few more doses of each — and yes, millions of doses of one vaccine or another — the sports world will regain crowd-thrilling normalcy. For me, it will start when I take a seat again in my happy place. It’s been a long, long time, Dad, since my worries properly eased.— Frank Murtaugh

Film in 2021: Don’t Give up Hope

“Nobody knows anything.” Never has William Goldman’s immortal statement about Hollywood been more true. Simply put, 2020 was a disaster for the industry. The pandemic closed theaters and called Hollywood’s entire business model into question. Warner Brothers’ announcement that it would stream all of its 2021 offerings on HBO Max sent shock waves through the industry. Some said it was the death knell for theaters.

I don’t buy it. Warner Brothers, owned by AT&T and locked in a streaming war with Netflix and Disney, are chasing the favor of Wall Street investors, who love the rent-seeking streaming model. But there’s just too much money on the table to abandon theaters. 2019 was a record year at the box office, with $42 billion in worldwide take, $11.4 billion of which was from North America. Theatrical distribution is a proven business model that has worked for 120 years. Netflix, on the other hand, is $12 billion in debt.

Will audiences return to theaters once we’ve vaccinated our way out of the coronavirus-shaped hole we’re in? Prediction at this point is a mug’s game, but signs point to yes. Tenet, which will be the year’s biggest film, grossed $303 million in overseas markets where the virus was reasonably under control. In China, where the pandemic started, a film called My People, My Homeland has brought in $422 million since October 1st. I don’t know about y’all, but once I get my jab, they’re going to have to drag me out of the movie theater.

There will be quite a bit to watch. With the exception of Wonder Woman 1984, the 2020 blockbusters were pushed to 2021, including Dune, Spielberg’s West Side Story remake, the latest James Bond installment No Time to Die, Marvel’s much-anticipated Black Widow, Top Gun: Maverick, and Godzilla vs. Kong. Memphis director Craig Brewer’s second film with Eddie Murphy, the long-awaited Coming 2 America, will bow on Amazon March 5th, with the possibility of a theatrical run still in the cards.

There’s no shortage of smaller, excellent films on tap. Regina King’s directorial debut One Night in Miami, about a meeting between Malcolm X, Muhammad Ali, Sam Cooke, and Jim Brown, premieres January 15th. Minari, the stunning story of Korean immigrants in rural Arkansas, which was Indie Memphis 2020’s centerpiece film, lands February 12th. The Bob’s Burgers movie starts cooking April 9th. And coolest of all, next month Indie Memphis will partner with Sundance to bring the latest in cutting-edge cinema to the Malco Summer Drive-In. There’s plenty to be hopeful for in the new year. — Chris McCoy

Looking Ahead: Music

We usually highlight the upcoming hot concerts in this space, but those are still on the back burner. Instead, get a load of these stacks of hot wax (and streams) dropping next year. Remember, the artists get a better share when you purchase rather than stream, especially physical product like vinyl.

Alysse Gafkjen

Julien Baker

One of the biggest-profile releases will be Julien Baker’s Little Oblivians, due out on Matador in February. Her single “Faith Healer” gives us a taste of what to expect. Watch the Flyer for more on that soon. As for other drops from larger indie labels, Merge will offer up A Little More Time with Reigning Sound in May (full disclosure: this all-Memphis version of the band includes yours truly).

Closer to home, John Paul Keith’s The Rhythm of the City also drops in February, co-released by hometown label Madjack and Italian imprint Wild Honey. Madjack will also offer up albums by Mark Edgar Stuart and Jed Zimmerman, the latter having been produced by Stuart. Matt Ross-Spang is mixing Zimmerman’s record, and there’s much buzz surrounding it (but don’t worry, it’s properly grounded).

Jeremy Stanfill mines similar Americana territory, and he’ll release new work on the Blue Barrel imprint. Meanwhile, look for more off-kilter sounds from Los Psychosis and Alicja Trout’s Alicja-Pop project, both on Black & Wyatt. That label will also be honored with a compilation of their best releases so far, by Head Perfume out of Dresden. On the quieter side of off-kilter, look for Aquarian Blood’s Sending the Golden Hour on Goner in May.

Bruce Watson’s Delta-Sonic Sound studio has been busy, and affiliated label Bible & Tire Recording Co. will release a big haul of old-school gospel, some new, some archival, including artists Elizabeth King and Pastor Jack Ward, and compilations from the old J.C.R. and D-Vine Spiritual labels. Meanwhile, Big Legal Mess will drop new work from singer/songwriter Alexa Rose and, in March, Luna 68 — the first new album from the City Champs in 10 years. Expect more groovy organ and guitar boogaloo jazz from the trio, with a heaping spoonful of science-fiction exotica to boot.

Many more artists will surely be releasing Bandcamp singles, EPs, and more, but for web-based content that’s thinking outside of the stream, look for the January premiere of Unapologetic’s UNDRGRNDAF RADIO, to be unveiled on weareunapologetic.com and their dedicated app. — Alex Greene

Chewing Over a Tough Year

Beware the biohazard.

Samuel X. Cicci

The Beauty Shop

Perhaps a bit hyperbolic, but the image that pops into my head when thinking about restaurants in 2020 are the contagion-esque geo-domes that Karen Carrier set up on the back patio of the Beauty Shop. A clever conceit, but also a necessary one — a move designed to keep diners safe and separated when going out to eat. If it all seems a little bizarre, well, that’s what 2020 was thanks to COVID-19.

We saw openings, closings, restrictions, restrictions lifted, restrictions then put back in place; the Memphis Restaurant Association and Shelby County Health Department arguing back and forth over COVID guidelines, with both safety and survival at stake; and establishments scrambling to find creative ways to drum up business. The Beauty Shop domes were one such example. The Reilly’s Downtown Majestic Grille, on the other hand, transformed into Cocozza, an Italian ghost concept restaurant put into place until it was safe to reopen Majestic in its entirety. Other places, like Global Café, put efforts in place to help provide meals to healthcare professionals or those who had fallen into financial hardship during the pandemic.

Unfortunately, not every restaurant was able to survive the pandemic. The popular Lucky Cat Ramen on Broad Ave. closed its doors, as did places like Puck Food Hall, 3rd & Court, Avenue Coffee, Midtown Crossing Grill, and many others.

But it wasn’t all doom and gloom. Working in the hospitality business requires a certain kind of resilience, and that showed up in spades. Many restaurants adapted to new regulations quickly, and with aplomb, doing their best to create a safe environment for hungry Memphians all while churning out takeout and delivery orders.

And even amid a pandemic backdrop, many aspiring restaurateurs tried their hand at opening their own places. Chip and Amanda Dunham branched out from the now-closed Grove Grill to open Magnolia & May, a country brasserie in East Memphis. Just a few blocks away, a new breakfast joint popped up in Southall Café. Downtown, the Memphis Chess Club opened its doors, complete with a full-service café and restaurant. Down in Whitehaven, Ken and Mary Olds created Muggin Coffeehouse, the first locally owned coffee shop in the neighborhood. And entrepreneurial-minded folks started up their own delivery-only ventures, like Brittney Adu’s Furloaved Breads + Bakery.

So what will next year bring? With everything thrown out of whack, I’m loath to make predictions, but with a vaccine on the horizon, I’m hoping (fingers crossed) that it becomes safer to eat out soon, and the restaurant industry can begin a long-overdue recovery. And to leave you with what will hopefully be a metaphor for restaurants in 2021: By next summer, Andy Ticer and Michael Hudman’s Hog & Hominy will complete its Phoenician rebirth from the ashes of a disastrous fire and open its doors once again.

In the meantime, keep supporting your local restaurants! — Samuel X. Cicci

“Your Tickets Will be at Will Call”

Oh, to hear those words again, and plenty of arts organizations are eager to say them. The pandemic wrecked the seasons for performing arts groups and did plenty of damage to museums and galleries.

Not that they haven’t made valiant and innovative efforts to entertain from afar with virtual programming.

But they’re all hoping to mount physical, not virtual, seasons in the coming year.

Playhouse on the Square suspended scheduled in-person stage productions until June 2021. This includes the 52nd season lineup of performances that were to be on the stages of Playhouse on the Square, The Circuit Playhouse, and TheatreWorks at the Square. It continues to offer the Playhouse at Home Series, digital content via its website and social media.

Theatre Memphis celebrates its 100th anniversary in 2021 and is eager to show off its new facility, a major renovation that was going to shut it down most of 2020 anyway while it expanded common spaces and added restrooms and production space while updating dressing rooms and administrative offices. But the hoped-for August opening was pushed back, and it plans to reschedule the programming for this season to next.

Hattiloo Theatre will continue to offer free online programming in youth acting and technical theater, and it has brought a five-week playwright’s workshop and free Zoom panel discussions with national figures in Black theater. Like the other institutions, it is eager to get back to the performing stage when conditions allow.

Ballet Memphis has relied on media and platforms that don’t require contact, either among audience members or dancers. But if there are fewer partnerings among dancers, there are more solos, and group movement is well-distanced. The organization has put several short pieces on video, releasing some and holding the rest for early next year. It typically doesn’t start a season until late summer or early fall, so the hope is to get back into it without missing a step.

Opera Memphis is active with its live Sing2Me program of mobile opera concerts and programming on social media. Its typical season starts with 30 Days of Opera in August that usually leads to its first big production of the season, so, COVID willing, that may emerge.

Courtesy Memphis Brooks Museum of Art and Crystal Bridges Museum of American Art

Dana Claxton, Headdress at the Brooks earlier this year.

Museums and galleries, such as the Dixon Gallery & Gardens, Memphis Brooks Museum of Art, National Civil Rights Museum, and the Metal Museum are functioning at limited capacity, but people can go and enjoy the offerings. The scope of the shows is limited, as coronavirus has put the kibosh on blockbuster shows for now. Look for easing of protocols as the situation allows in the coming year. — Jon W. Sparks

Politics

Oyez. Oyez. Oh yes, there is one year out of every four in which regularly scheduled elections are not held in Shelby County, and 2021 is such a year. But decisions will be made during the year by the Republican super-majority of the state legislature in Nashville that will have a significant bearing on the elections that will occur in the three-year cycle of 2022-2024 and, in fact, on those occurring through 2030.

This would be in the course of the constitutionally required ritual during which district lines are redefined every 10 years for the decade to come, in the case of legislative seats and Congressional districts. The U.S. Congress, on the basis of population figures provided by the U.S. Census Bureau, will have allocated to each state its appropriate share of the 435 members of the U.S. House of Representatives. And the state legislature will determine how that number is apportioned statewide. The current number of Tennessee’s Congressional seats is nine. The state’s legislative ratio is fixed at 99 state House members and 33 members of the state Senate.

Tennessee is one of 37 states in which, as indicated, the state legislature calls the shots for both Congressional and state redistricting. The resultant redistricting undergoes an approval process like any other measure, requiring a positive vote in both the state Senate and the state House, with the Governor empowered to consent or veto.

No one anticipates any disagreements between any branches of government. Any friction in the redistricting process will likely involve arguments over turf between neighboring GOP legislators. Disputes emanating from the minority Democrats will no doubt be at the mercy of the courts.

The forthcoming legislative session is expected to be lively, including holdover issues relating to constitutional carry (the scrapping of permits for firearms), private school vouchers (currently awaiting a verdict by the state Supreme Court), and, as always, abortion. Measures relating to the ongoing COVID crisis and vaccine distribution are expected, as is a proposal to give elected county executives primacy over health departments in counties where the latter exist.

There is no discernible disharmony between those two entities in Shelby County, whose government has devoted considerable attention over the last year to efforts to control the pandemic and offset its effects. Those will continue, as well as efforts to broaden the general inclusiveness of county government vis-à-vis ethnic and gender groups.

It is still a bit premature to speculate on future shifts of political ambition, except to say that numerous personalities, in both city and county government, are eyeing the prospects of succeeding Memphis Mayor Jim Strickland in 2023. And several Democrats are looking at a potential race against District Attorney General Amy Weirich in 2022.

There are strong rumors that, after a false start or two, Memphis will follow the lead of several East Tennessee co-ops and finally depart from TVA.

And meanwhile, in March, the aforesaid Tennessee Democrats will select a new chair from numerous applicants. — Jackson Baker

Categories
Intermission Impossible Theater

The Envelope Please: The Ostranders Must Go On

CREDIT: Jon W. Sparks

Carla McDonald

Crystal Brothers and Travis Bradley in the musical Cats at Theatre Memphis last year. Brothers won an Ostrander on Sunday for best featured performer and Bradley won along with Jordan Nichols for best choreography in a musical.


The annual celebration of Memphis theater was Indecent several times, had lots of Cats, savored Jelly’s Last Jam, and though it had no direct Shakespeare, it made much ado over the Book of Will.

The 37th Ostrander Awards Sunday evening was like no other. That’s not hype, it’s just fact, thanks to 2020 being, well, 2020. The annual event was virtual, with attendees watching on Facebook or YouTube. Theater people were not crowding into the Orpheum Sunday evening, not thrilling to one energetic musical production number after another, not casting admiring/envious glances at gasp-worthy fashions and not participating in multiple toasts. Presumably some of that went on anyway, but with much diminished clusters and, one prays, appropriate social distancing.

Furthermore, there was not the usual quantity of productions to judge since the coronovirus shut down all stages mid-March, truncating seasons everywhere that would usually have run into the summer.

But the shows that did go on gave much to applaud, and the Ostrander Award judges gave particular love to Cats from Theatre Memphis (TM) with six awards, Indecent from Circuit Playhouse (CP) with five, and Jelly’s Last Jam from Hattiloo with four. Playhouse on the Square (POTS) earned three each for Book of Will and the musical Memphis.

Also winning were TM’s Next Stage (Next) with two awards for A Few Good Men, Germantown Community Theatre’s (GCT) double for Next to Normal, Hattiloo’s two for Eclipse, and single awards for Mamma Mia! at TM and On Golden Pond at POTS.

In the Collegiate Division, seven awards went to Hissifit at the McCoy Theatre at Rhodes College (Rhodes), four plaques to Inherit the Wind at the University of Memphis (U of M), and four awards to Raisin in the Sun at Southwest Tennessee Community College (SWTCC).

Jon W. Sparks

Dennis Whitehead Darling won for best direction the second year in a row.

Dennis Whitehead Darling won the Ostrander for direction of a musical for 2019’s Jelly’s Last Jam, his third directing honor in two years. This time last year, he picked up two awards for directing, one in the community division, one in collegiate. 

Winning for best direction of a drama was Dave Landis for helming Indecent. Supplementing that was a special award given this year for Seamless Integration of Direction, Choreography, and Music Direction. That went to the trio of Dave Landis, Daniel Stuart Nelson, and Tammy Holt for Indecent at Circuit Playhouse. 

Ann Marie Hall, winner of the 2020 Eugart Yerian Lifetime Achievement Award

Ann Marie Hall was this year’s recipient of the Eugart Yerian Lifetime Achievement Award. Hall got her start in theater in grade school when she was a frequent visitor to the principal’s office for talking too much and doing impressions from TV shows. The solution came when she got into a play in the eighth grade. “I realized I could be really silly and people would laugh at me and I wouldn’t get in trouble,” she recently told Memphis magazine. Her devotion to the stage never stopped after that and she’s become, in her words, “the consummate community actor.”

Sunday’s event, despite being forced to be virtual, was pulled off with considerable energy as Elizabeth Perkins, Ostranders program director, determined several weeks ago that the show would go on, pandemic or no. Up until the end of June, the hope was to have it old style at the Orpheum, but when it became evident that was a no-go, it was decided to have it online and celebrate the truncated season with virtual gusto.


Here are the winners of the 2020 Ostrander Awards:

COMMUNITY DIVISION

  • Excellence in Set Design for a Drama: Tim McMath, On Golden Pond, POTS
  • Excellence in Set Design for a Musical: Jack Yates, Cats, TM
  • Excellence in Costume Design for a Drama: Lindsay Schmeling, Indecent, CP
  • Excellence in Costume Design for a Musical: Amie Eoff and André Bruce Ward, Cats, TM
  • Excellence in Hair, Wig, and Makeup Design for a Musical: Karen Reeves and Brooklyn Reeves, Cats, TM
  • Excellence in Props Design for a Drama: Eli Grant, Book of Will, POTS
  • Excellence in Props Design for a Musical: Eli Grant, Memphis, POTS
  • Excellence in Sound Design for a Drama: Carter McHann, Indecent, CP
  • Excellence in Sound Design for a Musical: Carter McHann, Memphis, POTS
  • Excellence in Lighting Design for a Drama: Mandy Kay Heath, A Few Good Men, Next
  • Excellence in Lighting Design for a Musical: Mandy Kay Heath, Mamma Mia!, TM
  • Excellence in Music Direction: Tammy Holt, Jelly’s Last Jam, Hattiloo
  • Excellence in Choreography for a Musical: Travis Bradley and Jordan Nichols, Cats, TM
  • Best Supporting Actress in a Drama: Raven Martin, Eclipsed, Hattiloo
  • Best Supporting Actress in a Musical: Katy Cotten, Next to Normal, GCT
  • Best Leading Actress in a Drama: Donita Johnson, Eclipsed, Hattiloo
  • Best Leading Actress in a Musical: Dawn Bradley, Memphis, POTS
  • Best Supporting Actor in a Drama: John Maness, Book of Will, POTS
  • Best Supporting Actor in a Musical: Willis Green, Jelly’s Last Jam, Hattiloo
  • Best Leading Actor in a Drama: Stephen Garrett, A Few Good Men, Next
  • Best Leading Actor in a Musical: Johann Robert Wood, Jelly’s Last Jam, Hattiloo
  • Best Featured Performer: Crystal Brothers, Cats, TM
  • Best Ensemble in a Drama: Indecent, CP
  • Best Ensemble in a Musical: Next to Normal, GCT
  • Best Production of a Drama: Book of Will, POTS
  • Best Production of a Musical: Cats, TM
  • Excellence in Direction of a Drama: Dave Landis, Indecent, CP
  • Excellence in Direction of a Musical: Dennis Whitehead Darling, Jelly’s Last Jam, Hattiloo
  • Best Original Script: When We Get Good Again, POTS@TheWorks
  • Special Award — Seamless Integration of Direction, Choreography, and Music Direction: Dave Landis, Daniel Stuart Nelson, and Tammy Holt, Indecent, CP
  • Best Original Script: When We Get Good Again, POTS@TheWorks
  • Otis Smith Legacy Dance Award: Jared Johnson
  • Larry Riley Rising Star Award: Jason Eschhofen
  • Behind the Scenes Award: Christina Hendricks
  • Eugart Yerian Lifetime Achievement Award: Ann Marie Hall


COLLEGIATE DIVISION

  • Excellence in Set Design: Brian Ruggaber, Inherit the Wind, U of M
  • Excellence in Costume Design: Bruce Bui, Hissifit, Rhodes
  • Excellence in Hair, Wig, and Makeup Design: Juliet Mace, Hissifit, Rhodes
  • Excellence in Sound Design: John Phillians, Inherit the Wind, U of M
  • Excellence in Lighting Design: Jameson Gresens, Inherit the Wind, U of M
  • Excellence in Music Direction: Eileen Kuo, Hissifit, Rhodes
  • Best Supporting Actress: Raina Williams, Hissifit, Rhodes
  • Best Leading Actress: Mary Ann Washington, A Raisin in the Sun, SWTCC
  • Best Supporting Actor: Joshua Payne, A Raisin in the Sun, SWTCC
  • Best Leading Actor: Toby Davis, Inherit the Wind, U of M
  • Best Featured Performer: Syndei Sutton, A Raisin in the Sun, SWTCC
  • Best Ensemble in a Musical: Hissifit, Rhodes
  • Best Ensemble in a Drama: A Raisin in the Sun, SWTCC
  • Best Production: Hissifit, Rhodes
  • Excellence in Direction: Joy Brooke Fairfield, Hissifit, Rhodes
Categories
Intermission Impossible Theater

Circuit Playhouse, POTS Move Season Opening to November

Photo courtesy of Circuit Playhouse, Inc.

As COVID cases have continued to rise in Memphis and Shelby County, many local event venues have had to adjust 2020 plans. In a Tuesday press release, Circuit Playhouse, Inc. (CPI) — The Circuit Playhouse, Playhouse on the Square, and Theatreworks at the Square — announced the cancellation of its productions and programs through October. The organization plans to move its 52nd season opening to November.

The move was decided after “consultation with doctors, city leaders, and the theatre’s leadership and board,” the statement reads.

“Even though CPI’s reopening plans for public performances for Playhouse on the Square and The Circuit Playhouse were approved over the weekend, rising COVID-19 numbers, along with testing challenges … and a general sense of apprehension, I believe it is in the best interest and safety of the cast, crew, staff, volunteers, and patrons to postpone production,” executive producer Michael Detroit said in the statement.

This decision means rehearsals, casting, and pre-production of two season openers scheduled for August will cease. According to the release, Detroit and managing director Whitney Jo said “current talent contracts will be honored, despite the financial hardships facing the theatre. Furthermore, Playhouse on the Square staff will remain employed during the suspension.”

All previously scheduled fall shows, including Little Shop of Horrors, Ink, Junie B’s Essential Survival Guide to School, Murder on the Orient Express, Peter Pan, and the Theatre for Youth touring production of Freckleface Strawberry have been canceled, “with the hope of producing them in a future season.”

Digital content, including the Playhouse at Home Series, will continue to be available via playhouseonthesquare.org and CPI’s social media channels.

“CPI thanks its patrons, students, sponsors, donors, and subscribers for their support and encouragement during these uncertain times,” the statement reads. “Intermissions can’t last forever. We will return to welcome our community back to the theatre soon.”

See the updated production schedule below.