WEBVTT 1 00:00:15.679 --> 00:00:18.000 Coming to you from the dining room table at East 2 00:00:18.039 --> 00:00:22.480 Barbury Lane. Welcome to a special edition a Full Circle 3 00:00:22.879 --> 00:00:28.440 the podcast. Today we are interviewing the director and cast 4 00:00:28.519 --> 00:00:34.079 members from Ain't Misbehavior, the Fat Swaller musical show, being 5 00:00:34.079 --> 00:00:39.359 put on at Theater Horizon in Norristown, Pennsylvania until May seventeenth. 6 00:00:39.399 --> 00:00:43.719 With us today we have director Amina Robinson, cast members 7 00:00:43.880 --> 00:00:49.920 Chabrell Williams and Rogier Alford. Welcome to the Full Circle Table. 8 00:00:50.039 --> 00:00:52.960 Y'all, Hello, thanks for having us. 9 00:00:54.640 --> 00:00:56.520 We were going to do this the day that we 10 00:00:56.600 --> 00:01:01.119 came to see the show, and as happened, things went haywire. 11 00:01:02.439 --> 00:01:04.519 But I'm so glad y'all could make time to sit 12 00:01:04.560 --> 00:01:08.560 down with us today. I had so much fun. 13 00:01:08.760 --> 00:01:09.319 Oh my god. 14 00:01:09.480 --> 00:01:12.480 Well, first of all, sidebart, who are we? 15 00:01:14.560 --> 00:01:17.439 I'm your host Martha Magical. 16 00:01:17.280 --> 00:01:19.319 And I'm your host Charles Tyson Junior. 17 00:01:20.280 --> 00:01:22.120 Welcome to the Cool Circle Table. 18 00:01:22.400 --> 00:01:24.560 We switched chairs and everything just goes. 19 00:01:25.079 --> 00:01:27.680 I'm just I don't know how to talk anymore. 20 00:01:27.359 --> 00:01:35.439 Right, but but yeah, I what happens. 21 00:01:35.200 --> 00:01:37.680 When I don't break it all down, when I just 22 00:01:37.719 --> 00:01:38.840 try to go off a note. 23 00:01:39.159 --> 00:01:44.280 I was looking so forward to seeing the show because 24 00:01:45.159 --> 00:01:49.000 I realize and I brought this up on the night. 25 00:01:49.560 --> 00:01:54.439 Not only is Ain't Misbehaving my favorite musical, I believe 26 00:01:54.439 --> 00:01:55.439 it was my very. 27 00:01:55.280 --> 00:01:57.079 First one as a kid. 28 00:01:58.280 --> 00:02:04.200 When the original Broadway production was on PBS and I 29 00:02:04.200 --> 00:02:07.680 got to see it, and I believe that was my 30 00:02:07.760 --> 00:02:11.400 exposure to musical theater without even knowing that's what it was. 31 00:02:12.319 --> 00:02:16.479 Wow, Wow, that's awesome. 32 00:02:16.599 --> 00:02:19.800 I mean, what makes your truth fat misbehaving? 33 00:02:21.439 --> 00:02:27.439 I mean, quite to the contrary Charles's. I actually was 34 00:02:27.520 --> 00:02:31.840 not a huge fan of aint Misbehavior. Uh not not 35 00:02:32.000 --> 00:02:34.719 because I actually didn't have very much experience with it, 36 00:02:34.800 --> 00:02:36.680 and I think that that's what it was. Ultimately, I 37 00:02:36.719 --> 00:02:39.479 had sang a couple songs in grad school for voice lessons, 38 00:02:40.000 --> 00:02:42.919 and so when Matt Decker called, and you know, it 39 00:02:42.960 --> 00:02:45.120 was like, Hey, you want to direct a Misbehaving We'd 40 00:02:45.120 --> 00:02:47.639 love to have you back at Theater Horizon. I was 41 00:02:47.680 --> 00:02:51.199 excited to go back to Theater Horizon. I figured Ain't 42 00:02:51.199 --> 00:02:53.840 Misbehaving would be a you know, as good a show 43 00:02:53.840 --> 00:02:55.759 as any to go back to Theater Horizon with. But 44 00:02:55.840 --> 00:02:58.960 it wasn't my faith, you know. And it also presented 45 00:02:58.960 --> 00:03:02.800 an opportunity for one of my little darlings from Temple 46 00:03:02.840 --> 00:03:06.919 to make her professional choreographic debut, so that's what like, 47 00:03:07.400 --> 00:03:10.199 that's what excited me the most. You know, it was 48 00:03:10.280 --> 00:03:12.439 less about the actual show and more about the people 49 00:03:12.439 --> 00:03:14.159 that I get to work with, because then I also 50 00:03:14.759 --> 00:03:18.000 got to hand select this cast, so I. 51 00:03:17.759 --> 00:03:23.319 Loved And of course we always watch choreography. Charles, I 52 00:03:23.360 --> 00:03:24.879 mean choreograph for years. 53 00:03:25.599 --> 00:03:28.080 Got my BFA and in dancing choreography from Temple. 54 00:03:28.199 --> 00:03:30.680 Yeah, so he always looks for the Temple grads always. 55 00:03:31.759 --> 00:03:38.639 And Curtis Harris is a rubber band le chall. I 56 00:03:38.680 --> 00:03:41.560 loved the casting, so but he's just got the body 57 00:03:41.639 --> 00:03:47.479 for that part. And the choreography was wonderful. It lent 58 00:03:48.159 --> 00:03:50.599 the joy of the show came through the joy, the 59 00:03:50.639 --> 00:03:55.400 on rate. The fun was there in the choreography, So 60 00:03:56.680 --> 00:03:59.840 perfect choice. Did you do the casting? 61 00:04:01.000 --> 00:04:01.840 I did? 62 00:04:02.479 --> 00:04:03.039 I did? 63 00:04:03.840 --> 00:04:06.400 We didn't, you know. The fun part was that we didn't. 64 00:04:06.560 --> 00:04:09.680 We had like we had an audition call, but it 65 00:04:09.719 --> 00:04:11.960 was only for two roles. It was for Charlene and 66 00:04:12.039 --> 00:04:17.720 for Andre's part. But Curtis Harris was the only person 67 00:04:17.759 --> 00:04:20.800 that I called in to audition for Andrea's part because 68 00:04:20.800 --> 00:04:23.600 I had seen him play leading player in Pippin and 69 00:04:23.680 --> 00:04:26.680 I was like, I have a feeling that he's gonna 70 00:04:26.720 --> 00:04:28.800 come in here and be amazing, so I said, I'll 71 00:04:28.800 --> 00:04:30.519 just see him first and see what he does with 72 00:04:30.600 --> 00:04:35.319 it first. But aside from that, I hand picked everybody. 73 00:04:35.800 --> 00:04:38.279 Even though we had the call for Charlane, I ended 74 00:04:38.360 --> 00:04:42.240 up just going with my gut and asking Jessica Money 75 00:04:42.240 --> 00:04:44.680 to be in it, you know, but everybody else, Tierra, 76 00:04:44.759 --> 00:04:48.800 Schabrell and bridgier I. You know, I was like, if 77 00:04:48.839 --> 00:04:51.120 I'm doing this show, I need to think about the 78 00:04:51.199 --> 00:04:54.399 people that would really make it amazing because it sort 79 00:04:54.399 --> 00:04:58.399 of relies on the actor personalities and the artist personalities. 80 00:04:58.480 --> 00:05:01.240 You know. I thought of them, and you know, I 81 00:05:01.279 --> 00:05:04.160 was just like, Hey, you want to do this show please. 82 00:05:06.319 --> 00:05:09.160 It's one of those shows where you don't have a 83 00:05:09.160 --> 00:05:13.040 lot of dialogue to hide in and you're telling the story. 84 00:05:13.079 --> 00:05:16.279 You're telling about who your characters are right through, through 85 00:05:16.279 --> 00:05:21.160 the songs and through and so much as unspoken. Bro, 86 00:05:21.439 --> 00:05:26.480 I couldn't take my eyes off you. God, you were amazing. 87 00:05:27.720 --> 00:05:29.800 What did you How did how did you get ready 88 00:05:29.800 --> 00:05:32.959 for this? How did you did you have experienced with 89 00:05:33.000 --> 00:05:34.879 the with the show prior none at all? 90 00:05:36.319 --> 00:05:40.600 This is maybe my fifth or sixth musical I've done 91 00:05:40.600 --> 00:05:42.240 ever professionally. 92 00:05:41.759 --> 00:05:45.240 So and it was you know, okay. 93 00:05:50.160 --> 00:05:52.319 Because I've been stuck an opera for most of my life, 94 00:05:52.800 --> 00:05:55.920 That's why. But no, I've had no like I may have. 95 00:05:56.120 --> 00:06:00.199 I may have listened to the music and I didn't 96 00:06:00.240 --> 00:06:04.360 even see the recording until I got the role. I know, 97 00:06:04.360 --> 00:06:07.160 I got the call from Matthew Decker to be in it, 98 00:06:07.240 --> 00:06:08.480 and so I was like, okay, well let me look 99 00:06:08.480 --> 00:06:10.959 at this show and see what it is, and was 100 00:06:11.000 --> 00:06:14.560 blown away. It was really excited to sing with people 101 00:06:15.079 --> 00:06:19.000 and like just like have our voices come together? But 102 00:06:19.759 --> 00:06:23.120 zero experience with this show beforehand, and so prepping for 103 00:06:23.160 --> 00:06:27.480 it was lots of warm up. And then once we 104 00:06:27.519 --> 00:06:29.879 started doing choreo, I was I was mostly worried about 105 00:06:29.879 --> 00:06:33.160 the choreo and I was like, oh no, I'm not trained. 106 00:06:33.199 --> 00:06:36.279 I'm not trained and danced. I am a strong mover. 107 00:06:36.560 --> 00:06:40.399 I will move my body. But and I picked up choreo. 108 00:06:41.079 --> 00:06:41.519 I don't know. 109 00:06:42.120 --> 00:06:43.759 Yes, she can't now. 110 00:06:43.759 --> 00:06:46.079 Know you I did, and now I know I can 111 00:06:46.240 --> 00:06:49.800 and think, Thank goodness, Eleanna was just absolutely fabulous and 112 00:06:49.879 --> 00:06:53.480 so patient and so clear and just. 113 00:06:53.720 --> 00:06:55.480 Yeah, what about you? 114 00:06:55.879 --> 00:06:57.120 What was your experience with the show. 115 00:06:59.040 --> 00:07:03.319 Yeah, so prior to getting the offer for it, I 116 00:07:03.360 --> 00:07:06.000 had not I had known of it, and in college 117 00:07:06.040 --> 00:07:08.600 my teacher kept trying to get me to sing Feats 118 00:07:08.639 --> 00:07:10.759 Too Big and I just never I. 119 00:07:10.759 --> 00:07:13.240 Never took to it. I was like, ah, I'm kind 120 00:07:13.240 --> 00:07:13.680 of good on this. 121 00:07:13.800 --> 00:07:16.759 So my experience was similar to a Minas, where like 122 00:07:16.839 --> 00:07:18.360 it it was kind of on. 123 00:07:18.319 --> 00:07:19.800 My radar, but it wasn't one that I was like, 124 00:07:19.879 --> 00:07:21.120 I must do that show. 125 00:07:21.199 --> 00:07:23.439 I love the music, and it was kind of like 126 00:07:23.480 --> 00:07:26.360 once I got the offer, I was working with a 127 00:07:26.399 --> 00:07:29.759 Mena on another project called One Pound, four Ounces, where 128 00:07:29.800 --> 00:07:31.879 I was not really an actor Lane. I was more 129 00:07:32.000 --> 00:07:36.759 a musician and composing producing Lane. But then I started 130 00:07:36.759 --> 00:07:38.800 listening to the music and then found the bootleg of 131 00:07:38.839 --> 00:07:42.560 the original Broadway cast and you know there's icons in 132 00:07:42.600 --> 00:07:45.639 that Ken Paige, Andre Deshields, Neil Carter, all of that. 133 00:07:46.240 --> 00:07:49.839 They're so incredible, and that's when I was like, oh, 134 00:07:49.879 --> 00:07:52.480 this is this is like this material is actually really 135 00:07:52.480 --> 00:07:53.879 good and there's gonna be a lot of to sink 136 00:07:53.920 --> 00:07:57.040 our sink our teeth into. But really like it came 137 00:07:57.040 --> 00:07:59.519 from like trusting are the people that were leading in 138 00:07:59.519 --> 00:08:02.639 the room and me and Eliana, this is my third 139 00:08:02.680 --> 00:08:05.040 show up this year that I've done with Eliana. The 140 00:08:05.079 --> 00:08:09.759 first two were as actors. We're both actors in the show, 141 00:08:10.079 --> 00:08:12.560 and this one, obviously she was on the creative team, 142 00:08:12.639 --> 00:08:14.759 and I was like, well, I trust these people and 143 00:08:14.800 --> 00:08:17.560 our music director Brigit Rockman, who I also adore and 144 00:08:17.839 --> 00:08:20.839 love working with, so like really like it. The prep 145 00:08:20.920 --> 00:08:22.879 was easy because I was like, I'm in good hands 146 00:08:23.399 --> 00:08:24.399 all across the board. 147 00:08:25.000 --> 00:08:26.959 Show up, do the work once we get there, and 148 00:08:27.000 --> 00:08:28.160 it was a lot of work to do. 149 00:08:28.120 --> 00:08:29.360 What we gotta know this right? 150 00:08:31.319 --> 00:08:33.200 That was really that was really it. 151 00:08:33.200 --> 00:08:35.240 It was really really like show up and get to work, 152 00:08:35.279 --> 00:08:40.320 and we put the show up fast, so fast it is. 153 00:08:40.679 --> 00:08:43.559 You know, the show is based on the Harlem Renaissance, 154 00:08:43.559 --> 00:08:47.600 so we're talking about the twenties and thirties. Yeah, yeah, 155 00:08:47.600 --> 00:08:50.120 what is that process to go back to that time? 156 00:08:50.200 --> 00:08:53.559 It's a different time in a lot of ways, and 157 00:08:53.600 --> 00:08:57.559 this takes us there, so, you know, as actors, as 158 00:08:57.720 --> 00:09:00.600 a director, like, what was that process to kind of 159 00:09:00.639 --> 00:09:02.159 go back into that place? 160 00:09:04.159 --> 00:09:06.600 Yeah? I think that that's actually what interested me the 161 00:09:06.639 --> 00:09:09.480 most about the piece was the Harlem Renaissance, Like I 162 00:09:09.600 --> 00:09:13.120 just imagined, you know, Langston Hughes and Saor and Neil 163 00:09:13.200 --> 00:09:17.480 Hurston sitting in a Harlem Brownstone, you know, reciting poetry 164 00:09:17.559 --> 00:09:21.000 or something. You know, I don't know, but I imagined that, like, 165 00:09:21.039 --> 00:09:23.919 the parties must have been amazing. I've heard podcasts about it. 166 00:09:23.960 --> 00:09:25.639 I've read books about it. You know what the Harlem 167 00:09:25.679 --> 00:09:29.759 Renaissance feel was like that resurgence and rebirth of black 168 00:09:29.919 --> 00:09:33.679 art and culture and intellectual thought, you know. And that's 169 00:09:33.720 --> 00:09:35.960 what intrigued me the most about the piece is that 170 00:09:36.200 --> 00:09:39.879 while we were honoring the legacy of Fats Waller, we're 171 00:09:39.919 --> 00:09:45.480 also in this time period where black people started being great, 172 00:09:46.000 --> 00:09:48.120 you know, I won't say started, let me rewind that 173 00:09:48.159 --> 00:09:50.480 you don't have to cut this, but not started being great, 174 00:09:50.919 --> 00:09:54.159 but they had a resurgence of the greatness, you know, 175 00:09:55.519 --> 00:09:59.000 which really which really intrigued me. So it became important 176 00:09:59.039 --> 00:10:01.519 to me to make sure that we were clear about 177 00:10:01.559 --> 00:10:03.639 the time period of this. You know, that this piece 178 00:10:03.679 --> 00:10:06.360 takes place in and I wanted it to feel like 179 00:10:06.519 --> 00:10:10.039 a Harlem Brownstone party, you know, in the Harlem Renaissance. 180 00:10:10.320 --> 00:10:12.960 That's what that's the vibe. So the scenic design took 181 00:10:13.039 --> 00:10:15.240 shape so that it looked like an apartment, but then 182 00:10:15.279 --> 00:10:18.480 it had potential for magic cabaret kind of stuff to happen. 183 00:10:19.879 --> 00:10:21.960 But yeah, that's what really juiced me up about it 184 00:10:22.039 --> 00:10:22.919 was the time period. 185 00:10:23.720 --> 00:10:25.759 Oh yeah. 186 00:10:26.679 --> 00:10:32.399 So growing up in my father's household, we were a 187 00:10:32.519 --> 00:10:37.240 very jazz centric house. My father loved jazz, which is 188 00:10:37.279 --> 00:10:41.240 why I grew up with an appreciation of Fat Swaller. 189 00:10:41.960 --> 00:10:44.720 And so that's why I was like, wait, there's a 190 00:10:44.720 --> 00:10:47.440 whole show with nothing but Fats Wallas music. Oh my goodness, 191 00:10:47.559 --> 00:10:49.519 I'm nine years old and I know what this is. Uh, 192 00:10:50.000 --> 00:10:54.120 And that's why I said it was my favorite and first, 193 00:10:54.519 --> 00:10:57.159 and I was thinking about this, like if I go 194 00:10:57.200 --> 00:11:01.840 see a production of dream Girl, you know, I immediately 195 00:11:02.480 --> 00:11:04.200 look to see who's playing Fie. I'm like, all right, 196 00:11:04.240 --> 00:11:07.159 that's that's the powerhouse of the show. If I'm going 197 00:11:07.200 --> 00:11:08.759 to see a chorus line, I look and see who's 198 00:11:08.759 --> 00:11:09.519 playing Cassie. 199 00:11:09.679 --> 00:11:11.080 That's the powerhouse of the show. 200 00:11:11.440 --> 00:11:15.759 So it's like, in this show if y'all are all 201 00:11:15.799 --> 00:11:18.919 e fies, like there's no like you. 202 00:11:18.600 --> 00:11:19.879 If if you ain't. 203 00:11:19.720 --> 00:11:23.919 Fierce, you can't be in this show. Like that's just real. 204 00:11:24.600 --> 00:11:27.159 And that's another reason why I love the show, because 205 00:11:27.159 --> 00:11:33.080 I know, like I'm going here and see some amazing performers, 206 00:11:33.159 --> 00:11:34.720 because that's just how that works. 207 00:11:35.159 --> 00:11:37.840 That's just how that works. 208 00:11:38.240 --> 00:11:40.679 Yeah, that's what we felt in the rehearsal room too. 209 00:11:40.720 --> 00:11:42.879 We were like, oh my god, people are going to 210 00:11:42.919 --> 00:11:46.639 be blown away. Number after number after number. It was 211 00:11:46.799 --> 00:11:48.879 just like, Yeah, I remember being in that room and 212 00:11:48.919 --> 00:11:51.960 I just all like jaws on the ground after right. 213 00:11:53.120 --> 00:11:56.440 Also, I want to speak to ohka, go ahead, go aheads, bro. 214 00:11:56.679 --> 00:11:59.559 No, I was just saying it was crazy. 215 00:12:00.320 --> 00:12:02.360 Yeah, I just also wanted to speak to the time. 216 00:12:02.480 --> 00:12:05.759 Yeah, like because I and you know, like I didn't 217 00:12:05.759 --> 00:12:09.200 do much research on that time period before getting the show, 218 00:12:09.480 --> 00:12:11.320 but once we got in it, I'm thinking of that 219 00:12:11.360 --> 00:12:14.480 time period and I'm like, this show is so joyful 220 00:12:14.559 --> 00:12:17.039 and like and the music is incredible. 221 00:12:17.200 --> 00:12:20.759 Like the fact that our people were making art. 222 00:12:20.720 --> 00:12:23.440 Like this and celebrating limb their lives and touching into 223 00:12:23.600 --> 00:12:27.480 joy and creativity like this at that time, to me, 224 00:12:27.600 --> 00:12:30.240 I'm just I'm like dumbfounded by that, Like that they 225 00:12:30.240 --> 00:12:34.240 were able to reach this level of joy and creativity, 226 00:12:34.279 --> 00:12:36.759 and like the it's genius the stuff that they made 227 00:12:36.759 --> 00:12:39.360 back then and under that oppression, I'm like, what would 228 00:12:39.399 --> 00:12:41.960 have happened if they didn't have those things to fight through, 229 00:12:42.080 --> 00:12:44.720 like you know, but yeah, so I'm just I'm always 230 00:12:44.720 --> 00:12:45.840 smacked by like how. 231 00:12:45.720 --> 00:12:47.720 Joyful it is. The whole thing is just. 232 00:12:47.600 --> 00:12:50.159 Like four well except for black and blue. 233 00:12:51.320 --> 00:12:55.039 Yeah yeah, yeah, right right, but that's that comes as 234 00:12:55.039 --> 00:12:57.799 the second to last number right in the show, which 235 00:12:57.879 --> 00:12:59.039 is like it's just. 236 00:12:58.960 --> 00:13:00.960 Like yeah except for black and blue. 237 00:13:01.080 --> 00:13:05.000 And it's funny because like that has always been one 238 00:13:05.039 --> 00:13:09.000 of my favorite songs just because it's so poignant. But 239 00:13:09.399 --> 00:13:11.679 and I was saying this to Charrilla after the show, 240 00:13:12.039 --> 00:13:15.799 like it really hit different for me hearing it in 241 00:13:15.879 --> 00:13:21.320 twenty twenty six, like even with it placed in my 242 00:13:21.480 --> 00:13:26.360 mind like the time that it was written, you know, 243 00:13:28.039 --> 00:13:29.360 we've come so far. 244 00:13:30.879 --> 00:13:31.639 And yet. 245 00:13:33.399 --> 00:13:37.679 You know, but the only line that I was like, 246 00:13:37.759 --> 00:13:41.720 oof was the I'm white inside, Like I get it, 247 00:13:43.159 --> 00:13:44.039 I get it. 248 00:13:44.360 --> 00:13:47.879 But it's like hmmm, yeah. 249 00:13:48.240 --> 00:13:52.200 So the lore is because I struggled with that one 250 00:13:52.240 --> 00:13:54.240 as well, for a number of reasons. You know, as 251 00:13:54.240 --> 00:13:56.759 a director, I do a lot of research into things, 252 00:13:57.240 --> 00:14:01.080 and the lore is that Fats Waller and I can't 253 00:14:01.120 --> 00:14:03.679 remember the lyricist name right now just because I want to, 254 00:14:03.720 --> 00:14:06.600 and that's how my mind works sometimes. But the Fat 255 00:14:06.720 --> 00:14:10.639 Swaller and the lyricists wrote that song under extreme dress 256 00:14:10.679 --> 00:14:13.639 for a musical. They didn't the lords that they didn't 257 00:14:13.679 --> 00:14:16.519 want to write the song, but they were forced to 258 00:14:16.519 --> 00:14:19.279 write the song for this musical that dealt with issues 259 00:14:19.320 --> 00:14:24.840 surrounding colorism, but through a white lens. Yeah and so 260 00:14:25.600 --> 00:14:29.879 and then as the musical, you know, the writers of 261 00:14:29.919 --> 00:14:33.879 the musical. This is all my imagination. I do not 262 00:14:34.039 --> 00:14:36.919 have facts for this, but in my imagination, I think 263 00:14:36.960 --> 00:14:39.440 about the time period that the musical was put together 264 00:14:39.519 --> 00:14:42.240 in this review for Fats Waller, and I can see 265 00:14:42.279 --> 00:14:45.759 how at that time especially that song would have been 266 00:14:45.840 --> 00:14:51.919 considered a poignant look into blackness, whereas I don't necessarily 267 00:14:51.960 --> 00:14:56.200 know that it has ever been a poignant look into blackness, right, 268 00:14:57.000 --> 00:15:01.240 you know? And I also imagine, again this is just 269 00:15:01.360 --> 00:15:05.399 Amena and her imaginings based on research. I also imagine 270 00:15:05.440 --> 00:15:08.639 that had Fatz Waller lived and put together a review 271 00:15:08.759 --> 00:15:11.360 of his own music, he probably would not have included 272 00:15:11.399 --> 00:15:14.600 black and Blue with lyrics that are like I'm white 273 00:15:14.720 --> 00:15:17.320 inside and what did I do to be so black 274 00:15:17.320 --> 00:15:19.720 and blue? I don't want to live like you know. 275 00:15:19.799 --> 00:15:22.320 I just don't know that he would include that, especially 276 00:15:22.320 --> 00:15:24.559 when you look at the body of the work that 277 00:15:24.600 --> 00:15:27.440 he had control over and what was happening during the 278 00:15:27.480 --> 00:15:28.320 Harlem Renaissance. 279 00:15:28.840 --> 00:15:31.840 Thank you so much for that bit of information. The 280 00:15:31.879 --> 00:15:33.919 fact that I know now that that was written under 281 00:15:33.960 --> 00:15:35.279 duress makes. 282 00:15:35.720 --> 00:15:37.399 Way more safe. 283 00:15:40.600 --> 00:15:42.360 Because I'm like that. 284 00:15:43.440 --> 00:15:46.960 I mean, granted, you know, you black in the thirties, 285 00:15:47.000 --> 00:15:52.519 so yeah, I get it, but now I get it. 286 00:15:52.480 --> 00:15:52.759 Get it? 287 00:15:52.799 --> 00:15:54.000 Okay, good, thank you for that. 288 00:15:54.080 --> 00:15:59.559 Yeah, yeah, yeah for me, I mean that one is 289 00:15:59.639 --> 00:16:05.240 just a hard song lounging as the wall Dwarf speaks to. 290 00:16:05.759 --> 00:16:08.679 That is my favorite retag performing. 291 00:16:09.679 --> 00:16:12.039 Yeah, there's a lot in that. It's a fun song. 292 00:16:12.120 --> 00:16:18.639 There's a lot there, yes, yep, yeah, And I mean 293 00:16:18.679 --> 00:16:21.639 I think it talks about that the smile, it does, 294 00:16:22.080 --> 00:16:24.919 the need for the smile, the need for you know what. 295 00:16:24.960 --> 00:16:27.320 It's the line about they like jazz, but but in 296 00:16:27.440 --> 00:16:28.279 small doves. 297 00:16:30.080 --> 00:16:32.320 Get the lyrics come on. 298 00:16:35.679 --> 00:16:37.840 Like the I guess the original twitch. 299 00:16:39.240 --> 00:16:44.000 Right that part and and and again. Like I said, 300 00:16:44.000 --> 00:16:46.759 that was my favorite number and always has been. I 301 00:16:46.759 --> 00:16:52.200 think it was my introduction to counterpoint in music. I mean, 302 00:16:52.440 --> 00:16:56.360 that's probably not true because again jazz household, but consciously, 303 00:16:57.080 --> 00:17:01.000 but I realize now it kind of gives like white 304 00:17:01.039 --> 00:17:06.920 people are watching, yeah. 305 00:17:05.400 --> 00:17:06.079 Which I never. 306 00:17:09.119 --> 00:17:10.920 And the thing that gets you is that it's so 307 00:17:11.240 --> 00:17:14.799 freaking beautiful gorgeous. 308 00:17:14.799 --> 00:17:20.359 So you're like, this is this is like this moment, 309 00:17:20.480 --> 00:17:23.640 this song is like Amina's genius all over all over it. 310 00:17:24.319 --> 00:17:25.119 You can speak to this too. 311 00:17:25.200 --> 00:17:28.759 But like we had in rehearsals we leading up, we 312 00:17:28.839 --> 00:17:31.160 like were directed by Amina to not not do it 313 00:17:31.200 --> 00:17:32.640 a certain way, but we were like kind. 314 00:17:32.440 --> 00:17:34.759 Of free to interpret it for ourselves. 315 00:17:34.839 --> 00:17:37.160 And I think for a lot of us it was 316 00:17:37.319 --> 00:17:39.599 more for me especially, it was more so thinking about 317 00:17:39.640 --> 00:17:42.839 our ancestors point of view, because I too did have 318 00:17:42.880 --> 00:17:46.160 a tough time like saying that in today's scope with 319 00:17:46.200 --> 00:17:48.039 how I feel about my blackness and now I feel 320 00:17:48.039 --> 00:17:50.440 in my own skin. But so it was more so 321 00:17:50.559 --> 00:17:52.119 like throwing it back to then, and I think it 322 00:17:52.160 --> 00:17:55.039 was this more broody and emotional thing. And then Amina 323 00:17:55.279 --> 00:17:58.440 actually stopped us and she was kind of like, y'all, she. 324 00:17:58.440 --> 00:18:00.720 Pulled it all all together and little circles. She's like, 325 00:18:00.759 --> 00:18:03.079 I don't know how this this doesn't. 326 00:18:02.799 --> 00:18:05.200 Really like laying for me if I'm being honest, Like 327 00:18:05.559 --> 00:18:07.400 she's like, it's nothing y'all are doing. I told I 328 00:18:07.440 --> 00:18:10.440 directed you a certain way, but like she's like, what 329 00:18:10.519 --> 00:18:12.599 like what if what if we peeled that off and 330 00:18:12.720 --> 00:18:16.279 just like singing the song and that that moment for me, 331 00:18:16.400 --> 00:18:19.359 let it come out of this like emotional deep place 332 00:18:19.400 --> 00:18:20.920 where I was trying to dig for stuff and just 333 00:18:21.000 --> 00:18:22.960 let it be and let the audience have the reaction, 334 00:18:23.839 --> 00:18:27.079 not be I don't know, living stuff that's not necessary 335 00:18:27.079 --> 00:18:27.599 for us to be. 336 00:18:27.680 --> 00:18:31.680 We're living right, absolutely, yeah, and this is for black 337 00:18:31.720 --> 00:18:35.480 and Blue, and I think wouldn't go ahead, no, please 338 00:18:35.519 --> 00:18:36.160 please go ahead. 339 00:18:37.400 --> 00:18:37.519 No. 340 00:18:37.599 --> 00:18:41.119 I was just gonna say, we're in terms of the 341 00:18:41.119 --> 00:18:44.759 Waldorf or we're back that Roger you were just saying, 342 00:18:44.839 --> 00:18:45.960 or no I was saying. 343 00:18:45.960 --> 00:18:47.759 I was saying for black and black, and I jumped 344 00:18:47.759 --> 00:18:50.599 back to black and blue, but is tied into that world. 345 00:18:50.680 --> 00:18:51.160 I loved it. 346 00:18:52.640 --> 00:18:55.079 Well right because performance would not have been able to 347 00:18:55.079 --> 00:19:02.240 be obvious what they I mean, what if been under 348 00:19:02.240 --> 00:19:04.119 the surface. I'm sorry. 349 00:19:04.759 --> 00:19:07.079 I was just gonna come like I think I talked 350 00:19:07.079 --> 00:19:09.400 to I talked to you both about Black and Blue afterwards, 351 00:19:09.400 --> 00:19:12.359 and how amda change that from being like a really 352 00:19:12.359 --> 00:19:15.559 emotional to like, no, we're gonna we're gonna sing it 353 00:19:15.599 --> 00:19:18.319 for you, We're gonna sing it, Well, you're gonna sit 354 00:19:18.359 --> 00:19:22.920 with those feelings, not us, because we've we're black enough. 355 00:19:23.000 --> 00:19:25.839 We we've we we've we have, we have sat with 356 00:19:25.880 --> 00:19:28.000 these feelings. We sit with these feelings every day. 357 00:19:28.160 --> 00:19:30.640 Right, you you figure out. 358 00:19:30.480 --> 00:19:33.319 What I'm white inside means for me, not not me. 359 00:19:36.640 --> 00:19:41.880 I think we could talk about it afterwards. Yeah, but 360 00:19:42.440 --> 00:19:45.839 in like the Waldorf song, though I also agree like 361 00:19:46.440 --> 00:19:49.519 making fun of white people at that time, it had 362 00:19:49.559 --> 00:19:51.920 to be subtle. They couldn't just do it blatantly, like 363 00:19:52.160 --> 00:19:54.000 and I think I don't. I don't think we're doing 364 00:19:54.000 --> 00:19:58.079 it blatantly either, but I think their strength and subtlety 365 00:19:58.240 --> 00:20:03.519 when talking about the underscoring of like we have to 366 00:20:03.559 --> 00:20:09.599 be different around a different demographic demographic of people. And 367 00:20:10.559 --> 00:20:12.960 is the Waldorf still still up and running? 368 00:20:13.400 --> 00:20:13.839 Do we know? 369 00:20:14.480 --> 00:20:15.839 I'm pretty sure it. 370 00:20:16.319 --> 00:20:17.200 Is it a new hotel. 371 00:20:19.039 --> 00:20:22.200 I don't know about that people, but probably still. 372 00:20:23.960 --> 00:20:25.200 Yeah. And that's the thing. 373 00:20:25.279 --> 00:20:29.480 It's like, well, because that song is like it's giving, 374 00:20:29.759 --> 00:20:33.880 it's giving a code switching, it's giving we're just like you. 375 00:20:34.920 --> 00:20:41.319 It's giving elitism, it's given I got mine, you got 376 00:20:41.359 --> 00:20:42.480 you gotta get yours. 377 00:20:43.400 --> 00:20:45.240 There's so many levels to that. 378 00:20:45.680 --> 00:20:47.640 It is still open on Park Avenue. By the way, 379 00:20:48.119 --> 00:20:53.119 it's a Hilton Hotel. I had a check, right, it's 380 00:20:53.480 --> 00:20:55.160 still there, that makes sense. 381 00:20:57.920 --> 00:21:00.440 And I'm like, I'm thinking about like now, I'm actually 382 00:21:00.480 --> 00:21:05.799 thinking about like the songs in a twenty twenty six lens, 383 00:21:06.400 --> 00:21:09.880 and you know, I can't help but look around at 384 00:21:09.960 --> 00:21:14.359 folks in the audience while I'm watching, and it's like 385 00:21:15.559 --> 00:21:18.160 part of me just can't help but think somebody in 386 00:21:18.200 --> 00:21:20.640 that room when you got to I'm white inside, was going. 387 00:21:20.799 --> 00:21:21.359 I knew it. 388 00:21:21.599 --> 00:21:31.759 You know, I did not did not tell you. 389 00:21:31.799 --> 00:21:32.640 I did not tell you. 390 00:21:32.880 --> 00:21:38.279 So yeah, I feel I understand the trepidation of one too. 391 00:21:38.519 --> 00:21:42.119 That's all, Oh my. 392 00:21:41.960 --> 00:21:51.440 God, that's not what I tected you. I know it. 393 00:21:53.599 --> 00:22:03.759 There there is. There was something healing too, sitting in 394 00:22:03.759 --> 00:22:08.160 that theater in twenty twenty six, just with everything that's happening, 395 00:22:08.599 --> 00:22:13.680 you know, every day every day, you know. And I 396 00:22:13.799 --> 00:22:17.400 work with a lot of trans people who are terrified, 397 00:22:17.880 --> 00:22:20.480 you know, who just are what And we're sitting over 398 00:22:20.559 --> 00:22:23.799 here in New Jersey where we're we have a different 399 00:22:23.960 --> 00:22:28.079 experience than a lot of the states in the Union 400 00:22:28.960 --> 00:22:32.920 and different in the same union. They're everywhere. 401 00:22:32.920 --> 00:22:34.440