54 Below!

Moments like these remind me how surreal it is to be living here, and getting plugged into New York’s theater community. Also called Broadway Supper’s Club, this stage has featured some truly iconic legends of the industry through the years. What an honor to appear among them! Thanks in large part to Pier LaMia Porter whose brainchild it was to shine a spotlight on Black writers in the city, twice I’ve had the opportunity to showcase selections from my new musical “Forestine” over the past several months. I look forward to debuting new music from my song cycle “Treasures” here in the Spring of 2023!

November 13th, 2022. Featuring Patrick B. Phillips as MD on piano, Brandon Jackson on drums, Matt Pinto on guitar, and Aamir Juman on bass.

Black Writers Showcase

July 11, 2022. "Make Them Hear You: An Ode to Black Musicals Series" at 54 Below!

Garrett Morgan

This new song cycle “Garrett Morgan” chronicles the prolific life of a Black inventor who lived at the turn of the 20th century and struggled to receive recognition for his work.

The show spotlights his wife Mary’s unyielding belief in his invention and in her husband which was instrumental in giving him the resilience to carry on.  Featuring Garrett and Mary as protagonists, the couple takes on a society that’s not quite ready to embrace them with open arms.

This mini-musical is being written by collaborators Ashley Hazzard and Alexis Kesselman. Below is the first song we wrote: “G.A. Morgan Hair Refining Company” about Garrett’s breakthrough in chemical hair treatments.

Alexis and I decided early on that we were interested in telling a story rooted in historical fact, centered around a scientist or inventor. The first person that came to my mind was a man my family taught me about growing up who lived in our town in Paris, KY. I was vaguely familiar with the history of this Black man named Garrett Morgan who invented the three-way traffic signal. Little did we know that this invention was only the tip of the iceberg!

After learning more about him, Alexis and I fell in love with his story and began to develop this song cycle about his life.

In this song, “Run it Again”, we explore his revolutionary invention, the early iteration of what later became the gas mask. In our research, we were moved to learn that Garrett received so much pushback when trying to sell this product to a mainstream audience, that he eventually hired a white man to pose as him with the hope of saving more lives with his safety hood. He played the sidekick and wasn’t acknowledged for his genius until decades later. We were interested in the emotional labor that went into not being recognized for his contribution to society and how crucial it was to have the support of his wife to continue inventing, despite the outward prejudice he faced.

We were so pleased with our first performance of this song and grateful for the overwhelmingly enthusiastic response we received! We cannot wait to keep writing this song cycle together and to honor Garrett’s legacy.

Writers:  Alexis Kesselman (“Glimpse of Us”) and Ashley Hazzard

Arranger: DJ Hendricks

Performers: Ashley Hazzard and Cartreze Tucker

Performed at Five Angels Theatre on February 17th, 2022

Monster's Bride

During my first semester at Berklee NYC, we hit the ground running churning out new material each week and getting our chops wet with collaboration. This was one of my favorites. I composed the melody for this song with lyricist Aurora DeLucia about the bride of Frankenstein awakening for the first time. 

Performed during Berklee NYC's live Open House in November 2021

Music by Ashley Hazzard

Lyrics by Aurora DeLucia

Featuring Berklee NYC’s Program Director Julianne Wick Davis on piano and Chase Uram on guitar.

Berklee NYC

In the fall of 2021, I fulfilled my lifelong dream of moving to New York City! In joining the inaugural class of Berklee NYC, I got life-changing, practical experience as a musical maker and playwright around the corner from Broadway, learning from some of the very best contributors to the industry. The campus is housed at the legendary Power Station recording studio in Hell’s Kitchen, where many Broadway cast albums are recorded. I’ve gained mentors and friends for life and look forward to becoming even more integrated into this beautifully iconic theatre district I get to call home. Here is my personal statement video, one of the submissions from my application that led to my acceptance that Spring!

Learn more about Berklee NYC! The new campus in New York

Writing and Design for Musical Theatre @ Berklee NYC

Voice-Overs!

Hello, friends! I am so thrilled to officially share with you what I’ve been working on for the past year. My journey as a voice-over artist has been a truly serendipitous one. 2020 was a year of redefining my role as an artist and what I can contribute to the world independently. It was a year of much songwriting, reflection, and… building my voice-over business from the ground up!

When I was furloughed from my day job temporarily, I saw it as a blessing in disguise and a chance to invest fully in this field that has been calling my name for the longest time. Since then, I have built a home studio and have gotten off to a quick start making my mark online, with high hopes to delve more into animation and audiobooks that showcase my background in theatrical acting.

Over the past year, I became the host of a theatre podcast and the voice of Henry Schein ONE’s Lighthouse 360. From radio to theatre, I have enjoyed a richly diverse career and it’s been a joy to combine these two passions into one larger all-encompassing one. I am excited to see what else is on the horizon. Below is a demo reel of some of my most recent work. If you would like to hire me for your v.o. needs, shoot me a message- I’d love to work with you!

Voice-Over Demo Reel

"Lion's Den"

Original Script “ Lion’s Den”: 

I wrote Lion’s Den after observing the events of last summer, and the racial turmoil it brought to light. I wanted to showcase a narrative that was indicative of the uncomfortable conversations that many white allies are having and/or avoiding with their families. By centering my scene around a new interracial couple visiting family for the holidays, I got to explore the dynamic of two people who are forced to confront the issue head-on, from completely different perspectives. 

Below is the filmed Zoom reading from this year. I collaborated with my actors (and dear friends), Caroline Sorunke and Garrek Reed, to tell the most honest version of this story. It was a joy to delve deeper into their individual interpretations of my first draft,  and what came out of those collaborative sessions was a much more rich, colorful  and nuanced scene.

See the full scene here!

Lion’s Den Trailer

Lion’s Den Full Staged Reading

Blackout Tuesday. #theshowmustbepaused

There is not enough room to express all of the thoughts racing through my head this week. I have spent days reflecting in mediation and messaging with countless friends about the atrocities we've seen. Yesterday, as a form of therapy, I spent several hours typing up a nine page word document, full of my unfiltered introspection just to let it out. I have felt nauseated, fearful, infuriated, tearful and sleepless, all while gearing up for my first day back to work (from home) after a Covid 19 furlough. I asked God to give me the words to effectively convey a message that could be meaningful, or provide some comfort in the wake of the media coverage of this centuries old black genocide.

 When all of this flared up last week over a video of another casual, smug murder, #georgefloyd, I was fed up with talking. I did not feel like explaining my perspective again or comforting a newly awestruck acquaintance or debating as I have done on behalf of my people for years. I just grew weary. I thought that the self care I needed this time was relief from talking points... but that was selfish. For the first time I see people looking for answers, and if I have anything to contribute, it doesn’t feel right to keep it to myself. The least I can do is share my experiences. Consequently, my silence was causing my black friends to shoulder the burden of education alone. So here I am, reporting for duty. 

 I grew up in a predominantly white, conservative Christian bubble. I knew instinctively from childhood that I was responsible for representing my race at all times. It may sound extreme and ridiculous (which frankly it is), but for many of these kids, parents, teachers… I might have been the first black girl they encountered. The first one to rattle their stereotypes. I took the responsibility very seriously, knowing that how they perceived me was paramount to the treatment I would receive, and potentially others after me. This experience is definitely not unique to me, but familiar to many of my black friends and colleagues.

I was raised with this awareness, not only to give me the best possible chance to succeed in life, but also for my safety. My black mother and black grandparents would always instill in me the power of how I carried myself as a young black woman. Because, unfortunately, there would be a world that chose to see me through the lens of their own preconception, light skinned privilege aside. I had to be aware of these obstacles to overcome them.

I made every effort to always remain slightly above the cut. The love I have for my black heritage is a miracle, because everything around me from an early age, down to the smallest microaggression, would try to discredit it. This explosion of suppressed rage  may be too much for some to process, but I know this feeling all too well.  

"To be black and conscious in America is to be in a constant state of rage." – James Baldwin

 I feel more solidarity with my ancestors than ever before. I feel their power and their strength running through my veins now, invigorating me to do all of the things that they were not permitted to. It motivates me daily. Blackness is royalty, but this nation would have you drink a poison of lies that says it's worthless, even subconsciously. This is systematic brainwashing at its finest.

Next to the Bible,  “Roots” by Alex Haley is my favorite book of all time. It changed the course of  my life when I was 13 years old, by teaching me the glory and resilience of my heritage in the face of the most evil adversity. Perhaps it can illuminate the same for you. Perhaps it can give you some perspective on why blackness represents the utmost prestige to me, why these issues are so dear to my heart, and why, ultimately, they prevail under a more cloaked expression. You can only sweep a problem under the rug for so long before it begins to fester. Before people realize it’s there, and has always been there. 

I’ve heard many say that they can never understand what we’ve been through. With all due respect, I think that is a cop out. This pain you see manifesting is not alien and our experience is not otherworldly. It is all-American. Shielding one’s eyes to injustice, does not make it untrue.  Empathy and knowledge will be your guide to snuff out ignorance. We are called as Christians to empathize, to love deeply, and share in the suffering of our neighbor.

We cannot return to business as usual. Just as Jesus put Himself in our shoes, if you can put yourself in the shoes of those of us who have lived this reality, you will understand. You will be compelled to speak out against it in secret as well as in public, and turn the tide of complacency. No healing can come from denial. 

Be vigilant! Examine your heart. As true allies you will put yourself in the line of fire along with us. I have seen many doing this, black and non-black, combating prejudice relentlessly by advocating for the voiceless in both words and deeds. Because doing so is right. This has not been overlooked and means more than you know. “Count it all joy, wherever you face trials of many kinds, because you know that the testing of your faith produces perseverance. Let perseverance finish its work so that it may be mature and complete, lacking nothing.” James 1:2-4  

There is something beautiful about this righteous outrage. It is an awakening, a revolution and a much needed revelation for many. I am witnessing a realization in real time, heart postures changing because eyes are seeing the light. I rejoice at this, knowing that there is still a long way to go. I pray that you keep looking through our eyes and learning our history, which is also your history. The effects are lingering.  In the midst of the grief and mourning, a fire of hope has been ignited. Black lives have always mattered and I am blessed to be counted in that number. ✊🏽🖤

EVITA

Evita marked my debut performance at the historic Georgetown Palace Theatre. Following the life and untimely death of actress turned political revolutionary Eva Peron, composer Andrew Lloyd Webber’s music brought to life a both a cynical and philanthropic dichotomy of the public figure, from the perspective of her lovers and haters. The interpretation was both haunting and lively. While I was not previously familiar with this work beyond the legendary “Don’t Cry for Me Argentina”, each night the music never ceased to move me to real tears.

The run was 5 weeks in the heat of the summer. My favorite part was the choreography. Being in the chorus gave me the opportunity to dance like I had not in years since the “Cotton Club”. The cast was large, featuring both an adult and children’s chorus to reflect the essence of a rumbling 1930’s Argentina. Jessie Smart worked tirelessly to choreograph the ensemble. I so enjoyed working with her, director Cliff Butler and music director Austin Kimble . From beginning to end, the experience was professional and family friendly.

RapUnzel

RapUnzel was one of my most heart warming theatre experiences to date. The ensemble children's musical piece featured original music from rapper: Saul Paul. The story showcased a delightful adaptation of the fairytale Rapunzel, from the perspective of a little black boy named Rap, whose hightop hair stretched as far as the eye could see. When his mother Maji Unzel (played by yours truly) and he move to a new town after his father’s death, he uses the music and imagination as coping mechanisms. In the face of neighborhood bullies, his optimism and charm remain in tact. He teaches everyone he meets the value of marching to one’s own beat, making friends along the way. The show brought to light elements of prejudice, loss and friendship through the eyes of this charming, resilient child.

Being involved with this show warmed my heart over and over again. Not only was it critically acclaimed by various local publications, but the word of mouth of this story carried all across Austin. Each weekend I joined the cast, we were met with a full house for the duration of its run. The most rewarding part of the whole experience was the families that came to watch in droves, passing the word that this was not a production to be missed. At the end of every show, children and parents alike rushed the stage in tears and smiles. There was something so unifying and magnetic about the message that related to people from all walks of life. I feel truly blessed to have been a part of such a beautiful production, which cemented a special place in my heart for children’s theatre.

The Realness

The Realness, brought two things to the surface for me: my rap debut and my very first BiAiden Payne award nomination. The first of its kind, playwright Idriss Goodwin called his original work a “breakbeat play” for the rhythmic rap undertones he baked into the script. Unfamiliar with the hip hop scene at large and definitely without rap experience, I knew I was biting off a lot when the role was offered. Over the course of a month and a half long rehearsal period, I adopted a Bronx “street” accent and assumed my work delving deep into 1990’s underground hip hop research- a rabbit hole of the most extensive variety. Within no time I had a new found confidence in my rap delivery and an appreciation for all of the rich, lively cultural elements offered in this era of music.

The character I got to develop was Prima, a burgeoning "female MC" with a passion to provide for her family and elevate her community. I was very pleased with the challenge that the work presented and how the art of rapping also incorporates a significant amount of musicality, which played to my strengths in songwriting. We were given a beat and a page of text to string together at our own tempo and syncopation. I was amazed at the result and, to my delight, had a blast creating it. In New Manifest Theatre's premier production, the cast and crew was tight knit, funny and a blast to be around. Simone Alexander, our outstanding director created such a resounding, enthusiastic response from the Austin theatre community with this regional debut of the Realness, that am still hearing its praises months later.

Steel Magnolias

There is something to be said for taking on a classic. It requires an organic infusion of personal experience to incorporate a fresh take on the subject matter, while remaining true to the integrity of the story itself. It was a blast to accomplish this with my ensemble of six women of color. 

Another exciting aspect to explore with this script was the fact that our cast was entirely black! There were no changes to the script, but the material took on a different, more grounded feel as told by black women in the same shoes. 

Steel Magnolias, the 1980's classic movie, based on a real life story by Robert Harling, explores a southern beauty shop of women banding together in the face of life’s most pressing coming of age struggles. It begins with my character Annelle, the newest of the bunch, escaping an abusive husband and joining beauty shop owner Truvy as her assistant. Hilarity and heartwarming conversations ensue as the rest of the women make their way into the shop. As the seasons pass, they provide riotous commentary on the state of womanhood and life as they know it. From marriage to life threatening illness, to becoming comfortable in their place in the world, the beauty of this script is the camaraderie of the women in all of their bluntest southern charm. 

Jeremy Brown in his directorial debut, was an absolute joy to work with. He allowed the actors to explore the intricacies of our own emotional interpretation of the script, and provided a safe space to address the themes of mother-daughter relationships, marriage and spirituality. 

We had one month to delve into character work and blocking rehearsals, but from the first rehearsal our chemistry together was remarkable, making for some hilarious scene work. Also, as black women, the theme of hair came up quite frequently among us even off stage, and we delighted in sharing tips and tricks with each other! 

Finally, the actual show played to six audiences in an actual art studio (plot twist!) called Imagine Art, a lively venue with enough color to suffice for our 80’s setting. Without a raised platform as a stage, the audience felt like an extension of the beauty shop adding a tangible layer of intimacy.

A Fine Affair: A Cotillion

I’ve been introduced to the world of improv and it’s been thrilling. My third show in Austin, “A Fine Affair”, was an original play set on the backdrop of a Cotillion. The storyline follows a chain of circumstances that leads to the belle of the ball going missing while the family is left to pick up the pieces.

The comedic tragedy explores the dynamics of a misshapen family brought together for a common purpose: the coming of age of a daughter whose intended sabotage ultimately leads to her unintentional death.

I played the mother of the saboteur and deceased: Elenora Jean Davis, the pious, upright counterpart to her atheistic father. Comedy ensues.

Something I found unique about this production was the technical aspect of incorporating mild comedic improvisation and working collaboratively alongside the writers. Director-writers Ryan Darbonne and CC Hinojosa encouraged us to contribute to the dialogue freely as we saw fit. It felt as though I had a hand in developing my character and my impulses were on full display.

The Coldtowne Theatre features a small stage and close backstage quarters, which allowed for tight-knit humor with the cast between scenes. The show ran for four weeks and my favorite aspect was incorporating new improvisational techniques the cast taught me from their own training in warm ups.

Love Letters: The Cotton Club

Live jazz, tap, swing! My second show in Austin was like kismet, with all of the elements of a show that I value most. And I had the chance to embody one of my idols, trailblazer Lena Horne.

By this stage in my tenure in Austin, I’d learned exactly where to search for audition postings. Just as my last show (Cabernet Cabaret) was ending, I was on a mission to find something that satisfied my dancing chops - and boy, did I find it! Dance studio Ballet Afrique was embarking on a type of performance that they had never pursued before: an innovative, interactive, 1920’s Harlem Renaissance experience. The throwback evening would set the audience back a century to engage in a rousing night of jazz and swing at the iconic New York Cotton Club. Onlookers were instructed to dress up (along with the cast) in period garb and were served authentic cuisine from that era. They did not disappoint! The unique premise? For the first time, the traditionally whites-only club was conducting an integrated “Colored Night”. Mimicking history, the evening also included performances from legendary artists Billie Holliday, Cab Calloway and Langston Hughes to name a few.   

Sensationally, the night featured burlesque, swing and tap dance. To round out the experience, a live jazz band accompanied, setting all involved back in time to a raucously electrifying time in our nation’s history.

The rehearsal process was grueling and historically informative. Each of us would do extensive research on our individual characters, the culture of the Harlem Renaissance, the lingo and share our findings with the rest of the cast. We learned authentic swing dance from the Austin Swing Syndicate and older New Yorkers told us of their experiences to ensure the feeling of the 1920-1940s was reflected accurately.

Founder of Ballet Afrique and Director of this production China Smith made it clear to all of us that her goal was to pay homage to all of the trailblazing artists that came before us and recreate their experience in a way that the audience could take with them.

The show itself was an experience I won’t forget: the tables were packed and the venue was decorated smashingly- a real snapshot of that golden age of dashing sophistication. I was thrilled to have been involved in many swing dance acrobatics and to sing “Stormy Weather” as Lena Horne in her heyday. I am also immensely grateful for the friends I made and for such a rewarding experience.

Cabernet Cabaret

As a fresh new transport to Austin, my first order of business was to launch myself headfirst into the ripe world of film and theatre in the quirky live music capital of the world. Having previously released an original album, the singer-songwriter spirit of the city called to me and I instantly felt aligned. I was excited to get my feet wet with auditions and thankfully my first was a success! Cabernet Cabaret, a seasonal musical theatre compilation with a handful of stage performers, was a great note to begin on. Founded and hosted by Austin native Emily Villarreal who was no stranger to the city’s theatre scene, the event served as an introduction to many of us who were new to town, some coming directly from the stages of NYC. In her words:

 “Cabernet Cabaret was created with the intention of giving Austin's finest talent the opportunity to perform in a professional environment and to help build personal resumes and reels.”

Just what I needed! Due to the particular time of year, the whimsical theme of our showcase was centered on Halloween. I sang two haunting numbers from “Ragtime” and “Dracula”, accompanied by the phenomenally talented Tyler Groft.

Insider note: the week of the performance Texas allergens took me by storm, leaving my voice in a state of unrecognizable hoarseness I’d have never been privy to. Leading up to the night of, I was in a state of panic as my vocal chords were completely swollen and all but nonexistent due to natural factors. Thanks to tips from my professional cast of vocalists I was able to overcome with natural remedies, steam and tea.  By the grace of God, on the evening of the performance, my voice was almost completely up to par.