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.
