 and welcome, welcome to the 2015 Ingram New Works Festival. I'm Renee Copeland, producing a artistic record for Nashville Rep, and it's my pleasure to welcome you to this festival. I think you should applaud new plays. Really proud to be here. Thanks for this tonight. So hi for many years to enjoy the season with Nashville Rep. We had a great season and hope you got the chance to see some of those shows. This is the time of year though that we're looking at the next season. So if you don't already know what we're up to, we hope you'll grab a brochure at the back, go online and if you aren't already a subscriber, I see a lot of familiar faces, so I have some in the house. But I hope you'll join the family if you haven't been a member already. The only thing we're gonna tell you about next season is something I wanna brag about, which is we are gonna be presenting a world premiere of a play that was born in last year's festival. So we'll be doing it for as good monsters next year. So I'm really, really pleased to be doing it. Let's say thank you to a few people before we proceed with the evening. So a big thank you to a new sponsor for the festival. Thank you to Nashville Arts Magazine, for sponsoring the festival. You should applaud them too. Thank you. I also wanna say thank you to the Metro National Arts Commission and the Tennessee Arts Commission. Those folks really do good work making sure that Nashville has a lively cultural life. So a big thanks to them. I'm happy to announce that we've just found out that for the New Works Project next year, we're gonna have a new funder. And so in this speech next year, I'll be thanking the National Endowment for the Arts. So we're very happy to be here. I also wanna say a big thank you to the National Rep staff. They are the hardest working people in show business. And this has been a really tough spring. Everybody, you know, we just had the whipping man and death of a salesman in Bum and Sonia and now it's the festival time. Everybody's working really hard. So again, if you'll indulge me for a round of applause for the staff, thank you so much. I really appreciate it. And then of course, the person without whom, which we would not be here at all, she believes in the importance of new work for the American Theater and she puts her money where her heart is. So a big thank you, of course, to Martha Ingram, who's been here for a long time. I want you to know that during the intermission for this reading, I want you to go back there and I want you to buy lots and lots of candy. Not only is it really good for you, but all the proceeds from a concession support our professional internship program. So anything you buy back there, I promise it's going for a good cause. If you will now, please check your cell phones and make sure that they are silent. We really appreciate that. This project is like the favorite thing that we do. We really love it. It's got three parts to it. I'm going to give you a quick overview to it. Three prompts to our New Works project. We have New Works Fellowship, the New Works Lab, and then this, the New Works Festival, where you are right now. The New Works Fellowship is a fellowship we offer every year to a playwright of National Repute whose work we admire, and we were incredibly delighted and honored when it was accepted this year by the wonderful Donald Bargillian. So thank you guys, so very much. Thank you so much for having us. We're having a great time with him in town this week. And then of course the festival itself, which is where you are now, this will bring together the staged readings of the plays that we've been working on in the lab, which Nate's going to tell you about in a second, plus the work that Donald's been doing. And your participation as an audience and as part of the festival is really important to the process that the playwrights go through. So again, really thank you for being here and supporting the work that's been going on. So to tell you a little bit more about the lab itself, it's my pleasure to introduce to you our wonderful playwright in residence, the director of the New Works Lab, Nate Epler. Woo! Hi, I'm Nate Epler. I'm a playwright in residence at the National Rep and the director of the New Works Lab. And I just want to say again, thank you to Martha Ingram and thank you to the National Rep for committing to the development of not only my new play this year, but the new play of my new BFF Donald Margillies, as well as our lab playwrights, Gaby Sinclair, who is not here tonight, Tori Keenan-Zelt sitting right there, and the author of tonight's play, Bianca Sands. New plays require a lot of support. They require development. They are unfortunately not ejected fully formed out of our brains as much as I would like that to be the case. The vast majority of development programs take a play that has already been finished in its first draft form. They then bring that play and that actor in for a very short period of time to develop the play. National Rep has decided to put its support to the playwright when they have an idea for a play. When it's just a couple of sentences held together or in a pile of pages. So each one of these playwrights was selected from a very large pool of applicants that presented to us an idea. They start coming to us in September and over that time they have developed the first draft of a brand new play. Like I said in the program note, whereas some other development programs sort of drive your kids to school, we are a real midway. These plays started in very fractured forms and have changed a great deal since then. In this moment, this festival is what's going to help them fall to the next level of development. And that's where you come in. We hope that all of you will stay through the end of the play and have a little bit of discussion with it afterwards, both with Renee and the director and then with the playwright as well. So thank you so much for being part of the process. We literally could not do it without you. So that's all for me. Please enjoy the show. Ladies and gentlemen, still best by Bianca Sands. Simply best by Bianca Sands. Let's change it three times. Simply best by Bianca Sands. Scene one, Tableau. A small troop poses center stage, backlit, dressed in full catfish row regalia. The sound of a radio dial searching for a station, knobs of televisions turning on and the distinct clicking of telegraph keys intertwine into a Gershwin-esque symphony. A shadow play. The opening image for the invest play out in an Alvin Ailey-esque dance. Two men play crafts. One of them is porgy, best watches. Two other figures linger on the sides of the stage until the fight between Crown and Robbins ensues. Robbins dies with a huge flourish, they all freeze. The radio dial finally finds the right station and we tune in to the beginning of a radio show. Welcome to WKRD's This Family. We hear it ain't necessarily so in snatches in the background. It was used by the underground in Europe to refute Nazi broadcasts during the war. Flash, the flash bulbs of cameras go off. Flash, flash. It jazzed its way into the American heartland. Now it's just arrived with the all-negro company of Porgy and Bess, to Austria for the Vienna Arts Festival, then on to Berlin. Flash. Fanfare and flash, please. Flash. Fanfare and flash bulbs follow the colored troop wherever they go. The stars, deft out in the latest fashions, were seen disembarking from the U.S. military transport. Flash, flash, flash. Porgy and Bess is premiering at the Vienna Festival courtesy of the U.S. State Department. Flash, flash. The talented and polished Negro troop have been named cultural ambassadors of goodwill for their work spreading democracy all over Europe. They are sure to make America proud. Flash. Was it worth it? Oh, no, really. When I tell myself our story, when I mold it over in my head, things have a tendency to blur. Sometimes I think it was also very important for our people, our country, being out there as a colored ambassador at such a pivotal time. And other times, I don't know. Was it just another show? Was I simply another best? Or does it only seem important now in hindsight? It's hard to tell what was real and what was imagined, you know? Because when I try and figure out how I got here, or ask myself was it all worth it, I just end up at the beginning. Scene two, location, hotel room. Lenora sits at a table eating breakfast while David Peacock Warrington, late 30s, black, paces around like a caged animal. Your eggs are getting cold. This is how it starts. First, it was the hotel. The entire cast move hotel, David, not just us. Richard didn't move. No. Richard's sitting all comfy in that grand hotel and all the colored cast moved here. David, get dressed before we're late. It's not just in the States. No, ma'am. You didn't even like that hotel. The rooms were tiny and smelled like old ladies' closets. That didn't mean I wanted to get moved to a more suitable arrangement as if I can't see through their fine accents and gentle words. This is a better hotel. It's the principle, Lenora. Stop with all the pacing. You're giving me a headache. We have to do this, Lee. Can I please just have my coffee before you wind up again? Why are you hesitating? I'm not. Then just sign already. Your eggs are getting cold. Can't we just eat? Talk later. If we want this madness to stop, we have to strike now. Show him we mean business like we did at the National. And that's my point, darling. He was on our side at National and he'll be reasonable now. All you have to do is talk to him, not this strike business. He only got on board with the National after we had already decided we wouldn't play to a segregated house. He was the one to call Truman to make it happen. Actually, it was my work with Congressman Clayton Powell that made the difference. Does it really matter who made the difference in the end? Richard was on our side. We all worked together. Everyone was happy. He cares about the show. Oh, and Richard cares about his people in the seats and coins in his purse. And you don't care, he'll have beans about that at all, I suppose. You know what I mean, Lee. Richard wants this show to succeed as much as we do. He didn't bring 100 color folk all the way to Europe just to have it all fall apart. So eat your eggs. We're going to be late. Damn it, Lee. You're either with us or you're against us. That's not fair, Dean. What's not fair is this. He holds up a piece of paper. We can't just roll over like dogs and let Richard treat us like this. He only wants to make a few changes. We, the cast of Porgy and Bess, must strive to be our best to bring the most authentic version of this show to the masses. And in that spirit, we must dig deeper and show more of the realistic version of these people. This time, this world. What's wrong with that? You don't see anyone requiring Cuccini or Verde to have more spirit. No one questions the veracity or integrity of those performers at the Metropolitan and whether they are authentic enough, but colored opera singers? You're making a mountain out of a molehill, David. I've been in this type of situation before and I can smell the shit he's shoveling from a mile away. This isn't just a few changes. If Richard has his way, we'll be out there shucking, jiving, hell, even picking cotton in the name of making the show more authentic and traditional. All he said was he wanted to make the show more exciting and I, for one, think the show could use a boost of energy. Energy? In the name of giving these characters dignity, we suck the soul right out of the thing. I can't believe you. I'm not saying we should add burnt cork to our faces and coons for these folks, darling. I'm only saying the show could use a little more spirit as all. Let us embrace their brokenness of spirit, morals, and diction without reservation or judgment. That's his version of spirit. You're taking that out of context. There's only one context in which to take it. Nigger it up or else. Or recognize that dignity isn't only reserved for the son of a lawyer. Leave my father out of this. I'm just saying you can't act as if the only people that deserve our respect are those with money. Because that's the same as saying that dignity is reserved only for whites and not Negroes. Or that because some of us grew up on dirt roads in the backwoods of Mississippi that we are worth less than folks that grew up in upstate New York. This isn't about your background or mine. That's exactly what it's about, David. I know people like Porgy, Serena, and Bess. They're my neighbors. They go to my father's church. They buy my mother's dresses. They go to school with my brother Donald. And they deserve to be treated with as much dignity as someone with pedigree and degrees. And that's all Richard is saying. You're playing devil's advocate. Making this about class when clearly Richard could give a good day. I'm just saying, there are different sides to every story. You have yours, Richard has his. You can't stand the middle of the road, Lee. Eventually, you have to pick a side. What side? We all want the show to succeed. That's the only side that matters. But what is success? Selling your soul to Richard? Look around, David. We are Negroes in Vienna. Getting paid to do what we love, what we train for, performing on the biggest stage at an international festival. Look out the window at the beautiful place, at the beautiful place this is. The people are charming. Everybody smiling and asking for autographs of 100-colored artists. 100-colored ambassadors. Never a million years. What I have imagined, I'd be meeting dignitaries and the like. The devil wears many guises, Lenora. This isn't selling our souls. This is the job that we signed up for. Everything you get costs something in the end. If I want to hear a sermon, I call my father. We have to fight this, Lee. And we can do it without boycotts and petitions that cost us our jobs. If we are all in this together, he will have to hear us. Cora, Janice, Darlene, Jonathan and Edward have already agreed to stand up to this nonsense. If I join and Cab joins, then he will have to listen. It's not like he can fire all of his leads. You have all of them and you don't need me to sign. As I'm just some lowly understudy anyway. That's not what I meant. It is what you meant. Look, the more of us get on the bandwagon, the louder our voice will be. David, please. Damn it, Margie, why can't you just take my side for once? All I'm asking is for you to trust me. Or is that too much to ask, Margie? Lenora. What? Lenora. Slip of the toe. I'm not to X, Y. I know that. Then act like it. Scene three, location, theater office. Elaine Jessup sits at a desk backstage writing when in walks Richard McDonald. Laney? Whatever it is, the answer is no. Are you loyal? Elaine? Excuse me? It's a simple question. How invested are you in making this show a success? Richard, I don't have time for your riddles. I'm trying to write up the dailies. It feels like you're undermining me. Little by little. If you're accusing me of something, Richard, I wish you'd get to the point. Catherine refuses to give me any more petty cash without your approval. Oh, you're not going to get. Elaine? Richard, can't you see I'm busy right now? I need funds. You sit nearly a fake in three weeks. I know, but I want to woo the British ambassador. There's an opening for us to go to London after Berlin. That's great. So you'll release the funds? I don't care if you are meeting with the Queen of England. There are no funds, Richard. What happened to all the money we saved moving the cast to a different hotel? You spent it on new drops and three new musicians. I command you! Did you or did you not? Ask me to have a talk with Catherine. Catherine about reigning in the budget when the last department check was late. I'm serious, Elaine. The State Department's breathing down in my neck. They expect results. Some sparkling artistic jewel to endure ourselves abroad and refute this damn commie propaganda. And I told them I could deliver. That we could deliver and by golly, Portee and Bess will deliver. Come hell or high water. If the State Department wants this artistic diplomacy miracle so badly, they'd better fork over more dough. And they will. Once it goes through appropriations, but that could take two months, which is why I'm trying to book us in London and receive a healthy advance to get us through until it does. No. I could fire you. You know, that would save a pretty penny. Ha! You don't pay me enough money to be the musical director, let alone the other hats I wear around here. Now that you're assistant director slash stage manager, quit. Elaine, you know I cherish you. And you will get the raise you deserve shortly. But right now, the ambassador is on his way to the hotel. Your hotel has a lovely bar. Use it. Charge it up to your account, but don't spend more than 40 shillings, Richard. That's a great idea. That's what you paid me for. Oh, add these items to the dailies. He hands her several pieces of paper. Hold it right there. What is this? It's Cora's release paper. I can read. You can't just fire her without asking me. She's our lead best. Well, you'll need to find a new one. And while you're at it, Janice, Darlene, Jonathan, and Edward are out too. That's my lead Clara, Serena, Crown, and Robin. Oh, and that gal that sits over the window went through. The costume designer, Richard. I had no choice. She was passing around this. He hands her a piece of paper. See, and a few of her friends were trying to undermine my authority. They tried to convince my cast to mutiny. We are not on a ship, Richard. Kudaita, then. Do you know anything about this? I told you this State Department revamp wasn't going to go overwhelmed. I can't abide by this loyalty. Don't do this. Look, let me talk to her. We're past talking. We opened at the Vienna Festival in two weeks. I can't just make six leads materialize out of thin air. Don't you have understudies? This isn't a game, Richard. I need you to get them back here and now. They're already on their way to the airport. I need you to do one more thing. Deal with David. I here tell he has a list, too. I want to know who else doesn't want to stick around here. You are not going to fire Peacock. I don't want to fire him. There's a difference. No one, no one is above this show, Lane. No one, not Peacock, not even you. You can't just fire the whole cast. If that's what the State Department wants, it will happen. The show will go on, Elaine, whether we like it or not. The only question is, who will be there when it does? This isn't like you, Richard. Look, the mandate is clear, Laney. I have no more choice over this than you. Bull. You're the director and the producer. A line has been drawn in the sand by these commies. These fucking red bastards. They get on every wire in the world calling us hypocrites and liars, telling anyone who will listen that the American dream is a lie. That our Constitution is a farce that we meddle in world affairs, bully our allies, and we only talk about equality and civil rights all the while we ruthlessly mistreat the Negro at home. How do we even hate them? Their preposterous accusations are the enemy of Lane, not me, not this show. Don't spout State Department rhetoric to me, Richard. This isn't about the communists. It's about giving these characters dignity and depth, like we did at the National last year. Don't you get it? No one wants to see that. The audience loved it. Well, the critics didn't. State Department didn't. What the hell with them? This isn't a debate. Lane, everyone can either get on board with the changes or go home, simple as that. That includes you. Scene four, location, backstage theater. Lenore, just slow down, please. Peacock. What? I don't know how he found out, but he knows Peacock. He came in this morning asking cryptic questions, asking about my loyalty, making threats. So it won't be a surprise. Peacock, he fired them. Cora, Janice, Darlene, Jonathan, and Edward, all of them. They're leaving on the military transporting an hour. He can't do that? Well, he has. So we need to back down on the boycott. No. He's not playing Peacock. He already looked into whether or not Lawrence Winters was available. Lawrence didn't have half of my experience. He's not even a true baritone. Polk is. Richard's running scared about the State Department. He's not thinking clearly. So we can't go poking the bear when he's already riled up. So we should just lay down and play nice? Yes, until we figure out a better way. How are you OK with this? I'm not. But I have a mortgage to pay and a mother to take care of. So you're just going to shovel whatever shit Richard throws at you? Honey, Richard don't run me. Besides, I am far more powerful working from the inside than being on the outside with Richard. If you want to find another job, honey, go on ahead. But there is more than one way to skin this cat. Well, I'm going to give him a piece of my mind. Go right ahead. It won't make a bit of difference. He really fired them all? Just like that. You don't need to worry about being caught. Richard's just trying to scare me into submission. Right. Believe me, if he wanted to replace him, he would have. Of course. It's not that. What? Nothing. It's just... If Cora's leaving, does that mean there's an opening for this? I mean, not to be indelicate or anything, but I'd like to audition if there's an opening. I thought you weren't interested. Of course. I've always wanted to. I offered the understudy at the National. Why didn't you take it then? You already had Cora, Jacqueline, and Dolores, and besides, I wanted to earn it. I didn't want people thinking I got to part because of David. What does Peacock have to do with anything? Everyone was nice when I first got here, but since David and I got together, it's like suddenly people think I'm only in the show because of him. They don't think that. They do. I thought these girls were just green because in short order, you've managed to turn David's wonder and I into a focused stare on you. Well, I still want to earn best outright, not because of who I'm married to. Look, I don't have time for heads shrinking or convincing. Are you or aren't you interested in the part? Yes, very. You'll have to alternate with Jacqueline. Of course. There'll be double days of rehearsals, so you'll have to get up to speed. Thank you. Don't thank me. Your voice earned you this opportunity and a word of advice. The next time somebody offers you a part you want, you better take it. Don't stand around waiting for the opportunity to roll around a second time. You may never get your shot. Do you hear me? Yes, ma'am. Besides, the next two weeks before we open are going to be held. So be prepared for our monthly ride. Location, hotel room. David, why don't you just be happy for me? Happy that you stole a roll? I did nothing of the sort. You stabbed them in the back. You gotta lean forward, Lee. Capitalize on opportunity. Don't twist my words to justify this. I saw an opening and I took it. So you're willing to succeed at any cost? Is that it? And you're Mr. Principal now. I don't see you quitting in protest of their firing. I was trying to persuade Richard to give them their jobs back while you were with Elaine clawing for a roll. They were already on the tarmac, David. He wasn't going to change his mind and why shouldn't I have a chance at best? It was underhanded. That's easy for you to say. Easy. You had your career named at the top of the marquee. What about the rest of us? I have worked long and hard. If it hadn't, if I hadn't been called up for the war. You'd be as big as Roberson and Hayes right now, I know. I would be. Going to war killed my momentum. But those guys, they got to keep playing. Even Marjorie. She was off doing a world tour while I was fighting the Nazis. I lost everything while she got to go off without me and have a glorious career. And now you're right back on top as if nothing ever happened. That's a gross mischaracterization of the facts. Really? In a few weeks you will be singing in Carnegie Hall whether this tour does well or not. And then whatever else your agent whips up for you. That has nothing to do with what you did today. It has everything to do with it. You got a career while some of us are here. On this tour, starting from scratch. We can't just throw our chances to the wind as easily as you do. That doesn't mean you have to be willing to sell your soul to get it. Don't get mad at me that your little plan didn't pan out and six people got sacked. None of which were you, might I add. I plead with Richard not to fire them. And I'm sure while you were pleading you failed to mention this petition was your idea. Just as I thought. At least I had the courage to stand up for what was right. It made six others a target to get shot right out of the sky by Richard. It's better than shrinking back to the sidelines to save your own neck. No. What you did was worse. You rubbed a rouse from the background stirred up the hornet's nest and then let others get lynched for it. Then you tried to swoop in and make yourself out to be the hero in the story. And now you're blaming everyone but yourself for what happened. So don't point the finger at me, sir. I had nothing to do with anyone getting a sack. And since you have Carnegie Hall waiting for me, I don't have Carnegie Hall waiting for me. I thought I was smart to snatch an opportunity while I could. Don't forget it. What are you doing? What does it look like? Stop. Stop that. Where are you going? Out. Lee, wait. Stop. I'm going to celebrate even if I have to do it alone. I'm sorry, Lenora. All I wanted was for you to be excited for me. Is that too much to ask from the great Peacock David Warrington? It's just that I have been down this road before with all the back stabbing to get ahead at all costs. I'm not her. I know that. Please. I don't want to fight anymore. You started. Well then, I shall end it. How can I smooth over the waters? Bay. Bay? On your knees. David pulls her into him and falls seductively to his knees. Like this? He kisses down her leg down to her feet. She tries to resist his advances. I didn't say get fresh. Or maybe this? He takes off her shoes, her coat. He picks her up and swings her in his arms and then places her gently on the bed. No, no. Not so fast, mister. You won't get off that easy. So what will it take? Bath? Flowers? I want sweets and dinner from that deli in the square. Ain't I sweet enough? Hardly. So get dressed. We're going out and if you're nice, really nice. I'll let you make it up to me. Location, rehearsal room. Don't hi-hat this now. It's loves with an S. Eyes loves ya. Eyes loves ya. Eyes loves ya, Porgie. Put down in the gut. Rip out my soul. Tell it to the mountaintop, sister. Eyes loves ya, Porgie. Now crawl to him on your hands and knees. Crawl? Yes. It's like a child to her father. Crawl to him. Eyes loves ya, Porgie. For sure. Yes, again. What's wrong? Nothing. Then I need you to be authentic with this line. Really ooze it out there to the stratosphere. I just don't want her to be too crass. That's who she is. Crass. Maybe. This is art. This is authentic, real, raw art that rips up your guts and tells it like it is. Best doesn't give a rat's ass about what the people in this town think of her. She has been beaten down, misused and abused, spat upon by those that think of themselves better than she is because she doesn't have their religion, the right color to her skin, very little education. And she uses drugs. But finally, she finds a man that sees past the wounds the world has dealt her. A man that is also broken physically but who loves her as she is. So tell him. Tell him that you love him in all the broken dialect the roll calls for. Thought she was stronger than all. You are strong. In your weakness, darling. Now back to your knees. Say it on his level. Say it with more gumption. Lenora reluctantly gets on her knees. Richard forces her to get even lower. I crawl to him like a cat, like a baby. What in God's night is going on? I see you to finally show up. Oh, I'm sorry. I was casting for a new Robin's in Serena since someone fired half my leads. Why are you writhing on the floor? Richard asked me. Job, get up off that floor. Well, doing the eyes of love's your porgy section and I thought it would be more authentic if she did it at his level. Authentic? Yes. What does that even mean, Richard? And how is slithering on the floor authentic? Additionally speaking, for me, traditional standpoint to show their love, women often lower themselves, humble themselves for the man in their rocks. Stop. You're embarrassing yourself. Lenora, please do it standing. This is my show and I say she should kneel. Richard walks over to Lenora and forces her to her knees. That's ridiculous. Elaine walks over and helps Lenora to her feet. Damn it, Elaine. She wouldn't behave like that. How would you know how best would or wouldn't behave? I'm a woman, Richard. Are you a whore too? Excuse me? Put aside our fancy degrees and fine cultural pedigree, shall we? Because you and I both know best isn't you. She's definitely not me. We know opera, fine arts, our backgrounds are nothing like the people who actually live on Catfish Row. And I cannot and will not tell you how to get the essential flavor of these people. But I know this. If I were cast in an Irish folk opera, I would come up with all the richness of the Irish countryside, all the local color. Go back to my father's stevedore days of broken Gaelic-filled English, all the special individualistic reactions that would set me apart. I would call upon every bloody Irish ancestor, ever to be called a white monkey by an English gentleman, and spit it back out until the audience cringed, cried, and wailed for me and my people. I would damn their prejudices and make them see the humanity beneath their scorn. I would reveal all of it here on this stage. I'm not asking for her to bow and scrape. I'm asking for her to reveal Bess' humanity, her frailty, her love for this man, her genuflect before him, humbling herself to show how much she loves him. It's not so terrible. That's a great story, Richard. But nowhere in there does it require her to slither on the floor like some deranged animal. It's provocative. No, it's offensive. She wasn't slithering. She was being cat-like. What about this? Eyes of love, you poor kid. For sure, the eyes do. Eyes of love, sir. See, that's exactly what I was talking about. That is nothing like what you had her doing, Richard. Moving on. Elaine, let's go to the Kitawa scene. Elaine plays a few notes from the music from the crowned Bess scene on Kitawa. Play it again, Elaine. Yes. Do you hear that? A triple downbeat there in the aria? Yes, I hear it. Do you feel it? Yes. And sway. Harder. Deeper. Get into it. Richard begins acting out the scene with Lenora. It borders on inappropriate. People think this song is about Bess trying to escape from the Brutus crown. He's taking her against her will, having his way with her. But that's a lie. Her mouth is saying no. Her mouth is saying, let me go crown. But her body, her body is saying yes. Elaine stops playing. Why'd you stop? I just wanted to make sure Lenora was okay. Why wouldn't she be okay? Just put the little pill in her mouth. You sick? No, I'm fine. Can we continue? Yes, sorry. We're in a shitting hell as Edward, by the way. You should be here to listen to this. Wasn't he called? You fired him. I want Lenora to feel this choreography and we have no one to do it with. Whose fault is that? There's a phone call for you, Richard. I'm in the middle of something. I believe it's your wife. Fine, carry on without me. What is wrong with you? Me? He'd let Richard walk all over you. He asked me to just try some things and so I did. And you thought it made sense for you to roll around on the floor wiggling and giggling? No. Telling you a woman's place is on her knees. I can't touch you like that. No, of course not. But what? What was I supposed to do? He's the director. That doesn't give him the right to treat you like that. I know, but I don't want to get fired. That's a bad phone, child. I had one. Then use it. Don't you ever let nobody degrade you like that ever again. You hear me? I'm sorry. Don't be sorry. Speak up for yourself if you don't agree with what's happening. What I miss. Great. Let's jump back in, shall we? Where was I? Downbeat. Right. So, I want you to really feel the tempo. I feel how Bess is telling crown she wants to go back to her man, Porgy, with her voice. And yet these downbeats are like tribal drums playing in her body, seducing her back to her savage past. These downbeats are playing for him, her first man. David walks in with a telegram. What now? This just arrived for you. A telegram from the State Department. All these people know I have work to do. Richard takes it, reads it, and crumples it up. Pika, you pop up here. Stand in, please. I want to take a moment. Sure. All right. So, I want you to pound on his chest, Lenora. I want to make it look like you're trying to get away, but we all know the truth, right? She's just playing hard to get. Pika, move closer. Thank you. So you're pounding his chest, and he grabs you by the waist and pulls you into him. What? He pulls you into him. Then on each downbeat, he will caress you. I start at the shoulder, then the breasts, and then the thigh. Now, I want you to arch back and writhe into him on each beat. One moment, please. What's the problem now? I just want to make sure I heard you correctly. You want him to fondle me and for me to writhe in this moment, in this aria? Yes. Even though he's nearly strangled her? Me. Even though he's nearly strangled me and said if I complain, he's going to send me to my lord? Yes. That doesn't seem odd to you. Me? Yes, but it's not to them. These kinds of people are used to this behavior. So just do it. But she, I mean, I behave like that? I think what she's trying to say is that this is unrealistic. This is a lady of the night. I think she know how to ride. We've talked about this, Richard. There's a fine line with being risqué and offensive. Maybe if she had more depth or color. Fine, sure. Add a little fear in there if you like. Is that enough color for you, Elaine? It's a step in the right direction, Richard. Is that all right with you, diva baby? Diva baby? Just go with it. Yes. Thank you. All right, Elaine, let's try this again. And diva baby, really, arch your neck back and give a few good drests, huh? Scene eight, location, dressing room. Lenora cries in her dressing room alone. One moment, please. I need you to sign the new contracts to make the promotion as official. Sign here and here. This is so exciting. With this new role comes a lot of new responsibilities. You'll be asked to do interviews, meet and greets, and sing at special events. Here's the State Department's approved list of talking points for interviews. There are nearly 150 things down here. Do not talk about color issues. Do not discuss American foreign policy. Memorize them and do not deviate from these. The State Department gets up in arms of people who are off script. Just remember it's just part of the show of being a cultural ambassador. Always smiling. Always happy. Always well. Got it. I can do that. Are you all right? Why wouldn't I be? I'm sorry, I yelled at you earlier. Oh, that. It's just you have to learn to be more firm if you want to do this part. Because Richard has a tendency to get carried away from time to time. It wasn't anything I could handle. You shouldn't have to handle that. Look I was in your shoes once trying to make a name for myself and I get it. You don't want to make big waves get fired but some people take advantage of that and you've got to stand up for yourself. Mama always said an extra hot pen in your waistband works nicely for wandering hands. I doubted whatever come to that he'd never crossed that line but if he does or if he says something that makes you uncomfortable you've got to open your mouth. Push back. I just didn't know what to say. It took me a long time to find my voice. But if you're going to make it in this world you've got to do it. But aren't you afraid of getting fired? He's never so much as looked at me. No, I mean for the way you talk to him. Put him in his place like. He needs me and he knows it. No offense, but I'm sure they could find another musical director. Yeah, please. I worked with Dorothy and Dubois on the original play. Then Dubois and the Brothers Gershwin are the opera. I even worked on the revival in New Jersey. I know more about this show than Richard and he knows it. I didn't know that. Dorothy even asked me to direct the play last year in Charleston. How was it? I don't know. The girl refused to hire a female director or a director again if I'd like, but not director. All your experience just goes to show what Mama used to say holds true. No matter where you are or what you do, Lee, you've got to be three times as good. You're colored and poor and female. David hates when I say that. Crabs in a barrel thinking compare life as a man versus a woman. But I'm sure with all your experience if you were a man, even a colored man you might have at least thought about it. Maybe. Soon you'll learn some things may be louder than men, but a frowned upon and a feminine. It doesn't mean you give up. You just need to find a different way. Even still, it's not the same. David will kick up some dust if Richard even fix his face to ask him to do something that he thinks will impune his color. But he didn't even flinch today when Richard wanted him to hike up my skirt and grab me harder. And even he had walked in a few minutes earlier. I should have stepped in before then. I know I need to speak up for myself more, like you say. Be more forceful. No matter what I say or do, it won't change the fact that when David gets a job everyone thinks he deserves it. When I get one it must be because I did something underhanded or somebody liked me or I'm his wife. And even so, things like today might happen. I just want folks to see me for what I really got. Not simply because I'm colored or a girl. I want them to see me. Don't not know it. I'll have a talk with Richard and make sure that won't happen again. Thank you. Well, I should go. I must buy myself a new Serena, Clara and Carl. Try Maya for Serena. Oh, the Angelou girl. That's her. She does have a great voice. And she knows all the lines and a beautiful smile. I'll give her another hope. But Lenora, don't just let folks push you around. That goes for both Richard and David. Scene nine, location US Embassy. Lenora and David are dressed to the nine in a gala of sorts. We hear music, people laughing in the usual formal party atmosphere. Lenora is talking with a German gentleman while David stands aloof, talking to someone else. The German is getting a little too frisky with Lenora. She adeptly sidesteps him. You're very beautiful for a lie. Thank you. The voice of an angel and the body of... Well, I am surprised your husband lets you wander so far from his side. Flash. Flash. Did you enjoy the performance too? I was just talking of you to your beautiful life. Bravo. Such carefree music your people make. Sounds that will stir the soul. Would you mind if I still a dance with my wife? Not at all. Bravo. They begin to dance. Just in the nick of time. Darling, they might want to start giving more shallow pours. I see. Did you meet the Duchess? Or the Ambassador? No. A woman earlier thought I was had in McDaniel. Can you imagine? It took me twenty minutes to understand through her accent that she wanted to know what I used to keep the houses in the pictures. Motion pictures so clean. I had to just kindly tell her that firstly, had it was an actress, not a real maid. And that obviously, not her, as she passed, sometimes go, God rest her soul. And that last one. Wow. He couldn't get over the fact that I spoke so well. He actually thought I grew up in Catfish Row. I guess some things really do get lost in translation. Yes, they do. It's a party, David. Smile. I am smiling. You look like you swallowed a goldfish. You need to be more careful with the way you present yourself in public. Someone might get the wrong impression. We are supposed to mix, mingle, promote the show. Flash. Flash. You shouldn't flirt so shamelessly. I did nothing of the sort. And no more than one glass of champagne. I know that. I actually read the pamphlets. Stop smiling and cooing. It's embarrassing. I'm going to pretend you just didn't say that. I'm sorry, Lee. It's just, Elaine told me that someone had the gall to ask three of the girls if he could pay them to accompany him back to his hotel. Seriously? And that last one. I know how to handle myself. You have danced and spoken to just about everyone in the room. So I think your obligation to Richard and the show has been honored. Besides, I'd like to spend some time admiring my wife. Flash. Flash. Beautiful today, love. And that necklace is particularly fetching. Thank you. My husband bought it for me. He must have exquisite taste. Now that you mention it, he does. Your leader was superb, by the way, in perfect Germanism. Really, I did, sir. Sorry, Richard, we are off the clock. I need to speak with you. You OK? An urgent telegram arrived, or you was from your mother. He hands her the telegram. Everything and everyone seems to melt into the background. David, Richard, the music, the people, all leave Lenora to read her telegram. Spotlight on Lenora. Dear Lee, stop. I hate to ruin your tour with bad news. Stop. But Donald is, Donald is dead. Stop. Mrs. Prince enters dressed like Serena in Robin's death scene from Porgy and Beth. She sits beside a table that holds the dead body of her brother, Donald. He has a little blue saucer on his chest. He's gone, gone, gone, child. Lord, they'd have shot your brother dead, Lord. Stop. He going down to Montgomery, stop. He and a couple of his friends, they go up there and spend the weekend. Stop. Then they try to get on the bus, Lord, and the white driver. Him. The lights come up on white bus driver and young black man in a suit. They act out her words as she says them. Him give the driver him transfer, but that old man don't want to take it. Stop. Him say Donald must have stolen it, and him have to pay again. Then Donald told him he could go to hell. Stop. Then the driver push him off the bus. Stop. Then he pushes the driver back and walks on the bus right down the center aisle. Stop. Then the driver pulled out a gun and shot him in the back. Stop. The young man falls with a blood curdling scream. Everyone stops and looks at him. Great. So after he falls, Serene, I want you to run as fast as you can to his side and screaming bloody murder the whole way through. Then I want you two boys to lift him up and put him on the table there. They move the table containing the body of Donald down to the middle of the stage. Now, Serene, I want you to start your funeral well and slowly everyone else will join in. I need that way down deep in the delt that kind of singing to send good old Robbins to his lord. Rich or not, sway with it please, hands held high like you're touching the sky. We're trying the king to hear whale and weep so loud that you're bringing the sympathy of the neighborhood to come out and throw money into the saucer. You ain't got no money to bury him. So king, king, king, fill the saucer low. Get these peoples who'll make the saucer run over so we can bury this in. Two. Scene one. Tableau. The cast is dressed in their morning clothes. Backlit. They surround Lenora and David just as they would have in Serena's home during the Robbins Keening scene. David cradles a crying Lenora. A shadow play. The men begin singing gone, gone, gone as the women sing Dr. Jesus. First the men, then the women. The male voices animate Lenora into an Albanalesque funeral dance. It is powerful, sad, beautiful. The female voices animate David into a dance that is meant to comfort and console Lenora. The two songs converge, mix and diverge again just as the bodies of David and Lenora. Finally, Lenora succumbs to her grief and falls. David picks her up and carries her to the hotel room, lays her on the bed. Flash, flash. Flash, flash. The sound of telegraph keys clicking, radio dials switching and audiences cheering meld into a symphony. Flash, flash. Back to this family life. News in from the international desk is buzzing about the amazing Negro troop of Porgy and Bess. They dazzled them in Austria, receiving not one, but a three week extension. Accolades are pouring in from all over and famed Austrian composers are heralding this talented American ensemble for their authentic and dangerously sensual portrayals in this heart-wrenching opera. He wish Europe told such soulful tales or created voices like the unstoppable Lenora Prince and David Warrington. Their real life love affair has captured the audience's hearts. Now, as they head into Germany, throngs of people have left their breadlines to wave to the troop as they arrive by train. President Eisenhower himself has reportedly sent notes of appreciation to the troop for their work spreading democracy across Europe. We hear the sounds of a crackling radio, a channel turn, and someone speaking over the loudspeaker. Guten Morgen and then coming to Berlin. Flash, scene two, location, rehearsal. This fight scene is too sloppy. It eats more, more. Let me just, let me show you. I need a volunteer to help me. Pika, could you please? He will be Robbins and I will be Crown. No, that's silly. You're bigger than me. So you're Crown and I'm Robbins. Can you both see us? Good. So first, you're squared up. That part works, but poor Robbins doesn't have a teardrops chance in hell of beating Crown. So Jeff, I want you to look more scared. Get your eyes out or something here. And Crown is ferocious like a leaping tiger on his prey. So maybe a little teeth here? Thomas? Right. Richard and David start acting out the steps as Richard speaks. Robbins lunges at Crown. He misses. Crown pushes him forward like so and you fall. Now, Crown comes at you with the hook. At first, you kick him away like this and you get up quick as a jackrabbit, Robbins, and race toward downstage. Crown, you catch him with the right hand and you go, Robbins, I want you to fall to the rafters. I want to fall to the rafters reaction. Scream, bug the eyes, drool, whatever, just make it big and fall dead. Got it? Great. Where was I? Yes, best. Hike your skirt up a little more and really tease the boys. Diva baby, where are you? Here. Diva, I really need you to say all the lines just written. Keep dropping nigger from all your lines. I do say it. Drop it all together. Many of you are starting to do it, actually. So let the audience hear every word of dialogue. Okay, dear? Enunciate. And that goes for everyone else as well. Is it 100% necessary to punch up that word? Yes. But can't we cut it? It's in the libretto. You cut things from the libretto a million times over. Add a dialogue all the way through. What's the harm in getting rid of this word? It's authentic to these people and this place, Lenora. But it's also offensive, degrading, and unnecessary. We can't just cut it because it might offend your sensibility. By using that word on stage we're condoning other people using it. We're here as cultural ambassadors for goodness sake. So if we say this word, we're basically telling the world it's okay to call me a nigger. To call David, Cab, Elaine niggers. I hear you all saying it to one another three, four times a day. So don't pretend to be shocked when it occurs on stage. It's in the libretto. Moving on. I'm simply saying that word has consequences both on and off the stage. Right, David. I think we should discuss this later. Say the damn word just written or else. End of discussion. Now where was I? Oh, Horgie. I need you to be further downstage during the craps grain. A sport in life. Don't lurk in the doorway. It makes you look like Mephistopolis. And all the paperwork is sung? Yes. Splendid. Just everyone. A great announcement to make. Our little two-month bonanza has officially been extended. Next stop on to London and Paris for a four-week jump. Clear your calendars, boys and girls. We are taking Europe by storm. So please see Elaine immediately to confirm your availability. She has all the new contracts and on the off chance that we lose you after Berlin. Well, it is a pity. We will just have to hire a few extras along the way because we're full steam ahead people. And this is just the start. More additions to come. But Richard, I have other commitments. Yes, I know all about your commitments. Don't worry your head, Peacock. This won't of course affect you. As long as you've cleared this with my agent because I don't want it to complicate my recital at Carnegie Hall. I will talk to your agent, Peacock. Don't worry. I have in fact done this many times before. As long as we're on the same page. We undoubtedly are, David. What's the matter with you two? Can you show me the contracts? You've done the first two weeks in Berlin so now you can go to New York and be back before we open in London. Oh, and the Minister of Culture will be at the Suare tonight. He's requested that you sing a full set of songs. But they're sick of Wagner and Schubert. So I told him you'd regale them with some authentic Negro spirituals or gospel. I do love that one you guys were singing the other day. Precious Lord. Do that one for sure. We look at the time. It's nearly one o'clock. Remember, we needed to punch the hell out of this opera. One good word from him and we got a sold out run for the next two weeks. And with Peacock on, we need all the help we can get to keep every seat filled. Scene three, location, radio station. What was that? Now you want to speak. Lee. Let's just focus on the interview. Stop walking, please. Richard said punch up the show. Mention that you're leaving for Carnegie Hall after the major dates to drive up ticket sales in the first few weeks. You can be as cold and as distant as you like with me, but you can't keep ignoring your mother's telegrams. Also, most of the new tour stops in London and Paris. Now you're yelling at Richard in rehearsals? Maybe you should rest. Lenore. All my mother wants is the money for that NAACP lawyer and they hired to file that suit against the bus company and the driver. Sent it to her yesterday. She'll be fine. She wants to speak to her child and see how you all... She told me not to come home. Stay here and concentrate on the show. So that's what I'm going to do, David. Concentrate. Limited engagement, Carnegie Hall. Punch up London and Paris shows. Okay? Light shift. Lenore and David sit across from a German radio host. There is a large antique microphone between them. Lenore is in her own world. Guten Tag and welcome to the Arts in Berlin. Today I have the special honor to speak with the Americaners premiering in Porgy and Bess at the Schauplatz Festival. I have with me the distinguished baritone David Varrington, who I am sure is honored to call the alluring and supremely talented Lenore Prince Hisbride. Welcome to Berlin. Guten Tag, Herr Mencken. Guten Tag, Herr Varrington. Guten Tag, Frau. Also, I am happy to see that your government is allowing you to wear shoes for a change. Sorry. What was that? I am happy to see you both looking so well. Are you enjoying your stay? Yes, we are, Duke. I saw the show last night and I must say, bravo. I laughed. I fell in love. I slept with you all. How do you do it? Well, you know, Mrs. Prince, you are my favorite. Your voice just made my heart break and my soul soar. Thank you. When you hold the skin in your arms and sing Mother's Lullaby during the storm. Summertime. Yeah, that song. You stole my heart and the show. Sorry, Herr Mencken. You can't have her. She's all mine. Americanas. And they're joking. But seriously, that voice of hers is what stole my heart as well. She bestens the show for sure. She does have such a delightful mood. How do you stay so lively and rested from? Do you keep that amazing vigor every performance? The stamina to deliver authentic portrayals week after week is challenging but also the joy of every performer. But you must admit, dear, it's much easier to do when you only have four performances a week whereas I have six. Six? Yes, naturally as I am the show's star I have more performances. I have an understudy that does the two matinees so I can save my voice for the evenings but the old boy, he'll get a little more time on the boards for a special engagement at Carnegie Hall. Carnegie Hall? And you for a light. Will you be singing at Carnegie Hall as well? No. I will be here performing my four little shows a week. The cast will be holding down the fort while I'm gone but not to worry, I'll be back to close out the show. I am glad to hear Berlin won't be missing you both. For those of you just tuning in I have here David Varrington and Trowley Norah Prince. They are here with the real life story of Porgy and Bess to show the world how much the Negro people suffer in America. Actually, it's only an opera, not our real lives. I have it on good authority that millions of Negroes do suffer at the hands of your government. I wouldn't say they suffer terribly. There are many great advantages for the Negro in America and for people of any hue in fact. We pride ourselves on the opportunity available to those that come to our country looking for prosperity, democracy, freedom. America is a place of great opportunity. Just look at us. Yes, you are a carefree doctor. Singing and dancing, I know. But these stories indeed post about the violence in the southern states. Denial of rights. Poor education. I have three degrees and Lenora has two. We are proof that our country is a great place to be a Negro. Right, darling? I have been blessed. So these stories of the violence and the poverty are exaggerated for the benefit of those who would like to discredit our great nation. The cast of Porgy and Bess alone boasts more than 120 secondary degrees between all 70 cast members. We are proof that the American dream is alive and well for the Negro. But you must admit that it isn't that way for all of us, David. Yes, Ermingon. There are still places where those things exist. What she means to say is we have made some mistakes in our past as a country. Some mistakes? Yes, Lenora. Some past mistakes which we are quickly leaving behind us. At any rate, our tour is more about celebrating the growth we've made as a country. Not dwelling on the past regrets that have long since been addressed. Been addressed? Yes. There are places we can't eat, sit, sleep. Lenora, don't be silly. My brother was shot in the back from riding the bus while Negro. I see. I was trucking there. Sorry, Ermingon. My wife is prone to exaggerations. America does have its flaws, no country on earth with more freedom and capability of growth. We share, we have much to share with the world. Like your beautiful voices. Exactly. Artistic diplomacy at its best. Thank you, Ermingon. Thank you, Head of Ellington. Don't miss Portuguese at Titania Palace. The lights fade. Scene four, location, rehearsal room. What in the frothing shit is wrong with you? Are you trying to fucking give me a shitty heart attack? Richard, I can explain. Someone's sure in this shit better. It was an honest mistake. He baited her. I can speak to myself. Be quietly. What were you doing, Peacock? Sitting there like a dribbling fuckknut while she sinks the entire fucking door? Richard? The embassy phoned. And some horses ass waffling hole destroyer from the State Department just sent 18 telegrams in the span of 15 minutes because two actors in my show that I might add went on the international wire in the middle of Nazi fucking Germany. The Nazis lost. I know. The Nazis lost. Don't fucking tell me the Nazis lost. We're in Hitler's Berlin where I was on the front lines while you were making little plays with Nazi defectors and Jews, Peacock. That's uncalled for. You know what else is uncalled for? Me having to end my rehearsal early because I get a telegram from the White House. You do realize there are 90 cast in the White House? Yes, and she's sorry. You realize there are people who are paid to listen to international radio. What were you thinking? What am I supposed to tell them? Tell them I told the truth. What truth? That you're dim as a bag of rocks? Stop it. Tell them that I live in a country where someone can shoot my brother down like a dog because of the color of his skin and the person that did it sad about what's happened to you and your brother. But you can't go flapping your guns on the international wire. No, I'm supposed to keep my mouth shut like a good little negro pretending all is well. Listen, little girl, we are artists. Artists. Paid by the American State Department to do a show all over Europe, not to spew politics, fucking politics. Who needs fucking politics in the theater? No one. That's who. But our government pays our bills, it's written up and fly right. You understand me? I don't have time for this political nonsense. I don't need a Robison or Baker on this tour. And if you can't see fit, to toe the line. Fuck the line. See that I'm wasting my breath. You're suspended, effective immediately. Ritter. You will not perform and you will not receive pay. You will not appear at any events or interviews. You will not exist in this company until I say you do. No more star is born for you. I mean it. And that's for you, David. Considering how much skin you have in this fight, I would think it would be financially beneficial for you to keep that one in line, especially since you're leaving for two weeks, which will cut into your profits. Keep me in line. Lenora. Richard, please. Just calm down and think straight here. I'm thinking perfectly clear, David, and her suspension stands effective immediately. Just wait! Scene five. Lenora and David are in a hotel room. She is hurriedly packing his clothes in a bag. You're not thinking clearly. Never been more clear. You don't even have a ticket. I'll just fly back with you. I can help you prepare for clinical hall. I'm not bringing that soup. Don't stuff it like that. I can pack a bag. Please calm down. Just go apologize now and all will be forgiven. Apologize for the truth. That's subjective. So you're on his side now? To your director? You want me to crawl on my hands and knees? I didn't say that. I would rather pull out my larynx with a dosed wood spoon and set it on fire than... You do not have to go that far. And you? Running after him like a little picnic? Well, just go in there and apologize. Oh, what? You'll take me over your knee and spank me? If that's what it takes. Hippocrates, liars and hypocrites all. Lee, please. And you just sat there and said nothing like a doormat cow tore into him when a few weeks ago you were willing to fight and boycott. Which you were trying to talk me out of. And even so, I was dealing with Richard behind closed doors, Lenora, which is where all this should stay. In private. Not blasted over international wires. Minkin's show is heard in 20 different countries. Maybe I just can't stay silent in sugar coat how I feel to please Richard anymore. Lee, that's not the point. What you said was foolhardy and publicly damning to your country. It's publicized all over the world, Lee. And it affects the sales of our show like it or not. So I should just sell my soul for the State Department? What will quitting the best opportunity you ever had do? It won't bring back your brother. I know that. This too shall pass, Lee. I promise. What do you care? You've got Carnegie Hall calling. That's not fair. It's been suspended for speaking my mind. You're right. I know I am. Apologize. I'd hate to leave you here for two weeks while you and Richard are fighting. We're not fighting. The King has spoken. I lost. He won. Go sing at Carnegie Hall. Lee, Lee. It's fine. I won't cause any more trouble. Why are you going? Don't apologize. But don't quit. I've been down in a few days. I'm sure. All will go back to normal. And besides, I make more than enough to cover us even with this trip to New York. Of course you do. What now? Must you always throw it in my face? What? Yes. You make four times the amount I do with your name on the top of the bill and five percent of the house. Yes, I know. As it should be, I've done three films and have years of theater. I didn't say you didn't. Then don't be jealous. I'm not. Then why are you yelling at me? Because, because I am sick of being patronized and scolded like some no-bile schoolgirl. I'll talk to Richard about that. I was talking about you. Me? Forget it. I'm leaving tomorrow. Can't we just forget this and have a quiet evening together? You should finish packing. Scene six, location cafe. Lenora is sitting at a table alone looking at a menu, a waiter enters. Good evening. My name is Hans. Hello, Hans. Can I please have a cafe? Wait. What do you have? These things here. You are a bet. Why did they sit in Z? All the way back here. I will get you a better table. No, I'm fine. I asked to sit here. Can I please have some coffee? Please. I'm cafe buta. Yeah, yeah, yeah. But, can I just say a thank you, a thank you for that. I saw your show of its mind how I would say sister last week. And you were very wonderful. Bravo, bravo. Thank you. My sister is a very, very very bad man. Like your crown. He slug and see. Slug him? Slug and see. Badly wrong. She couldn't see. And now she drinks too much vodka. That's terrible. Does it still eat? Yeah, yeah. I want to slug in him. He slugged it nine. But I told him never again. Slug in him. Slug him and slug in him. That's quite a story. The cafe buta. Yeah, yeah. But the ear show for a line is evil seeing. It helped her. At first she not want to see the show. I saved for seven weeks to get tickets for us. She loved it. Loved it. She cried and cried so much after their show. She no wants to see the man anymore. So, so thank her. Thank her for my sister. Bitta? Bitta? The show for a line. It saved my sister's life. Thank her. Scene seven. Location backstage of a theater. No. Just this one. It's ridiculous and impossible. It's not impossible. It happens all the time. My voice and her mouth won't match up. Gershwin had to deal with Ann Brown at a Boston preview when she got the flu. Really? It's just a matter of the right blocking. No one will notice. No one in the audience will notice. Why doesn't Richard just put Doris on instead? That's the problem. He did and 30 people walked out this afternoon before intermission. Last week people were beating the doors down to get in and now that show still has 50 tickets left. That's not bad seeing as it's a large house. People cashed in their tickets, Lenora. Cashed them in. I need you to do this. The Italian minister of culture is coming tonight and we are without a vest. Richard's beside himself. Good. That's what he deserves. Don't be so hard on him. Hard on him? This is all his fault. He nearly chewed my head off, shook me after that all of that stupid interview. That stupid interview was quoted in all the communist papers here in Berlin, Russia, Paris, and who knows where else. Not that big deal. It is. Richard's the only thing keeping you and David from being summoned in front of Huac. They wouldn't be bothered over some tiny interview. All the people have been called for less. My first husband went to the wrong party and suddenly we had G-Men at our door. Really? Lucky for us that he wasn't their target. They just wanted to know who else was there, but others aren't so lucky like Richard's brother, Brennan. He was summoned. He got himself listed and nearly ended Richard's career, too. Where has it? Brennan couldn't handle the rejection and shot himself in the face. That's awful. Yes, it is. Which is why nobody wants to go down that road. Richard's been talking to Truman and the committee seems satisfied for now that you aren't a communist. But the immediate problem of having neither you nor David on stage after this kerfluckle well that sent a shock wave around here, everyone in the cast is where it then ends. Sales are soft all over. This needs to end. Tell that to Richard. I have. And now I'm telling you, end this. He won't talk to me. Try again. It's no use. He won't even look in my direction. You have to try. Or we might all be out of job soon. A few slow nights won't close the show. Lenora, I'm serious. Sales have plummeted with both you and David gone. We've gotten cancellations on dates in London. Sales are soft in Paris, which is complicating negotiations with the theater in Milan. Milan? Yes. As in La Scala, Richard is in talks with La Scala. Yes, someone from the opera house was at a show in Austria. He really wants us to open their next month instead of Paris. La Scala wants us? Yes, don't sound so shocked. Up until this week, we've been doing well. Why shouldn't they want us? No, American opera company has ever played there, not even the Metropolitan. Well, we might not either at this rate, especially after the minister hears Doris. We really can't take much more of this bad publicity. What is she doing here? Richard, calm down. Out! I asked her to come. Why would you do that? This is gone on long enough. You two need to work this out. Nothing to work out. Richard. Miss Jess, come quick. Oh, it never ends. I'll be right there. You two, we have 40 minutes until curtain. Figure it out. I'm waiting. For? Your apology, young lady. And we have nothing to talk about. What exactly do you want me to say sorry for? Do I have to... Don't I have the right to say what I think? Isn't that why we fought the last two damn wars, right? To bring freedom? Not to sit around and bite our lips about things that are happening around us. Think just because you have an opinion, we are supposed to listen? Honey, every asshole from here to Calcutta has an opinion. It don't mean you have the right to go flapping off at the mouth and sinking this damn play. A man shot my brother dead on a bus. Dead, Richard. That isn't just me being flippant. It's true. It's real. Not an opinion. And I am here, all the way on the other side of the world, proclaiming to everyone how amazing and virtuous America is when, in reality, we've got problems. Everyone has problems. It's part of being human. And that is my point. All I did was point out that America has problems, too. I didn't pretend we're some utopia when we aren't. It's true, but you don't air your dirty laundry to the world. Didn't your mother teach you that? At that moment, I wasn't thinking about that. Oh, so we can both agree that you were wrong? I never said I was wrong. I just wasn't thinking of the consequences of telling the truth on that. Exactly the consequences that your little outburst could cost this show, cost me. I've been working for the past three years to bring this show to Europe and believe you me, there were plenty of folks telling me that I'm on an all-colored opera. But I stuck with it because of folks like Peacock, Elaine, and Cab, great talents who were down in the dumps just like me. And now some little sally come lately, waltzes in, and tarnishes not only herself in this show, but the country that is paying for her to be on the air. You gotta know where your bread is buttered, darling. Just cause you feel something don't mean you gotta go telling it to the rafters every chance you can get. I know that. You get us all in trouble. Not just some slap on the wrist, but banned. You want to end up like Robison and Josephine living in France? You go right ahead. But I like living in the States. I want to go home. I don't want to be hounded by G-Men because you suddenly decide to get a conscience. I'm sorry. What was that? You were sorry for what? For putting the show and you a jeopardy. And? And that's it. I said what I felt and believed. I'm not going to apologize for that. And you? And me what? You're not going to apologize for nearly giving me a concussion shaking me? I was just upset. That gives you the right to put your hands on me? No, it doesn't, but... But what? I guess I wasn't thinking clearly. I acted on impulse. I said I was sorry. I wasn't so hard. I wasn't... Now what? Now things go back to normal? What do you mean back to normal? You go back on. And? Josephine is out with broken notes and Doris can't clear the whole show by herself. So you will cover more shows until Josephine is back on her feet? And? Stop with this and spit out what you want, girl. Don't call me girl. What are you getting at, Lenora? If you're going to be doing six shows a week, then I should get paid accordingly. Oh, so you want to raise now, you little snipe? All right, what's it going to cost me? I want what they think I'll get. 1,500 a week insane! How is that insane? I'm doing the same number of shows as they are. Yes, but they have more experience and bigger names. Hence their name is on the marquee. I am doing the same work as them and all the papers from here to New York are mostly talking about me, not them. Is Star is Born nonsense again? It's not nonsense. You and I both know as many people are here to see me as David and Cabb. Admitted. Even if that is the case, what kind of president does that set? Hmm? You're not the only important person in the show. President. So it's okay to have the two lead males on the marquee but not the lead ladies. But they are the main porgy in sport and life. You're an alternate. Not any more since Jacqueline is out. I will consider it. You need to do more than consider it. Okay. I'll make you a deal. I have a very important guest coming tonight. From the scholar. I know. And you know how important this is. So, you go out there, land us a steel, then I will put your name on the marquee. Deal? There's one more thing. What now? Take nigger out of the show. We had this discussion. Yes. Table this for now and get on with the show. No. I don't care about the money and the marquee as much as I do about this. So you'll forgo the raise and the marquee for one word out of the libretto. Yes. 30 minutes to curtain. 30 minutes. Thank you. Okay. You got a deal. We take the word out. Really? 30 minutes until curtain. What are you waiting for Diva Baker? Thank you, dirty. Scene eight. Flash. Flash. The sound of telegraph keys clicking, radio dials switching and audiences cheering meld into a symphony as we hear the same female announcer from top of act two giving a radio address. Welcome back to this family life. They dazzled them in Austria. Flash. Flash. They were victorious conquerors in Berlin. Now the unstoppable Negro troop has emerged to try off of a misty London town. Headlines from international newspapers whiz across the back wall with headlines like Porgy and Bess, smashes into London. London has a new princess and Lenore Prince from Porgy and Bess. Even the Duchess of York was taken by their beguiling talent. There are four more weeks in the foggy British capital and then off to Paris before they cap off this tour with a grand two week engagement at La Scala in Milan. Flash. Flash. This Negro troop is on a whirlwind tour. Flash. David appears in his own light on the side of the stage. He is listening to the radio broadcast in the green room of Carnegie Hall. Ring, ring. Hiya, lady. Peacock. How's New York? How's the show? Oh, swell, swell. Listen, I don't have much time to talk. I just wanted to let you know that they extended my contract at Carnegie Hall. I won't be back for another week. But you've already been gone for so long. I know, sweetheart, good business calls. I even have a few auditions for the pictures out in Los Angeles. But you're all coming back, right? I mean, did you hear the news? We're going to La Scala, the La Scala. That's swell. Just swell. I should get back in a couple of weeks. Probably the end of London, but definitely Paris. I will definitely see you in Paris. Wait, I gotta go. Show's about to start. Come on, do it. What is it? Just cover those pretty little eyes of yours and you'll find out. The huge marquee from the Hammerstein 2 Theater lights up. It now reads Lenora Prince and Cab Calloway in Porgy and Beth. Is that big enough for your diva, baby? It's plenty big enough. What about David? Of course, of course. When he gets back. There's room for all three. Flash, flash. The marquee changes from Hammerstein to the name of a Paris Theater. Ring, ring. Oh, thank God you're all right. Sorry, darling. I had an audition for, get this, get this, Mr. Primminger himself. He wants me to sing Old Man River in the pictures. Can you believe that? It's wonderful. That's absolutely great. But, when he coming back, one more week to Paris then it's Milan. I'm on the next flight out. Of course. You just keep the place afloat until I get back, okay? Of course. Flash, scene nine. Elaine and Lenora are chatting backstage after a show. Lenora is still in her vest attire. Did you see them in the- Oh, there were people on the stairs. I'd wait a few minutes before you leave. Let the crowd thin out. How's my girl? David, hello, Peacock. Laney, you're looking frightfully lovely these days. Flurry will get you nowhere with me, Peacock. Welcome back. I will leave you two to get reacquainted. Oh, can you give this to Richard for me? David, hands her a large envelope. Where have you been, you scamp? You were supposed to be here three days ago. I waited on the Military Chance Botomac for three hours. I'm sorry, darlin', but I was working on something huge. Something that's going to change everything. I missed you. You missed me so much that you replaced me on the marquee. I'm just kidding. Good for you. Did you see the show? There were people sitting in the aisles on the stage. We got 25 cent innovations. It was so glorious. I went to a little cafe to grab a bite to eat after my flight. But, Lee, I've got the most amazing news. We're going to be in the pictures. What? My agent got me a contract with MGM. Your husband is going to be on celluloid. That audition really paid off. You're looking at a bona fide movie star. First up is Huck Finn. Oh, my star. Lee, you're going to love all the sunshine and palm trees and the ocean. Lawrence has set up a screen test for you, too. In three weeks, we're going to be hitting the coast in style. Wait. What? Lawrence has already set up a house for us, a car, and you will not believe. David, how are we going to do that? We're going to be in Milan. No, no. Lawrence, look at the papers. Our contracts end here in Paris. After that, we are free to leave, which is why I came back. Finish up my obligation. What a frothing shittest this is, he got me. Hello to you, too, Richard. Don't follow me, you little snipe. Explain yourself. It's clear as day. You really think you can just walk in here after a month and just do this? I will sue your ass off. Try it. My contract ends at the close of Paris, and Lee and I are going to California. I've got contracts coming in from Israel, South America, even Egypt. Congratulations. We wish you the best. If you will excuse me, my wife and I have some catching up to do. David takes Lenora to leave, but Richard grabs her other arm. What do you think you're doing? She's not going anywhere. Get your hands off my wife. You can't just walk in here after a month and take my leading lady. You can go, but she stays. You don't own her? I say she's leaving. I'm standing right here. I can make my own decisions. Yes, she can. I know she can. And she's going with me. Guys! Richard, can you give us a moment? Steve, baby, you can't go. We need you. Richard. I'll double your salary, triple it, whatever you need. Can't I just talk to David for a moment? And Private, please. Thank you for taking my side. I didn't take your side. I didn't take anyone's side. How can you just walk in here and just decide without asking me to upend our whole lives? You tell him, girl. Richard! I thought you'd be excited. This is going to change our lives. Just think of it, Lee. You and me on celluloid, 20 feet high, Negroes in the picture. Yes, and that's great. And the house, the beach, Lee, can't you imagine slipping your toes in the ocean? That's not the issue, David. We have something here. This show is really taking off. And in three weeks, I am going to be making history. We can be making history together. I told Priminger all about you, and he's been wanting to make a race picture for a long time. And he thinks we might be bigger than the Nicholas Brothers. Just think of it. You and me on the big screen. Yes, I can see that. And I think it's great. And we will. But I want to finish out in Milan. I want to sing at La Scala. Lee, you aren't listening. Forget La Scala. We are going to be singing into the hearts of millions of Americans. And we still can after Milan. No, I start filming in three weeks. Then I will do La Scala and meet you there. No, we are leaving in three weeks, and that's final. Who do you think you're talking to? Lee, this is a deal of a lifetime. That's what I make on this little tour. And what am I supposed to do? Sit around, twitter my thumbs? I'm supposed to go from the hardest show in the world to doing what? I can get you something, I'm sure. What? Playing a maid? It's better than playing Richard's whore. And you're either coming with me or what? Or don't bother coming at all. Sorry, Richard. I don't know what's gotten into him. It's called fortune and fame. How you leave things with David? He said he's leaving. We finished Paris. And he wants me to go with him. You going? I didn't tell him yes or no. Stay here. Stay with me. Stay with the show. You want me to stay? Of course not. It's up to you to decide. But think about it, Lenora. Would you rather be following him around in California or singing at La Scala or in Israel, Egypt and beyond? I could make you your own star. You don't have to hang on to David's. Scene 10. Location, Hotel Bar. Lenora sits at a table with a large bottle of dark liquor. She takes a glass and begins to drink and drink. Elaine enters and has a seat. I've never known you to take to the bottle. Did I ever tell you that before when my father was a priest he was a bootlegger? Nope. My grandpa made him the money selling rides and e-grows and my father joined the business at 12 years old. He even killed a man once before he found his calling. Maybe you should take a break. These men, they changed their strikes at the drop of a hat and no one is the wiser. No one even seems to care, they're on our head and they're up in arms. We have one thought outside of their preconceived box. Oh no, the sky's falling. Maybe I should get you upstairs. I'm not going back up there. I'd rather sleep down here where it's quiet, where people are saying, where no one thinks I am a little pawn or a sheep to do their bidding like, yes sir, bye, no sir, bye. My first husband was the conductor of my very first choir. I was singly vocals and he composed music. We played all over the states. You do have a beautiful horse lane. You should be on the cordons like Billy Holiday. I did. I never knew that. No, it was a lifetime ago. I was so young, so very young when a gentleman from the cotton club asked me to headline how I was over the moon. I ran on to tell Harold about it and he was furious. He turned it into some lured affair. He wouldn't stop going on and on about some grimy white man trying to steal his Negro wife, he was sure. Because that, of course, is the only reason why they asked me to sing. What'd you do? I sang at the cotton club. Good for you. Not so good. It caused me my marriage and the quiet. Harold told everyone that I was a harlot in the making turned all my friends against me. And, of course, he married Loretta, his secretary and second soprano. Even my parents stopped talking to me for a time. Harold was my father's protege, you see. He was the son he always wanted. No fair. No fair indeed. But I got to sing with the band for several years, recording, playing all over the country. Even came to Paris where I met my second husband John. Oh, wow. I love John. It was really Ira, but he changed it when his family fled from the Nazis. He thought it would make him blend in more if he had a French name. Elaine, you were marital. Yes, I know. Miss Sincere Nation would never fly in space. How was he? I mean, I was, that was him. He was, sensitive, bright, funny. His mother, on the other hand, well, let's just say racism isn't only in states. When she found out we got married, she told him that she had an outrun Hitler, only for him to throw away his future on a nigger. She did it. That was what she did. And worse, which is why as much as I loved John, my third husband, Charles, he was, he was a good egg. Third time's a charm. Oh, it was. We had three amazing years together before he passed. I could have spent forever in his arms. But the Lord had other plans. Do you regret any of it? Yes, sometimes and sometimes I don't. You had to do it all over again. I don't know if I would have done it any differently. My first time we were so young, we got married when I was 14 and he was 22. We didn't know what we were doing. Now, he and Loretta have seven kids and live in Harlem. I see him from time to time and I wonder what my life would have been. And although I love John, I couldn't stay with a man who allowed his mother to disrespect me and our marriage at every turn. But all that heartbreak led me to the best man I've ever known. So if I changed something, it would have meant I never met Charles. That was definitely worth it. The only thing I do regret is Charles and I never had kids. I wrote three. Two girls and a boy. We wanted two boys. But we were always so busy. I was touring and he was working. We just didn't make the time. We thought there were more tomorrows around every corner, but time waits for no one, Loretta. You have to seize each day like it's your last. I know. I just hate all of this. I hate the day that feels like I'm betraying him for even considering the state, like how could you desert me when I need you? Except what he wants is all that matters. I hate that Richard keeps coming by my dressing room every few days offering bigger money or my own dressing room as if I can be bought like some prized cow. But most of all, I hate that they're trying to make me choose. Why can't I have both? Hell, it doesn't work that way, honey. Why not? It works that way for men. I mean, like with you, Harold just kept on working and now he has seven kids. Hell, even look at David and Marjorie. She leaves him to advance her career which, from all accounts, is great. But she has no kids, no husband. He, on the other hand, loses everything to go out to war and yet gets it all back in short order. Career, now he's married to me. That wasn't nothing. Marjorie didn't believe David. Not for her career, anyway. But it was complicated. He was at war. She was traveling in a show for months at a time. They were apart and things happened. Men have needs, darlin'. It's as simple as that. Are you saying that David... We all know Peacock doesn't like being alone. He wouldn't. Maybe I should go. Maybe I should just go with David and say, forget it. I don't want to stay and see what this opportunity has in store for me here. Well, you can't be at two places at once. I love my husband. He knows that. I told him that I'd go, just let me sing at La Scala and then I'd go, but he won't budge. He thinks I'm being selfish as if he's not being selfish. You can't have it all at once. I know. I just have no idea what to choose. Listen, no one will fault you for choosing to go. I played in Los Angeles years ago and it was beautiful. Very beautiful. There's some good theaters there too. It's just fine. It's just not fair. Why does it have to be either or, not yes and for us, and yet they can have it all. It's like everyone gets to claim ownership of you except you. My life ain't fair child. It's clear in my head. Do you mind if I stay with you for a few days? I don't mind. But David mind. Scene 12. David sits at a cafe table across from Richard and Lenora. Thank you for coming. I asked both of you to meet me here because I figured it was easiest to talk to you both at the same time. With pleasure. Shut up, Richard. Sorry, I didn't realize I wasn't allowed to talk. You're just kissing her ass because you hoped to get your way. Maybe I just had manners which is more than I could say for you. I called you both here because the past two weeks have been hell. The two of you fighting, pulling me in two different directions, it's impossible for us to continue like this. I can't agree more. Richard, I know you want me to stay. I do. And your offer of $3,000 is fair attention. You're giving her three grand? You said you couldn't go above $1,500 for me. You don't think she's worth that much? Now that you don't have me, that is. She's a bonafide star and I have the funds to pay her according to it. You are so full of shit, Richard. What do you care, David? You have to be a big star in Hollywood. Because you're trying to buy my wife as if she's some common whore. I wouldn't pay a whore three grand a week. You hear this, Lee? He thinks he can just throw cash at you. That's not even what I said. Enough. Sorry. As I was saying, I realized that I was so worried about hurting either of you about what I wanted, what I needed. So I decided to stop worrying about either of you since both of you don't seem to care about what I want or need. That's not true. So I have decided that what's best for me right now is to continue on with the show. Lee, just for the next few months then I'll come to Los Angeles. Don't bother. Don't be that way. You mean don't be angry that you've chosen him over me? I'm not choosing him. I'm your husband. Where I go, you should go. And I'm your wife, so the same should go for me. You made this choice without me. And you didn't do the same thing. You wanted to go and do pictures and what about me, huh? You didn't even ask what I wanted or needed. Just expected that I'd drop everything to follow you. For just right. I have no desire to play maids in pictures. But I didn't study to do opera. That's my goal and that's not in Los Angeles. It's in Rome, Israel, Egypt, and yes, at La Scala. It's what I wanted to do my whole life and I can't even believe you would even ask me to give up my dream. To do what? Sit by a pole? I'm the leader in a show. It won't be that way forever. I want this chance. Ask me to give it up. Don't make me out to be the bad guy. It's not about my career or yours. It's about what's best for us. No, it's about what's best for you. And I love you. But I've been down this road before. Just give me this chance. You made your choice. Just hope it's worth it. David leaves. Lenore starts to go after him but doesn't. So glad you stayed, David baby. I promise you won't regret it. We're going to take the world by storm. Richard fades into the background leaving her alone. Flash, flash. Lenore alone again as she was in the beginning. Was it worth it? Richard was right. We did take the world by storm. Seven years we toured. Seven. I went to places I'd never heard of. Met kings, queens, dignitaries. I saw the best the world had to offer outside my home country. But it broke my heart. I saw the riots, marches, sit-ins. I saw my people fighting for their dignity at home while I was being lavished upon abroad. It gave me pride to see my folks fighting for their dignity and equality. But I also wondered if I shouldn't be there too. Because as my wildest dreams will come true, the unrest made it impossible for other audiences. Like David to survive. Was it worth it? When I tell myself our story, when I mull it over in my head, things have a tendency to blur. Sometimes I think it was also very important for our people, our country, being out there as a colored ambassador at such a pivotal time. Then other times I don't know. Was it just another show? Was I simply another best? Or does it only seem important now in hindsight? Or was it ever important at all? It's hard to tell what was real and what was imagined, you know? Because when I try to figure it out how I got here or ask myself, was it all worth it? I just end up at the beginning. Elaine and Richard appear. When I was a doe-eyed girl and her first professional play, David reappears. When I was madly in love, when I stood up for things that mattered in the world, when all I wanted more than anything was to be a success when time felt empty. The chorus enters. I don't know if it was all worth it or important or anything new. I gained as much as I lost along the way. All I know is for a tiny snatch in time David and I were happy. He was my poor thief and I was his best. And the rest well, can be chalked up to the price of success. End of play. Soldiers that begins and ends with a signed paragraph and that this play begins and ends essentially with a signed melody. Thank you very much for that. What else? A musical? I think there's a lot of music in my life and my listening. By the way, we're pretending the Beyonce's not in the room. We'll call her up to chat in a minute. But for now, just pretend she's not here. So what else? What emotional impact? What kind of feelings does this have to do with immediately following the play like this? Something never changed. Something never changed. Thank you. Can I click on you to elaborate on that a little bit? No, I was just thinking that you know in retrospect going back 80, 90 years that the conditions for many people have not really changed in that amount of time that we're very much still in the same place. Little different scenarios, but essentially it's the same. Thank you. Appreciate that. What else? What are you thinking about right now? All these faces with all the stuff going on easy brave and share. What's going on inside your head? Is there a moment in the play that's sticking with you right now? A bottle of the flash photography. The flash photography. Oh, that's cool. I think he was the waiter. Say what that could seem with the waiter. Oh, the same as the waiter? Yes? Thank you. What else? I think it was the discussion about cartheism because hell affected everyone. Yeah. Black boy, no matter what. Yeah. Yeah. The historic fact that the State Department was trying to do pick something overseas that was so not true and the way that they were in some senses using people for a political end it was just yeah, it was kind of like I can't I believe they did it but it's kind of like I can't believe they did it. It's got to chew on that one for a while, huh? For me it was still analogous to slavery. In what way? In that State Department basically because it was paying to these people it owned them it controlled their every movement not everything that they uttered as they were traveling the world. Yes, sir. But I like the complexity of how it acknowledges that there's prices to making a moral decision personally. That was one of the things that intrigued me all the way through is every time someone wanted to stand up there was always the personal price to be paid that had to be questioned and returned at this corner and it had to be applied to every character. Right, right, right. Yeah. It was not in full situation to be in. I think there needs to be some more comment about this but I saw this play Amazon's In There Man which is about Lenny Ritton Shaw and essentially you're saying well what she did to the Nazis that the State Department was doing for America here we're making this big show it's not really true but it makes us look good. I think we found it. What else? Is there any particular character or I could be a quality character but is there something or someone that resonated with you like someone that you felt you could really that you really understood really ran your balance some way one of the characters in particular and perhaps the moment for a character that seemed particularly resonant? I found Elaine's character inspiring as a woman in the arts now I think even though I don't necessarily really to be an African American woman in the 50s but I think that still resonates to all women in the arts. Right, right. Thank you. You guys were brilliant. I really love the show I thought it showed very well kind of the struggles that every person goes through when they're making the decision about their future and the sacrifices they have to make. I did, I was kind of disappointed that there wasn't one music in the show and I understand there's a table reading because it is a show behind the show and all I kept thinking in my head was 50k, I know it's a musical but there would be more musical and a musical about an opera or I mean a play about an opera so I would... I would say say that that sounds like an interesting question to discuss with Bianca when she comes back to life. Interesting thought though for you. Very interesting that the play focuses through Lee on the choices that women have always had to make and still have to make. It's just part of being a woman instead of being a man. I think the impact of Leonora's brother's death on her was a point in the play where she seemed to really get her voice. Yeah, yeah. Would you agree with that to me? I mean how does that feel to be an actress sort of spreading through that character? I mean she was so timid like in the beginning I just feel like as people you just get to a certain point where you can't hold anything. I don't think that she just all of a sudden like turned into this political person but there was something in her and it was just gnawing her and it just like exploded out and that transformed her a little bit. Yeah, yeah. Oh, yes sir. When dropping, whenever she finally got to some 11, Richard you should know what that was. You thought that was? Whenever she wanted that award in the marquee Oh, yes. Yeah, pretty impactful. Yeah, okay. Well, I thought that Elaine she was for me the solid piece and figure out what she was going to do with her and she had the skills behind her and she had the confidence in herself and everyone else around her was dealing with this, that and the other thing at the moment and but ultimately Lenora needs and also very needed to make the decisions for themselves and and it just to me was a maybe a little sad but something that needed to happen and that everyone, it was a plus plus kind of for the professional development and the desires to and so I thought Richard was an interesting complex character it seemed at the beginning like he was just so awful but he had caught up for this for the show so I thought that it was sort of interesting. To have that complexity. The commitment to this particular show and that vision kind of jerked you around a little bit whether you liked him or not I don't know he just seemed complex that's a lovely comment thank you I was trying to figure out and maybe I missed it because in the beginning it does seem very almost just like not his first gig doing it but the first few weeks traveling with them with the show and then later on as they wear on him he does seem to get more like a part of the crew when you're a part of a crew for so long you start letting things go so I was trying to figure out how long he had actually been working with this cast of people at the very beginning he did seem to get more committed which I liked but that was the question I was trying to figure out how long he's been working with cool Richard there was no moral base for Richard for Richard I mean he was going along with anything that made money and that was successful and charging on to the next assignment and to the next gig and so I found him rather tragic who wants to either agree or disagree with that well I think most theaters today are, they only do pieces they think will be successful and make money if it's controversial the voters step in because of $40,000 to do it it's not going to happen can't blame that on any one person it's happening all over it's the industry well I mean just the idea though you're catching it about moral money that way I mean he was going to buy in anything and you didn't know where he was and he was like, well you do there's a word to use but still even though it was so blatant when you're from them there was no understanding there was no compassion there was no there wasn't any understanding at that time with the time frame Richard was acting like in that time frame so you felt that was they were in charge in time what I wanted was what's here and whether anybody else was especially not being people who aren't white you're here because of me anyway so you're you're part of of who I'm in charge and you're doing what I want you to do yeah I had a totally different reaction in terms of I felt like it was a great job to actually write you down the barriers and differences and talk about his Irish past and that racism and how he would respond to that racism in the play and kind of give meaning to character skills on a personal it's color blinded if you would be a jerk to anybody but also I think that you said the colors well yeah he has the trouble with the few act what's the so he had that experience in the cartoon and I think it was there for I don't think he separated himself that way I think he was who he was thank you it's very interesting yes in the back I thought Richard was very well on the position he had a job of it his job was to go out and make this money and have these jobs for these people Mr. Sarah a lot of people got fed off what he did interesting very interesting interesting yes sir I found that just taking Courtney and Bess on the road was a very courageous type of situation Gershwin got a lot of blowback low producing working effects and it was tough for one him because of his own background for he had prejudice for a lot of other things but he produced for you best that was a tough show to take on the road in the 50s and I think it would be the gutsy guy who would have said hey this is the show I want to take this is the cast I want to take that's what I thought he did want to fail at all costs for the cast that for himself he did want to fail yes it was complex time thank you for that I agree I disagree with whoever was over here I thought Richard's character was the quintessential let's just do what's best it was the greater good no matter how we have to get there period kind of person and I don't think he set out to hurt anybody I think that he just has tunnel vision on this is what is the greater good even from the beginning of firing people to his character development to you have to play with the show because I never felt like it was about the theater show I think it was about we are changing the world in the way that we can just keep focused forget all the distractions and if the distractions are out of people they have to go but I never felt he was mean or racist that's very interesting very interesting how it's fallen for you guys I'm wondering if anyone would be interested in expressing how you're trying to date this character oh the girls you shake them up why is that the fact that he's really cute yes I was excited I felt like every woman was happening with some of the woman stuff and I was hoping it wasn't going to go the direction it went just because even though it was going to hate men and so it just was really frustrating because I was like you'd be the one to not make that decision and then it kind of went in that direction I was sad it went in that sometimes I actually often happens when it's like I'm making my stand but I mean that is a possibility that can happen I just kind of was hoping there would be some redemption with this character and there was none which I mean it's fine that's the way it went I got the point across it ended it was what she said how it ended like it was really sweet how different would the play have been if David had decided to follow her instead of making the ultimate he would have been a star like me darlin thanks for that for him it did go so well for it yeah could we read the play right off of the name my first introduction to for him best was just his music my grandma used to play it on her her flair and it was from Nina Simone and Ella Fitzgerald and Louis Armstrong so I heard it as jazz music I didn't know that it was part of an opera and then when I heard it was an opera I was like why I should listen to that and so it was an idea and it was just a stark contrast and just how the music sounded and that was interesting and then I finally saw the actual opera which kind of made my head explode because every step you get away from it the music sounds different but then it resonates different and there's some interesting things happening in the show and I couldn't quite wrap my brain around how I felt about it and did more research and I read the book and I read the play so I knew just with my own emotional response to it that there was an interesting story there that I kind of wanted to look at I just wasn't sure how that was going to develop and then I got a really amazing scholarship to do some research at Ohio State University which has an archive for Robert Green who was in fact the producer and director of this particular tour for you and Beth and things just started to follow and keep going. What kind of questions do you have for Bianca? And I can tell you, she knows it all just a research check she knows everything. I'm going to ask you again A, why didn't you put more music on Beth? No. Why did you end the show with her somewhat regretting her decision? And the point that she made that decision that she would have been a little bit strong We'll start with the music question since that's a little less controversial No, I'm just kidding It's interesting about this particular, to do a show about a show is always an interesting journey but particularly about an opera like this one that has so many aesthetics because it was written as a book so you have the DuBois family and then you have the Brothers Gersh one who each have their own and then it's also a bit of a movie so there's a lot of different entities involved so you just have to make sure when you're doing anything, especially when you're inspired by something else that you're not stepping on anybody else's rights or creating issues with that you want the show to be able to stand on its own to be able to be a stand-alone show but also potentially be done in rep with a company who wanted to do accordion best as the opera so that you have the music as it is and that show is what it is and this play is what it is but they can speak to one another but not necessarily be like well if you haven't seen which I know a lot of people haven't they might know some of the music from accordion best but they've never seen the show so I wanted there to be but then also not to give myself into trouble that I can't pay for so yeah I mean so it was finding ways to be able to use music and then find other ways so like dancing and things that were reminiscent of it without feeling like I had to depend on that show for this show to stick I like to spend any music in general oh well there's a little but there yeah there isn't a huge amount and it is a play and I didn't want it to be musical musical either because I thought that would potentially be a little more difficult as well and I don't write music and so that was a whole other thing where I was like I don't know how to write music so that would be weird as for the other one for me a big thing about the show is about regret it's about the choices we make and about the fact that life is complicated right like we make choices in decision and they might be really great choices but that doesn't mean that we won't regret of that or the cost of that or that it wouldn't have been complicated like I just that was the thing for me where I'm like there's so many choices I've made that like if I had gone the other way maybe these other awesome things wouldn't have happened but then some bad things happened too so I just wanted to make her just that I think you did it very realistically she was stuck between a rock and a hard place had she gone back to LA life would have probably been pretty awful and I loved the analogy or the reference to playing a maid because that was that never true or the impact that also would have had and of course the regrets you know but it would have gone either way and I think you balanced that absolutely beautifully I didn't I didn't feel angry about this I didn't feel overjoyed about that it was really really nicely on the fence and I thought that it was well balanced thank you actually as an addendum to what you just said about regret and the choices we make I found in this tell me maybe this is intentional but the abstract overtone that I picked up was the question of free will and the influence you know like the the time and the setting and the place and if you know how to play about a play we're all catalysts but I feel even down to Lenora's at the end you feel like maybe she did exercise free will like breaking free of everything found her but even still she was kind of influenced by Elaine to even that point where a person might think they're making their own decision they're actually is an influencer bugging her in you know and aside from Elaine there was the journey for Bane the influence of David all that I love it, I'm feeling all of that yeah I'm feeling that free will is the wrong word here because I don't feel that she was ever really having free will when she decided to go to Milan it wasn't because she suddenly had free will and she made up her own mind she had directed her whole lot to the dream of singing at La Scala and that was not turning her loose regardless of what else happened if she lost that dream she would have been losing the central pillar of her what she had stroked for her even when her brother died she was told to stay there what else about the play or maybe the process of the play she's been with us over the years was it a biopic about the character's plot lines before the details go was it based on a real oh yeah, person or anything yes I stole lots of fun so the great thing about being able to go and I'm a research count I got to go to OSU and read Robert Breen's papers when I was younger in Ohio it is free go he was brilliant and insane and fun and hysterical so the play has changed a lot from where we started to where we are now and originally it was far more I think based on real people and then as we started moving through it I made a lot of changes and definitely took a lot of liberties a lot of these people are definitely influenced a lot of the plot points were specifically from things that really happened like the State Department gave them lists of things to say and not to say how to present themselves, what to do, what not to do there were a couple of holes there were issues there was also another love story Leah Team Price and William Warfield did in fact meet marry and separate at the end of their stint at Porgy and Bess they did go to the Scala they had all these dates so there were a lot of really amazing things that I found just by being able to research to kind of understand what this tour was like we got testimonials so I had some fabulous stories about real things so I could take them and not necessarily use them as is but like get a picture of what that life would have been like and create characters that have something similar but not necessarily yes yes sir in the back two things I go to a lot of plays but sometimes I don't get it really easily okay so you made a switch we found out about the Brothers Dead all of a sudden there was a big switch and that switch was a little quick on the, I had an intermission and I had to think about it and say what happened, well they just did it but maybe some way you could cushion that a little bit maybe or maybe leave it like it is I don't know those were slow guys and then the other part was you kept referring to being shaken and grabbed in some late in the play well we didn't see that and I think maybe you might have taken that out of the actual grabbing somebody and then you took it out but then they still did it we just kept saying oh well they just didn't show us that happened and I don't know, I like a little violence that might have been one of the things about a stage reading versus a production perhaps in the production she was really just throw them to the ground and then she sat aside no I know what you mean, the physicality is really important in that great point thank you so much for your time yes, I really enjoyed it it really helped my attention which is saying something at night in the evening but you know there were so many things to me the coming feminism in her civil rights movement, the depiction of African-Americans in movies in theater and that sort of is there one thing that you were thinking was really shaping her to find her voice, I mean is there one that you think stands out because I saw them almost as equal in shaping her but did you intend for one to be more influencing on her finding her voice than another? I think the central question I asked myself throughout the play what is the cost? what is the cost of what choices we make and that can be influenced by different things where there are all the things you mentioned and other things her husband, Elaine so I used all of those things I guess as themes is to ask those same questions just in different ways so what is the cost of your choice if it's about feminism, what is the cost of your choice if it's about marriage so I tried to use the themes more as a way to answer one such question that I was asking myself so I think they all colored how I was approaching breakfast is by saying it as a historian one of the things that I found fascinating about the entire play was your ability to weave all of those things into play the civil rights piece and the feminine piece and that whole that whole thing I found that entire very fascinating I just have to say this really quickly I have an interesting viewpoint on it because I have been at an office right across the hall from where you all were rehearsing and so every now and again I'm sitting at my computer testifying you guys but I wanted to ask kind of like your brain because I come from the cinematic brain and so hearing it without having any visual presentation I was the movie it was already coming together in my head I just wondered what kind of a do you have a cinematic brain as well because it strikes me that even from the staged reading it's a very visual visual piece and again I think that was well staged given the limitations of a reading but yeah like I'm envisioning all these interesting things when it becomes theatrical production movie adaptation sounds great too yeah I'm really excited I mean I think it's we have this conversation all the time especially as a writer like it doesn't really come alive until you have the actors I mean like I can I say this out loud it's almost like an actor but like the interesting thing for me is I hear the voices in my head like as you're typing and like I am the person who sits in the darkest and typing and I like I hear them out loud to myself but it's just me in a room by myself talking not so great but when you have all these amazing actors and they bring it to life that brings one thing and then you have the set you have the design and then you have the movement and so I'm really excited to see how this changes and grows once all the other elements are also brought in and the music and so yeah I am so excited I'm like yes my brain is in that like what's good what is that visual and I'm really excited about the tableaus and the dancing and it's going to be fun we're going to have to think more about how we influence this national film festival I've got a couple comments first well I just want to say that I think the depth of the characters as you wrote them and the depth of the emotion that you will put into your performances were just wonderful but I also want to say with Lenora I think one of the things that I felt influenced her character and it kind of went into the anger and the way she sort of found her voice was that she was never really given a chance to mourn her brother she couldn't be there for the funeral she couldn't go back and it was like well you've just got to keep performing and you've got to go one and nobody really gave her a chance to mourn and I think that went into her changing and becoming a little bit more outgoing and forceful in what she wanted interesting you're going to steal that too right? I'm stealing all kind of things it's great I believe we should probably wrap this up you've been very patient to sit here so long in this very war room but thank you very much for your input your smart thinking I know the playwrights found it very useful and I think we should end the evening by