Making “the shape of things” happen: confessions of a twenty-two-year-old first-time director - a guest blog by Bakari Lebby

Hi!   I’m Bakari!   I hope you’re having a great day so far.   Me?    I’m pretty good, I suppose.   Jasper told me that I can be as informal as I would like to with this, so here goes. Here’s a synopsis that I wrote for my upcoming production of the shape of things, by Neil LaBute:

When Evelyn, a quirky art student, and Adam start dating, Adam’s friends notice that his appearance begins changing rapidly. Adam is transforming into a more attractive person and as time moves on, his attitude also begins to change. His friends take notice and respond in conflicting manners.

Pretty good, right? That took me about 30 minutes to write.

I’m going to try and explain the production process a bit, and just ramble in text;  I hope this makes sense, but I make no promises.

This show came together through Green Room Productions, a student-run organization at the University of South Carolina.  Back in November, I got it in my head that I wanted to direct this play in Benson Theatre, so I wrote a proposal and sent it to Green Room.  They got back to me in late January, I held auditions, pulled a cast together, blah blah blah, and now we have a show!  A lot of people ask me:  “Is this for you to graduate or something?” Which really sounds like “Why the hell did you go this out of your way for no payment or credit hours?”

I have a couple reasons. I realize that we as undergraduates at the University of South Carolina don’t get as many opportunities for leading roles in demanding material.  Dillon Ingram (Adam), for instance, is a great actor whom I’ve seen on the mainstage at Carolina, but I felt that he would kill in a leading role.   Also, I really wanted to direct something that people aren’t getting at Carolina.   I felt that the shape of things was just the thing I was looking for.   I’ve always been a LaBute fan, and even though he had many other works to choose from, I knew this was the one, the one for me.   It’s funny, it’s unsettling, it’s vulgar, and most of all it’s real.  The dialogue is very real.  The plot is very real.  Even though there is a bit of hyperbole, this play talks about things that happen that we may choose to ignore when it becomes too personal.  Things like art and the concept of being cultured, being attractive and how far being attractive will get you, and infidelity. Especially infidelity.  No one ever wants to talk about it, and I don’t think that’s fair, because it happens.  I guess where I’m going with this is that I think people will see parts of themselves all over the show.  Hopefully audiences will question themselves later that evening or the next day.  So, that’s kind of a roundabout way of me explaining why I chose this play.

Still with me?

I have a super cool cast.  They are all amazing actors, but I don’t think that’s the only reason they’re so super cool.   It’s also because none of them are playing roles that they are used to playing.   For an actor, or one who is at all ambitious, that’s the dream. This is like anti-typecasting.   Patrick Dodds (Phillip) actually told me a few days ago that this is so cool to him, because he’s “never really played a dick onstage before”.  That’s a very basic illustration of the character, but I know what he meant, which is why I cast the kids that way.  It’s also intriguing for audiences to see actors trying new stuff. I acted in Camp Rock last summer at Workshop Theatre with Katie Foshee (Evelyn) and Catherine Davenport (Jenny).   The difference in roles between these two shows could not be more extreme.   I feel like I should have a poster that says “Come see Doody from Grease and Mitchie from Camp Rock say a bunch of bad words on stage!”   Or not.   That looks so much crazier written down than it did in my head.   Speaking of things that look less crazy in my head, directing anything of this length is new for me.   I’ve done things like music videos and small sketches, but never a full-length play.   I’m sure the cast can agree, sometimes things make more sense in my head than they do out loud.   But give me a break, I’m learning.

Directing is weird.  It’s cool, but it’s weird.  Mostly because it’s so interesting to see things come together and watch characters grow, but also because it’s so time consuming.  We’ve been doing a lot of stuff when not rehearsing, like discovering props and set pieces and painting and building and designing sound and finding set and lighting designers and SCHEDULING ANYTHING.   It’s so worth it though.   Also, the team I’m working with is awesome.   The stage manager, Lauren Pace, who was assistant stage manager for  Legally Blonde at Workshop this season, keeps me in line and sane. Samantha Elkins has been coming through in the clutch, helping me as an assistant director.   She rocks, because I love having a second eye, and especially a trained second eye.   I also like having an untrained second eye, which is why I brought in my boy Chris Pickering. He’s a theatre virgin, and my assistant stage manager.   I asked him if he wanted to be Prop Master General, and he responded “I have no idea how to do any of this, but yeah!”   He really put the team on his back.   He also helps a ton, because he can be a “normal person” when I need that viewpoint.   If that makes any sense.   So, I feel that the team is pretty clutch.   And I’m extremely grateful that they’re all on top of it.   Especially considering that I do a million things at once.   I’m currently a full-time theatre major at the University of South Carolina), a part-time employee at Sid & Nancy, a local musician, and an actor.   I actually just finished performing in Workshop Theatre’s production of The Color Purple on Saturday. Directing a show while being in a show makes for very little sleep and a lot of forgetting to eat dinner. Supposedly that’s unhealthy or something.

This production is totally worth seeing, because you’ll see a boy-meets-girl story that isn’t at all what you’ll think it will be.   You will see the pains of being an artist in a small town, or the confusion of art and wondering where it crosses the line.   You’ll hear a soundtrack that only uses local and regional music.   It tackles the Manic Pixie Dream Girl, or MPDG, trope, because I think it’s nice to see a side of American storytelling where the depressed boy realizes that MPDG's aren’t real,  AND where the female lead who seems to be the MPDG is more than just a cutesy shell of a human.   She’s an actual person with plans and thoughts. If you have no idea what a MPDG is, I believe this article should help, but think Natalie Portman in Garden State, Kirsten Dunst in Elizabethtown, or Zooey Deschanel in anything she is ever in ever. Actually, for all of the characters. This production takes notice that even though the world around us may be black and white, no human being is two dimensional. People are still people.

So, please come see it, Soda City. I think you’ll like it.

~ Bakari Lebby

the shape of things, a stageplay by Neil LaBute, will be performed at Benson Theatre (301 Pickens Street) on April 12 and 13 at 8 PM. Tickets will be $5 at the door.

The Art Room Queen: Nancy Marine on the Runway

“My name is Ms. Marine! I am the Art Room Queen!” Nancy Marine awes the crowd with her fashion creations.  A competitor in the Columbia Design League’s annual fashion contest, Runaway Runway, Marine is a featured guest at this year’s “Meet the Designers: Runaway Runway” event, held at the Columbia Museum of Art. Tapping her boot on the stage, Marine demands that the technical assistant click to the next slide.

“Hit it,” says Marine, flicking her fuchsia-dyed bob with the back of her hand.  In the photographs, Marine is dressed as an art room warrior, pacing on a runway and roaring battle cries. Her warrior’s helmet sports a paintbrush Mohawk, and her mace is spiked with Elmer’s Glue-All caps.

Marine, 48, is an art teacher at Killian Elementary School in Richland County. Marine is single, and her only children are her art students. When she isn’t teaching, Marine enjoys urban line dancing, painting murals in her house and constructing outfits recycled from art supplies.

This will be Marine’s third consecutive year entering Columbia’s fashion competition  Runaway Runway, sponsored by Palmetto Clean Energy and held April 6.

The Event

Participants in Runaway Runway create and model outfits made from recycled materials to win prizes. The Columbia Design League’s official website states that Runaway Runway is intended to broaden the local community’s understanding of design and prove that environmentally-conscious clothing “can be fun, fabulous, fashionable and funky, too!”

Since 1992, Runaway Runway has grown, and in 2011, the show moved from 701 Whaley St. to a bigger venue at Columbia’s Township Auditorium. The Columbia Star reported that last year’s Runaway Runway, its 10^th anniversary, attracted a crowd of over one thousand people.

This year’s lavish Runaway Runway after-party is funded by high-dollar sponsors, which range from Companion Global Healthcare, Inc. and Skirt! Magazine to organic alcohol companies American Harvest Distilling and Fetzer Vineyards.

The First Catwalk

Marine, a semifinalist in the last two Runaway Runways, lets loose her creativity at home. Her house is every bit as eccentric as she. A wooden zebra nests between the azalea bushes in her front yard, and the main hallway of her home features a collection of costume hats and dresses hung from nails.

Harry Potter trading cards line the baseboards of the walls.  Marine points to a full-length mirror painted as the Mirror of Erised. The mirror, from Harry Potter and the Sorcerer’s Stone, shows a person his or her deepest desire.

She pushes the coats on her coat rack aside and points at the mirror’s reflection of the Sorcerer’s Stone, which she painted on the opposite wall.

“You can see it, but you can’t get to it,” says Marine.

Runaway Runway 2011 was not spared from Marine’s artistic frenzy.  Marine made a flapper’s outfit, complete with matching hat and purse, entirely out of Juicy Fruit wrappers. She decorated her shoes with chewed bubble gum that she retrieved from students.

“I heard about Runaway Runway, and I went to the last one at 701,” says Marine. “I was like, ‘this is cool—I can do this.’”

Marine hadn’t expected such a high level of craftsmanship from the other entries, such as first-place winner Miles Purvis’ Mad Hatter outfit, made from re-purposed cans, curtains and peacock feathers.

“I was blown away by how good they were,” says Marine. “I wasn’t even top three in my dressing room.”

Marine went on to wear her Juicy Fruit outfit to several Columbia Museum of Art events later that year.

“She was wearing the foil wrapper necklace and carrying the Juicy Fruit box purse for a members-only reception,” says Shirley McGuinness, a friend of Marine. “That's what I love about Nancy. She puts full passion in creating her work. That kind of passion is really rare, and it's great to see it on the runway and beyond.”

Two for Two

Marine entered two outfits for Runaway Runway 2012: the art room warrior, which Marine christened AMortinka, and a woven paper dress called “Crayola64.”

AMortinka’s outfit, which Marine modeled herself, was made from leftover art supplies from Marine’s classes.  An Amazon-inspired chest piece featured a cone bra made from crayons.

“I’m very trial and error so I made, like, three sets of just the tits,” says Marine. “One was too small, one was too big, and being a schoolteacher in the summer, I would work for two or three hours in the morning, and then I could just put it away.”

Marine set the outfit aside for three months to refresh her creativity, then picked the project up again in fall 2011. She constructed an alter ego and back-story for her outfit. Her alter ego, AMortinka, was a warrior princess cursed for stealing a red Crayola crayon.

AMortinka, according to Marine, was her most time-consuming piece.

“It just grew and grew,"  says Marine. “When she has a name, now she has to have a font and has to have a logo, and she has to have a story, and it just grew and grew and became so in-depth that she’s really a real-life character, very real to me.”

Taking Project AMortinka to the next level wasn’t Marine’s decision.

“It took me,” says Marine. “It just took me there. I’m surprised I didn’t get a tattoo, to be honest.”

Marine’s alter ego graces the posters for Runaway Runway 2013.  Pictures of the snarling AMortinka are taped inside store windows throughout downtown Columbia’s Five Points and the Vista.

“Crayola64,” Marine’s second entry, was modeled by friend Karen Corbett. The two-piece outfit was made from student art projects, which Marine cut into strips and wove together. She melted crayons to create a neck piece and glued together empty crayon boxes and Crayola Classic marker caps to form a belt.

All three of Marine’s past entries have been featured at “Runaway Runway: Meet the Designers” events.

Third Turn

Marine will display her new alter-ego, PrismaGleana, on the Runaway Runway stage. A rainbow fairy, PrismaGleana, late in choosing her own fairy color, was left with white, says Marine. Being resourceful and environmentally conscious, PrismaGleana decided to collect and use the wasted bits of color left behind by other fairies.

PrismaGleana’s outfit features a bell skirt made from a patio umbrella, a handmade paper bodice studded with brass fasteners and a tiara of umbrella spokes and crayons. Marine is just as dedicated to this year’s design, and has made business cards, gifts of crayon jewelry, and a reliquary to advertise PrismaGleana.

Marine also made a reliquary for AMortinka. Inside the reliquary is a false bottom, holding the red crayon AMortinka was cursed for stealing and a folded piece of paper.

“Only the keeper of it knows the secret of it,” says Marine. She leans forward, her voice lowering to a whisper.

“AMortinka is not real. She is a legend. I created her.”

~ Giesela Lubecke, Jasper Intern

"Good People" - Jillian Owens reviews the new play at Trustus Theatre

David Lindsay-Abaire’s Good People, the new show at Trustus Theatre,  takes place in Boston, but really exists in two separate worlds.  Margie Walsh (Dewey Scott-Wiley) isn’t doing well at life.  As struggling single mother with a severely disabled adult daughter, she’s barely getting by paycheck to paycheck.   When she’s laid off from her job at the Dollar Store for excessive tardiness –mostly from having to care for her daughter—she’s left with no prospects and a looming eviction. Her friends suggest she go talk to her old high school flame, Mike (Jason Stokes) to see if he can give her a job.  They all remember him as being “Good People” - surely he’ll help an old friend out. Mike is completely beating Margie at the game of life:  he’s a successful doctor with a home, a family, and a practice in Chestnut Hill, an upscale part of town.   Mike never says he’s rich, just “comfortable,” to which Margie snaps back, "Oh, comfortable.  You're comfortable. OK — I guess that makes me uncomfortable."  She manages to wheedle an invitation to a birthday party that his wife is throwing for him, where she hopes to meet her new future employer.

Lindsay-Abaire presents some truly interesting characters and concepts in this play.  Mike is that guy who managed to “get out” and make something of his life and Margie is that girl who just didn’t make it.  While Mike feels entitled to his success, since after all he did work extremely hard to get there, Margie points out that he had several lucky breaks that most people in the "Southie" end of Boston never had.  At what point are you truly just stuck?  When Margie, the self-proclaimed “too nice” girl attempts to blackmail Mike with frightening secrets from his past, you can’t help but wonder if any of these people are “good” at all.

This script is particularly compelling as Lindsay-Abaire grew up in Southie.  Like Mike, he grew up as the son of a fruit peddler, and was one of the lucky ones able to get out after getting a scholarship to Milton Academy when he was 11.  The author says that the reason it took him so long to write a play about his childhood home was that “I was terrified.  You love and care about these people deeply, and you don’t want to misrepresent them.”  His characters are treated with compassion and dignity here.

This production, directed by Jim O’Connor, is subtle and well-executed.  This show is a terrific example of what can be done with a terrific cast and a terrific director when they’re given a terrific script.  Dewey Scott-Wiley is a raw and intelligent Margie who interjects just the right amount of humor into a very serious story.  Jason Stokes plays Mike, and while he’s probably too young for this role (despite several references in the script to his looking good for his age), he manages to make you feel truly sorry for him when Margie starts laying in to him.  The supporting cast, consisting mostly of Columbia theatre veterans, all deserve mention as well.  Erica Tobolski, Barbara Lowrance Hughes, Kevin Bush, and Michelle Jacobs all deliver solid performances.

That being said, the set seemed hastily put-together, clunky, awkward, and not very well designed, which has been a recurring issue for Trustus.  For this performance it was downright distracting as actors struggled with some of the set pieces and curtains.  But that’s nitpicking.

Trustus Theatre has been spot-on with the plays they’ve chosen this season.  I’m happy to see them getting back to their mission of bringing some of the best new theatre to Columbia, SC, and I hope this continues.

Good People runs through April 6; contact the box office at 803-254-9732 for ticket information, or visit www.trustus.org (and try out the new Trustus online reservation system.)

~ Jillian Owens

Expecting Something at the Expecting Goodness Film Festival, by Susan Levi Wallach

Friday night with Melinda Cotton in the hotel bar: Kari Jackson called us brave—“us” being the writers who submitted short stories (their darling lambs) to the Expecting Goodness Film Festival, where twelve of them, shorn, would premiere as ten-minute films.  OK, not shorn.  Massaged, tweaked, re-imagined, visualized.  Those characters that had gamboled through our minds?  About to be up on the David Reid Theatre screen, in Spartanburg.

Earlier this evening, I sat with Matthew Fogarty (whose reading of “Denouement” rocked) and found out that we have more in common than Columbia: Neither of us had seen the films that tomorrow will be shown to a sold-out house, and both of our filmmakers had ditched our titles. “Denouement” was now “Resolution”; my “Simon of the Dessert” had become “Grace” (Bunuel does have a lock on the film title).

No matter. This is “a writer’s film festival.” We all are expecting goodness—that’s the name of the festival, and Kari, the festival’s associate director, has us feeling optimistic and bold. But at the end of the reading, which none of our filmmakers attended, Matthew and I are wondering—in a good, expectant way—what we’ll see tomorrow.

Melinda Cotton, the remaining Columbia writer, is better than optimistic. Her filmmaker, Durham Harrison, kept her involved throughout the process. Even let her attend the shoot. “I told him, ‘Here’s my heart,’ ” she said, referring to her story “Grammy’s Keys.” (Her filmmaker, his filmmaker:  Writers can be possessive—anything for the illusion of control.)

Question:  What if the movie I had running in my head while writing the story is not the movie that Adam had in his when he wrote the script?

Answer:  It probably isn’t.  And it doesn’t matter.  Really, it doesn’t.

 The morning after:

The Expecting Goodness Film Festival was a feat of organization, from the “red carpet” photo opps for the filmmakers and writers to the stick-to-the-schedule precision that had a seven-or-so-hour event wrap just about on time.  Not that anyone attends a film festival for anything other than the films. All of them had merit; a few were exceptional. Among the standouts was “Pretty Pitiful God,” by Columbia’s Jeffrey Driggers and Drew Baron, based on a short story by Deno Trakas (and featuring two of the Almor brothers, Itai and Gaal). Not only did it win the Jasper’s Pick Award but also a shout-out from Paris MTN Scout. “Resolution” made it to the screen only as a half-finished music video; “Grace,” which had almost nothing to do with my story, was a fabulous, comic riff on love and obsession.

Besides the six Expecting Goodness participants already mentioned, filmmakers Ron Hagell, Shirley Ann Smith, and John Daniel Fisher (who won Best Emerging Filmmaker for “Remember, No Thinking”) also live in the Columbia area.  The Nick will show all of the films from the Expecting Goodness Film Festival at a special screening on May 21 at 5:30 PM.

~ Susan Levi Wallach

Local performer Charles Curtis premieres original play "Nothing Happened"

Multi-talented Midlands perfomer Charles Curtis will present his original one-act play Nothing Happened tonight (Thursday, March 21) at 8:00 PM at the USC School of Law auditorium, 701 Main Street.  Admission is free. Curtis, who has appeared in a number of productions with Opera at USC, and in The 25th Annual Putnam County Spelling Bee at Workshop Theatre, earned a bachelor's degree in Voice Performance from Presbyterian College, then pursued graduate studies in Music and Counseling at USC, and currently serves as the teaching artist in Theatre at the Midlands Center for Expressive Arts.  Nothing Happened, presented in Columbia  for one night only, was commissioned by Winthrop University's Council of Student Leaders.  Written and directed by Curtis, the play will premiere on the campus of Winthrop University on March 26, 2013 at 8 PM.

From press material:

Nothing Happened is the story of Chris Paul, devoted father and husband. After Chris becomes the victim of a vicious attack, his seemingly perfect life falls apart. As Chris tries to regain balance and become the father and husband he used to be, his growing anger and paranoia increases, as he continues to tell himself that "Nothing Happened.  " Please be advised: this performance has adult themes, content and language, and is not suitable for children - parental discretion is advised.

For more information about the show, please call 803.216.1262, or email charlescurtis@ live.com.  The Facebook "event" page is here.

Columbia Open Studios -- A Very Special Opportunity

There’s something about seeing art in the making that allows for an intimacy between artist and art lover that can’t be matched. Seeing the places where artists work, the tools that they use; experiencing the various sights and sounds that influence a favorite artist as she or he creates the works we love … It’s a special treat. A gift.

This weekend, Columbia arts lovers have the opportunity to pull back the curtains on our beloved community of visual artists and see some of the magic behind the mystery of creation via Columbia Open Studios.

Included among the artists participating are:  Heidi Darr-Hope, Jeff Donovan, Clark Ellefson, Diane Gilbert, Mary Gilkerson, Mary Ann Haven, Howard Hunt, Judy Bolton Jarrett, Amanda Ladymon, Alicia Leeke, Whitney LeJeune, Michel McNinch, K. Page Morris, Blue Sky, Laura Spong, Christian Thee, and Ellen Emerson Yaghjian, for a total of 58 artists in 43 different locations.

Visiting artists in their natural habitats is fun, informative, and inspiring. Kicking off the weekend of visits and activities is the Opening Night Preview Party Thursday night from 7 - 9 pm at 701 Whaley - a treat in itself! Complimentary hors d’oeuvres by Linda Phillips Catering; cash bar with liquor, wine & beer; DJ Irv Thompson; party photos by Jasper's own photo editor, the talented Forrest Clonts! Fabulously reasonable tickets are available here.

Don't miss this opportunity to become a more intimate, more engaged supporter of your local arts scene. Have a wonderful weekend.

Workshop Theatre’s "The Color Purple" Offers a Beautiful Rainbow of Colors for Columbia Audiences - a review by Stephen Ingle

When a stage musical is based on a very popular movie, in turn based on a very popular novel, it is often almost impossible to accept the new format, actors, and plot adaptations as genuine. However, when I attended Workshop Theatre’s presentation of the musical adaptation of The Color Purple, I had no problem separating the live performance from the film. This was because the stage production was so fantastic. For those not familiar with the film plot, The Color Purple is a coming-of-age story about Celie, an African-American girl (Devin Anderson) in the early 1900s who is forced by her father to marry "Mister" (Shawn Logan) in exchange for some livestock. Mister mistreats her, abuses her, forces her to wait on him and all of his sons hand and foot, and breaks off all communication between Celie and her sister/best friend Nettie (Kanika Moore.) This naturally causes Celie to feel completely alone in this world, and hopeless that she will never see Nettie again or ever know what it’s like to feel happy, safe, and secure. The mirror image to this story line is that of Sofia (Michelle Rivera) who is married to Mister’s son Harpo (Bobby Rogers). Sofia is a very strong-willed woman who refuses to let any man abuse her or tell her what to do and, in fact, is the abuser to her husband. However, when she leaves Harpo (ending up as a maid for a white family) she finds that her temper lands her in jail. When she is released, she is a shell of the woman she once was, and has become docile and closed off.

The other influence on Celie’s life comes in the form of a sassy singer named Shug Avery (Katrina Blanding). She is a boozy, juke joint singer, and the object of Mister’s desire. Her character reflects the independence that Celie so desperately needs, but also reflects the sadness of living a lonely life. All of the performances are, for lack of a better word, riveting. Although they do not really look 14 years-old, Devin Anderson (Celie) and Kanika Moore (Nettie) truly inspire both through their touching and playful scenes together and their beautiful harmonies during their duet. Devin Anderson, however, does a spectacular job guiding the plot along through Celie’s life. As Sofia, Michelle Rivera performs at a level that could rival Oprah’s depiction of the film role. Her transition from strong, loud, and independent matriarch to beaten down and muted victim was handled brilliantly by the actress. As Shug, Katrina Blanding seamlessly handles the role of a gin-soaked club singer turned responsible married woman, and the scene between her and Celie where she helps Celie discover her femininity is performed with both sensitivity and effectiveness. Another performance worth mentioning is that of Shawn Logan as Mister. From the character you love to hate as the abusive and controlling husband, to becoming a submissive pleaser to Celie, his performance perfectly illustrates the traits of shameful, funny, and charming.

All of the aforementioned kudos would not have been possible without the stellar direction of Jocelyn Sanders, beautiful musical direction of Roland Haynes, Jr., and energetic and inspirational choreography of Barbara Howse-Diemer. Unlike straight plays where there is one director, musicals are unique because of the combined visions of these three roles. In The Color Purple, it appeared that all three of these brilliant directors came together and shared a vision that paints a masterpiece of sadness, inspiration, humor, and humanity. Typically in big musicals with huge casts, one’s eye will directly be drawn to a weak link or “dead zone” in the cast. It is always a nice surprise to not be able to find one. Additionally, hats off to the costume designer Alexis Doktor specifically for the wonderful African costumes that took the audience to a whole new place, time, and feeling of joy. Unfortunately, the one African scene where the village is attacked by some sort of outside forces was very unclear. When the members of the tribe ran off, the sound effects were muddy. Had I not seen the movie and known it was an invasion, I would have thought they were running from an oncoming storm. In fact, as has been the problem with other musicals, some of the dialogue and songs suffered from the lack of microphones. Also, the show does run very long at almost 3 hours. There are several extraneous scenes towards the end with songs that simply delay the wonderful ending we are all waiting for. However, that is my issue with Marsha Norman, who wrote the book, and not with anybody connected with this production.  Jocelyn Sanders weaves together a beautiful tapestry that even Alice Walker (the original novelist) would be proud of. The Color Purple is a show that will quite literally make you laugh, cry, sing, dance, and cheer.

~ Stephen Ingle

Show Dates: March 20-24 & 27-30

Show Times: 8:00 p.m. except March 24, which is a  3:00 p.m. matinee

Prices: $22 for adults, $20 for seniors/military, $16 for students, $12 for children

Contact the box office at 803-799-6551 for ticket information, or visit http://www.workshoptheatre.com.

New Jasper Guild Winners from Friday Night

At Jasper, we're still basking in the glow of a majorly fun release party on Friday night.

Thanks so much to everyone who made the event -- and the magazine -- possible.

Just wanted to take a minute of your beautiful Sunday afternoon to annonce the winners of the four gift baskets provided to us by our arts organziation friends at Trustus, Columbia City Ballet, The Nickelodeon, and Muddy Ford Press.

Forbes Patterson won the Nickelodeon Basket valued at $60

Paula Matthews won the MuddyFord Press basket valued at $94

Robin Gottlieb won the Columbia City Ballet basket valued at $142

Wentworth Tradd won the Trustus basket valued at $200

Congratulations to all our winners!*

Thanks to all the new members of the Jasper Guild!

Thanks to our friends at The Nick, Trustus, City Ballet, and MFP for providing almost $500 in prizes to new Guild members.

*Contact cindi@JasperColumbia.com or Annie@JasperColumbia.com to make arrangements for picking up your baskets.

Review -- The Pomegranate Songs by Cassie Premo Steele and Russ Eidson

For the last few months here at Jasper, we’ve had a submission that we didn’t really know what to do with—a CD, a collection of something in between songs and poems, put out by poet Cassie Premo Steele and musician Russ Eidson, called The Pomegranate Songs. We reviewed the book of the same name when it came out, although this sort-of companion wasn’t mentioned, and I felt like this was inevitably going to be more of a spoken-word extension of that collection (with background music) rather than a standalone album in and of itself.

Of course, the easiest way to figure out the thing was to give it a listen. The results were a bit more surprising—there is far more of Eidson here, who does the majority of the singing and whose Americana-flavored guitar accompaniment and subtle keyboard and mandolin touches in many ways define the listening experience.  Steele reads some of her poetry, sometimes alone, sometimes in call and response to Eidson, and tentatively sings a few as well. The sense you get more than anything, though, is that these are poems reimagined through Eidson’s musicality, finding different rhythms and meanings, melodies and resonances, in reading a book of poems. Everything is doused in reverb and given a heavy, evocative feel, lending a reverential atmosphere to the proceedings.

And it’s well-done, for the most part, although the question of audience remains. These are not-quite songs, as even at their folkiest they seem to work better on the page than sung aloud. Most music fans, I imagine, would find these recordings charming and soothing, but with an odd balance of meditative and easy listening that does not create a whole lot of earworm stickiness. Poetry fans might be better served, particularly given the sense of process and re-imagination at work here, with a male musician giving Steele’s eco-feminist ruminations a startling twist. And the sense of exploration—and sense of daring—that comes from a poet tackling the vulnerable project of singing her words also has its own intriguing appeal.

In the most artistic sense, then, The Pomegranate Songs, as a recording, is a success, and worthy of at least your curiosity.

-- Kyle Petersen, music editor, Jasper Magazine

(editor's note: This is a revised version of the original blog post.)

"The Whipping Man" - Jillian Owens reviews the NiA Company/Off Off Lady Series production at the CMFA ArtSpace

At the end of the Civil War, a young Jewish soldier (Bobby Bloom) returns to his once-grand plantation in Virginia—now in ruins. The only remaining inhabitants of his childhood home are two of his former slaves, Simon (Darion McCloud) and John (Mario McClean), who were also raised as Jews in the DeLeon home. As they come together to celebrate Passover, secrets are revealed, alliances are severed and forged, and the meaning of freedom is explored.

As newly-free men, Simon and John are now left to discover how to fend for themselves when the only world they’ve known has crumbled around them. Simon, the older and gentler of the two, intends to stay on with the DeLeons as a servant—and to be well-paid for it.  John, wild with freedom, loots and ransacks the empty mansions around him.

“What’s all this?”

“Things.”

“Whose?”

“Mine now.”

“What are you going to do with it?”

“Own it.”

“Why?”

“Because I can.”

He plans on moving to New York City to make his fortune.  But do either of these men really see these dreams as possibilities, or are these just the stories they’ve told themselves in order to cope with the loneliness, hopelessness, and famine of their war-ravaged surroundings?

When Caleb returns in dire need of medical attention, questions of loyalty arise.  Why should Caleb expect the help from the men he used to own-- and even have whipped-- now that they are free?  It is possible for men of different races to truly be friends when one of the races has been repressed by the other?  How can one race with a history of being enslaved justify enslaving another?  As these men gather to literally break bread together, these questions are explored.  While it’s initially surprising to seeing two black men of Jewish faith in 1865, this isn’t all that strange for the time.  The tie-in to their observance of Passover, which commemorates the Exodus, is fitting, but it’s beaten to death (no pun intended) in this play. We get it.

Thankfully, Matthew Lopez’s script is deeper than this over-explored metaphor.  The secrets these three men share and keep from each other twist around them, chaining them to their ruined home.  While technically all “free” men, none of them can leave.  There is no emancipation from the sins of their pasts, and the sense of impending doom almost seems to play a fourth character in this play.

Darion McCloud delivers a beautiful performance as the kind and loyal Simon. You may be familiar with Mario McClean’s work as a local singer/musician. I would have liked to have seen a subtler take on the character of John, whose non-stop angry energy becomes more bombarding than moving at times. Bobby Bloom’s Caleb had a Southern accent that came and went and he yawned noticeably several times. Despite these distractions, Bloom’s performance was still powerful.

The Whipping Man by Matthew Lopez is a great fit for the NiA Company, whose mission is to bring actors of all colors and cultures together.  As the “Where’s Waldo?” of the Columbia theatre community, it’s challenging to find some of their venues, but the CMFA Artspace houses this show nicely.  I recommend sitting a few rows back to overcome the sight line issues of a stage that is too high for the first couple of rows to see well.

Co-directed by Darion McCloud and Heather McCue, The Whipping Man is a thought-provoking story of shame, regret, faith, and redemption.

~ Jillian Owens

The Whipping Man runs through Friday, March 22 at the CMFA ArtSpace at 914 Pulaski Street. Curtain is at 7:30 PM, and tickets may be purchased at the door.

Join the Jasper Guild TONIGHT to be eligible for Local Arts Prizes

SUPPORT * YOUR * LOCAL * ARTS * MAGAZINE

Join the Jasper Guild tonight and your name will be entered to win gift baskets

containing all kinds of goodies including tickets to events, t-shirts, posters, pint glasses,

books, bumper stickers and assorted swag generously donated from our friends in the arts

at

The Nickelodeon

Trustus Theatre

Columbia City Ballet

Muddy Ford Press

*Your chances of winning INCREASE

with every $25 increment in your Jasper Guild membership

*Only New Guild Members are eligible to WIN

Alexander Wilds and Colin Dodd Show New Works at Vista Studios / Gallery 80808

New paintings by Colin Dodd and sculpture by Alexander Wilds are featured at a new exhibition opening Thursday, March 14 at Vista Studios/Gallery 80808 (located in the heart of the Vista at 808 Lady Street.)  There will be an opening reception Thursday night from 6 to 9 PM, and the show will run through Tuesday, March 19; the gallery will be open every day from 1 to 7 PM. Wilds and Dodd are both educators, the former at Benedict College, the latter at Midlands Technical College.  If those names sound familiar, both have shown work at Vista Studios previously.   Wilds was featured as the cover artist in the November issue of Jasper -The Word on Columbia Arts, while Dodd may be best known as the artist who created the huge, striking portrait of Kafka in Goatfeathers. Jasper also wrote about the show Wilds did with his wife, Yukiko Oka, last year here.

You can learn more about Dodd's career  here and here, and more about Wilds here  and here.  Both gentlemen are not only talented, but outgoing, and fascinating to talk with.  Jasper looks forward to this exhibition, and hoes to see everyone out at the reception tomorrow night at Vista Studios!

You’re ALL Invited to Celebrate the Release of Jasper’s 2nd Annual Women’s Issue – this Friday March 15th

It’s a party and you’re all invited!

Join us on Friday, March 15^th at the historic Arcade at 1332 Main Street as we celebrate the release of Jasper Magazine’s second annual Women’s issue in which we’ll be highlighting some of the best artists in Columbia who happen to be women.

In addition to the impressive group of women in this issue we’re also welcoming Chris Robinson, our new visual arts editor, on board and we’re featuring the work of Doug McAbee, the winner of the CAY 2013 Jasper State of the Art Award.

Chris Robinson – Jasper’s new visual arts editor

Clara by Doug McAbee

In keeping with custom, we’ll be exhibiting an excellent array of Columbia artists from various disciplines including the following:

Michaela Pilar Brown will be installing a new work in progress. According to Michaela, “I’ll be installing a sketch for a larger installation in the offices of Jasper Magazine. Ask your Mama is a study of the poem of the same name by Langston Hughes. I hope to address issues of race and class and gender struggles in this the 50th year since major events in the struggle for human rights.”

Michaela Pilar Brown

Theatre artist and puppetry genius Kimi Maeda will be performing a piece from her repertoire, sure to leave us all in awe.

Kimi Maeda

A special performance from the folks at Wet Ink including spoken word poetry by Kendal Turner, Anna Howard, Cassie Premo Steele, and Debra McQueen, plus music from Susanne Kapler and dance by Kiyomi Mercandante. (Wet Ink is a monthly open group of spoken word poetry-driven artists who meet under the auspices of Jasper Magazine and the leadership of Kendal Turner.)

Artist Bonnie Goldberg will be painting from a live model at her studio upstairs next to Jasper.

Our friends at The Nickelodeon have also promised us a sneak peek at this year’s Indie Grits offerings.

Some of the women from The Limelight will be reading their essays including Kristine Hartvigsen, Bonnie Boiter-Jolley, and Cassie Premo Steele.

The artists of the Arcade Studios will have their doors open and they invite you in to see their works in progress, ask questions, and chat for a while.

We’ll be dipping into the vinyl vaults courtesy of Kyle Petersen, Chad Henderson, and the Bier Doc for your listening pleasure.

The Jasper Econobar will be open offering cheap beer, decent wine, and big spender brew for your donations.

We’ll also be enjoying a Guild Building exercise in which everyone who joins the Jasper Guild on the night of the 15^th will be in the running for a number of excellent arts prizes including a Gift Package from Trustus Theatre that includes a hat and an 8 ticket flex pass; a Muddy Ford Press book package; as well as packages from Columbia City Ballet, The Nickelodeon, and more.

Journey to Japan–Final Entry in a Series of Guest Blogs by Columbia Filmmaker Wade Sellers

 

(editor’s note:  Jasper loves it when the work of local artists takes them away from Columbia–as long as they come back home and are generous enough to share their adventures with us while we’re waiting on them. Local filmmaker Wade Sellers’ newest project has taken him to Japan where he’ll be working for the next ten days. Lucky for us, Wade has agreed to post a series of blogs detailing his journey and his work while away. This is the final post in that series.)

When we sat down for our first pre-production meeting, after arriving in Okinawa, we went through the shooting schedule for our time there. Jeff and I discussed the timeline with Katherine, our PR rep from Torii Station, and made adjustments as necessary. Ted and his son sat around the table with us. At the end of the meeting, Ted kept asking when we were going to Ishimi Ridge. “The whole reason I came back here was to find that ridge I stood on.” he said to us. We realized that everything was becoming real to him. He was nervous and excited.

For sixty-eight years, he expressed to us, he has thought about those three days he spent at Ishimi Ridge every day of his life. Now he was back.

We had planned our schedule to end with taking Ted back to the ridge. Our hope was that after visiting all of the other areas that were associated with his time at Okinawa, his memories would be more open, that he would be able to share more stories with us. When the time came to take Ted to that area we had no idea how ready he would be.

There had been some contention as to where the actual spot was. When Ted was here the area was barren, it has now been covered with apartment buildings. Unknown to us, two Marines that volunteer their time at The Battle of Okinawa Historical Museum, had been studying maps of the battle and had scouted and found the actual site. At the crest of the ridge there was a park, an area free from construction, that was open to the entire area.

So here we were.

When we pulled our van up to the area outside the park, Ted was ready to jump out of the van. I had to ask him to wait a few minutes while the microphone was placed on him and I jumped out with the camera. Once I was set, everything else played out without interruption. When Ted reached the top of the walkway and looked around, he pulled his arm away from his son and, in front of us all, turned into a twenty-five year old boy again. He began walking hurriedly around the area. “This may be it, this may be it.” He would stop and look at Shuri Castle. He would look down the ridge and over the entire area. It was all coming back to him. Everyday, for sixty-eight years, he had thought about a horrible three days of fighting that took place on this spot and now he was back.

“This is it, I'm convinced this is the place I fought.” Ted finally said.

I captured all of his reactions. Questions were asked about his emotions and he answered honestly. These are things you recognize through the lens. But the moment came, the moment you never expect but hope happens, the real honest moment, when I had to run back to the van for the tripod and on the way back saw Ted standing, by himself, through a group of trees. He was standing at the edge, looking over the ridge. The shot was perfect and his microphone was still on. He was so far away I couldn't understand what he was doing, but I through the camera on the tripod and began filming. As I put the headphones on I realized what was happening. He was remembering. He was crying.

You are able to see these moments through a viewfinder. I've never understood why they come through that glass. It still seems like magic to me. But this moment was the one, from a completely selfish filmmaking point of view, that I had been hoping for from the first day we started planning this trip.

I am leaving with hours and hours of footage, all of which will end up in about eight minutes of the film. But that one, singular, honest moment is all that is needed to tell our story. MW.

Jasper-Blog Post Script from Wade:

I've been told this Japan trip was my idea. I'll take that. One of the funny secrets about producing reality based programming is how much location plays into the story, sometimes. I had traveled to Europe and thought it would be great to go to Japan. It made sense to balance out the series.

It's right to say that Jeff and I had become friends with Ted Bell and his story had affected us so much that it was a natural to go forward with it.

We had no idea what was in store for us from a production point of view. This whole trip could have been a bust. Thankfully, that was not the case. Maybe it is the intuition that comes with expereince, but we felt that good things would come from taking Ted back to Okinawa. We gathered all of the necessary footage needed to complete our show, but more so we were able to experience a rare opportunity with a great man. He let us share it with him and I believe we did this without “directing” him- making him do things to suit the purpose of our show.

I'm a better filmmaker for this week, but now it is time to move on to the next project. There is a full plate in front of me, but this will be time shared that I will appreciate for many years to come.

Thanks for reading along with this blog. I hope I was able to give a bit of insight to what the process is like for me. MW.

Journey to Japan–Part V in a Series of Guest Blogs by Columbia Filmmaker Wade Sellers

(editor’s note:  Jasper loves it when the work of local artists takes them away from Columbia–as long as they come back home and are generous enough to share their adventures with us while we’re waiting on them. Local filmmaker Wade Sellers’ newest project has taken him to Japan where he’ll be working for the next ten days. Lucky for us, Wade has agreed to post a series of blogs detailing his journey and his work while away. This is thefifth post in that series.)

~~~

On paper, today looked lighter than the the other two. We were following Ted to where he first landed before fighting at Okinawa, Ie Shima island. Ie Shime island is located about seven miles off the northwest coast of Okinawa. To get there it is an hour and a half ride by car and a half hour ferry ride.

Initially Ted expressed he really had no interest in going there. We had scheduled it primarily because there is a memorial to Ernie Pyle on Ie Shime. Ted had told us he was one of the last soldiers to see Ernie Pyle alive. Ernie Pyle was the famed reporter loved by the dog faced soldiers in Europe. Pyle then traveled to cover the war in the Pacific and was shot and killed by a sniper soon after he landed. “I saw him ride by me in a jeep and then I heard the shot that killed him” Ted shared with us.

Our purpose was going there with Ted was to put him in the first place he landed, set up artillery and prepared for Okinawa. We hoped this would jar his memory a bit and it did.

He was more excited about the Ernie Pyle memorial than we had expected. This will probably never make our film but it is great footage seeing him pay his respects to someone beloved by all soldiers in WW2.

Once he saw the land and seascape, which was more intact than the area he had fought on Okinawa, he began sharing stories of being constantly shot at by Japanese soldiers on the ridge above and finding Japanese families hiding in the caves below.

We thought it was going to be an easy day, but after four hours of car and ferry rides and a hotter than normal week, it took it's toll on us and Ted. We filmed some great interview footage and B-roll but by the time we headed to the hotel, we were all toast. Maybe a good thing, because tomorrow is the reason for our trip.

Two marines who volunteer at the Battle of Okinawa historical society say they have found the exact area that Ted fought at Ishimini Ridge. MW.

You're ALL Invited to Celebrate the Release of Jasper's 2nd Annual Women's Issue - this Friday March 15th

It’s a party and you’re all invited!

Join us on Friday, March 15^th at the historic Arcade at 1332 Main Street as we celebrate the release of Jasper Magazine’s second annual Women’s issue in which we’ll be highlighting some of the best artists in Columbia who happen to be women.

In addition to the impressive group of women in this issue we’re also welcoming Chris Robinson, our new visual arts editor, on board and we’re featuring the work of Doug McAbee, the winner of the CAY 2013 Jasper State of the Art Award.

In keeping with custom, we’ll be exhibiting an excellent array of Columbia artists from various disciplines including the following:

Michaela Pilar Brown will be installing a new work in progress. According to Michaela, “I'll be installing a sketch for a larger installation in the offices of Jasper Magazine. Ask your Mama is a study of the poem of the same name by Langston Hughes. I hope to address issues of race and class and gender struggles in this the 50th year since major events in the struggle for human rights.”

Theatre artist and puppetry genius Kimi Maeda will be performing a piece from her repertoire, sure to leave us all in awe.

A special performance from the folks at Wet Ink including spoken word poetry by Kendal Turner, Anna Howard, Cassie Premo Steele, and Debra McQueen, plus music from Susanne Kapler and dance by Kiyomi Mercandante. (Wet Ink is a monthly open group of spoken word poetry-driven artists who meet under the auspices of Jasper Magazine and the leadership of Kendal Turner.)

Artist Bonnie Goldberg will be painting from a live model at her studio upstairs next to Jasper.

Our friends at The Nickelodeon have also promised us a sneak peek at this year's Indie Grits offerings.

Some of the women from The Limelight will be reading their essays including Kristine Hartvigsen, Bonnie Boiter-Jolley, and Cassie Premo Steele.

The artists of the Arcade Studios will have their doors open and they invite you in to see their works in progress, ask questions, and chat for a while.

We’ll be dipping into the vinyl vaults courtesy of Kyle Petersen, Chad Henderson, and the Bier Doc for your listening pleasure.

The Jasper Econobar will be open offering cheap beer, decent wine, and big spender brew for your donations.

We’ll also be enjoying a Guild Building exercise in which everyone who joins the Jasper Guild on the night of the 15^th will be in the running for a number of excellent arts prizes including a Gift Package from Trustus Theatre that includes a hat and an 8 ticket flex pass; a Muddy Ford Press book package; as well as packages from Columbia City Ballet, The Nickelodeon, and more. So bring your checkbook, cash, or a credit card and enter to win.

“The Whipping Man” by the Trustus Theatre at CMFA March 12-22 by Giesela Lubecke

 

The Trustus Theatre’s performance of Mario Lopez’s awarding-winning Civil War play opens at the Columbia Music Festival Association 7:30 p.m. March 12.

The Whipping Man continues Trustus Theatre’s Off-Off Lady Street Series, an experiment to bring theatre to nontraditional venues across Columbia. The series began  last August at Tapp’s Art Center with Robbie Robertson’s “The Twitty Triplets.”  For The Whipping Man, Trustus Threatre partnered with the CMFA and the NiA Company, a theatre group committed to bringing artistic programs to minorities, at-risk youths and economically challenged groups.

The Whipping Man is set shortly after the end of the Civil War. Confederate soldier Caleb, played by Bobby Bloom, is a Jewish plantation owner who has returned from the War. When he comes home, he finds that his family is missing, and the only people left are his former slaves John and Simon (played by Mario McClean and Darion McCloud, respectively).

“There’s three characters, and I don’t know, I wouldn’t say there’s a single main character,” said Bloom. “It’s about all three of their relationships with each other.”

Together, Caleb, John and Simon must work through their differences as former master and slaves while they celebrate Passover, a holiday celebrating the Exodus of the Israelites from Egypt.

“It’s a great story that takes place in such a short period of time,” said McLean. “It’s really heavy material, but it keeps you captivated. I think I was just overwhelmed by the  history of it.”

Bloom, like McLean, was also struck by the historical facts the play bases itself on. “The fact that there were Jewish slave owners in the South I had never really considered, just because Judaism is based around being freed from slavery,” said Bloom.

Both Bloom and McClean expressed their dedication to preparing for their challenging roles. McClean, who has performed in several musicals, admitted he initially felt a bit out of his element getting into the mind of former slave John.

“It was terrifying, but it’s so much more work that I was looking forward to getting into about acting, because in musicals, you’ll have a musical number that carries you through and songs that pretty much tell you how to feel. This being my first non-musical, it was a big challenge.”

Bloom, who was introduced to the script two years ago by cast mate Darion McCloud, said that his biggest challenge was learning how to communicate with an off-screen character.

“There’s a letter in this show, and I’ve actually never had a letter onstage before,” said Bloom. “I’ve had to create an entirely new relationship with someone who is not even there,

and there’s not even a person playing that character. I’ve had to approach a lot of things differently than I usually approach them.”

Performances of “The Whipping Man” will continue for the next week. The show will take a break on the Sabbath, return to the stage March 16, and end its run March 22, three days before Passover. Tickets to “The Whipping Man” are $10 and can be purchased at the CMFA door.

Journey to Japan–Part IV in a Series of Guest Blogs by Columbia Filmmaker Wade Sellers

(editor’s note:  Jasper loves it when the work of local artists takes them away from Columbia–as long as they come back home and are generous enough to share their adventures with us while we’re waiting on them. Local filmmaker Wade Sellers’ newest project has taken him to Japan where he’ll be working for the next ten days. Lucky for us, Wade has agreed to post a series of blogs detailing his journey and his work while away. This is the second post in that series.) Katherine, our PR rep from the Army, brought her son along to dinner last night. He's ten years old and very curious. While riding in the van he looked at me and asked “Are you making a movie?” “Yes” I answered. Looking at me and Jeff he said “Just the two of you?”

For what we are trying to accomplish on this trip it is that simple. Make sure the camera is working, make sure the mics have good batteries, put Ted Bell in a place he hasn't seen in seventy years and capture his reactions.

The most critical event of our trip is to get Ted back to the area he led his men to during their assault on Ishimini Ridge. He has made it clear to us that his only concern is to stand at that point where his foxhole was during those three days of fighting. We have studied maps of this area. The problem is this area has now been covered with apartment buildings. Ted has very good recollection of the area so we decided to work in reverse.

Our morning began by visiting Shurijo Castle. It sits atop one of the highest points on Okinawa. When Ted Bell was attacking Ishimini Ridge he could see Shuri Castle in the distance. It was our hope that by taking Ted to the castle he could look over the area where we thought his battle took place and have him recognize the terrain. It took about five minutes. Once we pointed out the area where the ridge was, that he said “That's it, over there somewhere. Near the house with the red roof and garage.” His nerves were calmed.

When you take someone back to an area with the purpose of filming them you are taking a huge gamble. As a filmmaker you are influencing the situation a bit. I have learned to stay out of the way as much as possible and never turn off the camera. We purposely put Ted at Shuri Castle to look over the area. Our hope was that he would remember things that he hadn't thought of in the two previous interviews we conducted in his apartment. For him to go back to the fight. Two hours of filming took place at the castle. At this moment I have no idea how this footage will fit into the story. You just keep repeating to yourself to let everything play out in front of you and don't interrupt what's happening. But most of all the goal is to capture honest moments that can help communicate our story.

During a moment when Ted and his son were walking by themselves, I turned the camera off while I ran to reposition myself. The moment didn't seem all too important. A group of high school aged Japanese kids walked by in a group. Ted looked at them, paused, then looked at his son and remarked “Seventy years ago I would have been shooting at those kids.” I missed it. We asked him to repeat the comment later. It wasn't the same. Never turn off the camera.

Tomorrow we head to Ie Jima Island, located 7 miles off the northwest coast of Okinawa. This is the area where Ted first landed and set up artillery positions before the invasion of Okinawa. MW.

Journey to Japan–Part III in a Series of Guest Blogs by Columbia Filmmaker Wade Sellers

(editor’s note:  Jasper loves it when the work of local artists takes them away from Columbia–as long as they come back home and are generous enough to share their adventures with us while we’re waiting on them. Local filmmaker Wade Sellers’ newest project has taken him to Japan where he’ll be working for the next ten days. Lucky for us, Wade has agreed to post a series of blogs detailing his journey and his work while away. This is the second post in that series.)

~~~

Today was the day off. We did have a pre-production meeting with our PR representative from the Army where we refined our production schedule. There is a lot of tension between the US military and the local population. This is easy to understand as there are F-18s flying over our hotel quite a bit. They are not quiet planes. To us this is relevant because we will be filming some at some residential areas that were battle sites during Ted Bell's time here during WW2.

Anyone who tells you that food doesn't play a big part when traveling for a production is lying. Jeff and I chose not to travel far from the hotel and visited what's called “American Village”. It's basically Broadway at the Beach. It has all the american fare you can imagine and caters mainly to the soldiers and their families based here. Arcades, clothing stores and souvenir stands also crowd the area. By no means however does this mean that the local mom and pop food stands are of any less quality. We had lunch at a small Japanese food stand that had a great teriyaki chicken salad with just chicken, rice, lettuce and an amazing mayonaise sauce. For dinner we joined our Army rep and the Bell's and Jeff and I shared a knock out seafood stew.

Riding in the van, back to the hotel, Ted noticed a giant ferris wheel in the area. We asked him if he wanted to give it a try. His response- “I didn't travel all this way just to die on a ferris wheel.”

We begin production tomorrow and have a busy few days ahead of us. MW.

Aida Rogers Talks About her Next Big Thing

 

What is the working title of your book?

State of the Heart: South Carolina Writers on the Places They Love

What is the genre of your book?

Anthology of essays about places in South Carolina

Where did the idea come from?

I really was taken by the “My Kind of Town” series Smithsonian Magazine was running that featured writers from around the country describing the town/cities where they lived. I thought it might be interesting to narrow that focus from a town or city to an actual place, like a hiding place. Writers being thinkers, I thought their opinions would be interesting.

What is the one-sentence synopsis of your book?

South Carolina writers tell us why one certain place in the state is so special to them.

How long did it take you to write the first draft of the manuscript?

It took about 2 and a half years to solicit,  gather, and edit essays, artwork and photos for the collection – and to get various stages of proofs back to the publisher ready for printing.

Who or what inspired you to write it?

Fascination with the topic itself, and curiosity about what different writers would say, and how they would say it.

Will your book be self-published or represented by an agency?

The anthology will be published by the University of South Carolina Press.

What other books would you compare this book to within your genre?

National Geographic published an anthology titled Heart of a Nation that included an essay by Spartanburg writer John Lane. John also contributed to State of the Heart. Heart of a Nation was about natural places in the country; State of the Heart was open to whatever different writers came up with—sports arenas and cafes, for instance.

What actors would you choose to play the part of your characters in a movie rendition?

There are 35 essays, so I won’t try to do them all. Still, I’ll take some artistic license in terms of whether these talented souls are performing in this world or the next:

Brian Dennehy – Pat Conroy

Mary Steenburgen – Liz Newall

Diane Keaton – Ceille Baird Welch

Charles Durning – Billy Deal

Sissy Spacek – Robin Asbury Cutler

Geraldine Page – Dot Jackson

James Garner – Ken Burger

Alfre Woodard – Dianne Dinah Johnson

Andy Griffith – Kirk Neely

Jon Voight – Tom Poland

Teri Garr – Cindi Boiter

Donald Sutherland – Deno Trakas

What else about your manuscript might pique the reader’s interest?

Because I purposely didn’t suggest places to writers, I was very surprised by the places they chose, and the personal nature of some of them. Some writers chose to write about places that are no longer here, so younger readers will learn that when you erase a few decades from a place, you’re in some ways wandering through a foreign country. There is a lot of wisdom in these essays. Many of the contributors have experienced a lot in their lives, and through these essays, they honor people who have been very important to them.