Terrance Henderson: Storyteller, Worldbuilder, Artist-in-Residence

“I am trying to walk in my fullness these days, embracing my evolution and still churning my complexities into my complexion”

If you have been to any performing arts show in Columbia, especially a dance or theater show, chances are you are extremely familiar with Terrance Henderson. Known for his contributions to the dance scene of Columbia through the Midlands Arts Conservatory, the Southeastern School of Ballet, and Trustus Theatre. In July, Henderson was named Artist in Residence at the Richland Library on Assembly Street. 

While no stranger to residency, Henderson still aims to learn from every experience he can as he offers workshops and office hours at the library. “I’m specifically looking to do more artist residencies like this as I move forward in my career,” Henderson said. “I am in a bit of an evolution as an artist and seeing my work and my place in my community with new understanding.” He knows just how valuable these opportunities to showcase his skills really are in a city with a much larger dance scene than some give credit to. 

The first month of residency has been a period of excitement for Henderson, and the amount of support for Henderson and what he does is extremely evident amongst the staff and visitors of the library. “Onboarding to Richland Library has been so exciting. I feel so supported here, and I have also already begun to make connections and have direct conversations with members of the community, which is part of what I’m most excited about for the residency,” he said. 

Henderson looks forward to hearing the stories of those who come to his workshops or visit him in residency, in order to build that extra connection that he aims for. This connection with the audience is what Henderson hopes will help them understand how and why he does what he does that much more. 

One of Henderson’s upcoming projects throughout his residency is a kind of performance museum: an immersive installation and experience that focuses on the concepts of legacy and renewal, and the conversation that can ensue between the two. As this project progresses, Henderson will host several workshops for audiences of differing ages as well as panels of artist talks with invited guests. These events coincide with another goal that Henderson has for his residency: elevating the discussion of art. 

“One thing I’d like to do is be very intentional about raising the frequency of our discussion of art and the process and viewing of the performing arts,” he said, “I think we can widen our conversation and center some new and different voices about access, value, and collaboration.” Everyone views and reacts to the various fields of art in differing ways, but Henderson hopes to turn the idea that everything exists separately from each other under the umbrella of art on top of its head. 

A key aspect of Henderson’s residency is the desire for him to overcome any challenges that stand in the way of him being seen: as a performer, a Black man, an artist, and everything in between. Visibility is integral to the work that Henderson aims to create and showcase. He is no stranger to shifting between interests and focuses within the realm of dance. “People make assumptions about you based on when or how they were introduced to your work and it’s hard to change minds,” he said. “And when you’re a Black artist, that’s even more true. Many people make assumptions about your work based on that alone.” 

Social justice and the push for equity is extremely important to Henderson, who has also recently been reintroduced as an Equity Advisor at Trustus Theatre. Through his own work and efforts at the library, Henderson aims to amplify marginalized voices within the performing arts world and the Columbia arts community altogether. Many of the workshops he plans to host are oriented towards these goals, allowing for communities themselves to aid in making these differences happen. 

Henderson’s residency focuses on the openness to conversation he has. He is open to conversations about art, personal experiences, opportunity, and so much more in order to fine tune what he wants to showcase in his work. His body of work functions as a diary for his own experiences and how he views himself. 

“I am a storyteller and a world builder, and now more than ever, all of me goes into it. The good, the bad, the sure, the uncertain. I am trying to walk in my fullness these days, embracing my evolution and still churning my complexities into my complexion.” You can be a part of this journey too—and perhaps Henderson is the key to helping anyone on their own journey of self reflection.

Henderson remains as the Richland Library Artist in Residence until December 16, 2022. He has several workshops upcoming in September, including some oriented towards younger audiences and children.

COLUMBIA REPERTORY DANCE COMPANY PRESENTS “NEXT” FOR THREE EVENINGS AT CMFA ARTSPACE

The Columbia Repertory Dance Company will present a full evening of dance for three nights at the CMFA Artspace, September 9 -11, 2022.

NEXT

centers on the idea of progress, and features a number of pieces that reflect the nature of life and moving forward in today's climate.

The Columbia Repertory Dance Company will perform NEXT on Friday, September 9th, 2022 at 7:30 PM, Saturday, September 10th 2022, at 7:30 PM and Sunday, September 11th, 2022 at 2PM at CMFA Artspace (914 Pulaski St, Columbia, SC 29201). Admission is $30 for this event, and more info and tickets can be found at www.coladance.com or https://www.brownpapertickets.com/event/5534979

With NEXT, Columbia Repertory Dance Company presents their third annual summer concert and first as a nonprofit organization. Featuring South Carolina choreographers Angela Gallo, Erin Bailey, Dale Lam, Ashlee Taylor and Artistic Director Stephanie Wilkins, the organization will mount an evening of high caliber entertainment that changes common perceptions of dance in Columbia, and follows their mission

statement in helping to both employ SC dance artists and ultimately aid in their retention in the state. The company will showcase a variety of work that represents snapshots of the emotional and physical world and offers something relatable but elevated as the world learns how to exist post-COVID. By collaborating with local artists and organizations and blending the highly physical with the highly emotional, Columbia

Repertory Dance Company aims to create an experience that draws people in and encourages them to make dance a regular part of their arts consumption.

In 2018 co-founders Bonnie Boiter-Jolley and Stephanie Wilkins founded the Columbia Summer Repertory Dance Company with a desire to offer dancers more options in a city focused heavily on ballet. They started with the financial sponsorship of the Jasper Project, a plan focused on summer performances (Columbia’s dance offseason) and a sold out debut performance in 2019 which was followed by a sold out concert in 2021.

The company has extended their season length and become a 501c3 non-profit organization. The group’s popularity among Columbia natives comes from their commitment to exploring refreshing narratives and styles of dance in their work.

The Columbia Repertory Dance Company will perform NEXT on Friday, September 9th, 2022 at 7:30 PM, Saturday, September 10th 2022, at 7:30 PM and Sunday, September 11th, 2022 at 2PM at CMFA Artspace (914 Pulaski St, Columbia, SC 29201). Admission is $30 for this event, and more info and tickets can be found at www.coladance.com or https://www.brownpapertickets.com/event/5534979

~ * ~


The Columbia Repertory Dance Company’s mission is to broaden the experience of professional dance artists and patrons in Columbia, SC through multidisciplinary collaborative performances year-round. We aim to retain the talents of South Carolina dance artists and provide a spectrum of professional opportunities while inspiring and developing a broader and deeper understanding of dance in Columbia and surrounding areas.




Sewn Through Time at McKissick Museum Celebrates SC Basketmaking Since the 17th Century

Opening Reception with

Guest Curator Kennedy Bennett

Thursday, August 25, 2022, 5:30-7pm

McKissick Museum, 2nd Floor Diverse Voices Gallery


August 11 to December 10, 2022

Basketmakers have sewn baskets in the South Carolina Lowcountry since the 17th century. The tradition has been preserved at the hands of the Gullah-Geechee people, descendants of enslaved West Africans trafficked to North America. For over 300 years, basketmakers have transformed baskets from a plantation tool into an art form. Today, basketmakers continue to leverage heritage tourism to make a living, to advocate for the preservation of the ecosystem vital to the tradition, and to experiment with scale, form, and materials. This exhibition traces the evolution of sweetgrass baskets in South Carolina, highlighting the innovative work of contemporary makers.

McKissick Museum - Hours of Operation

Monday through Friday - 8:30 a.m. to 5:00 p.m.

Saturday - 11:00 a.m. to 3:00 p.m.

Columbia Author Carla Damron's New Fiction Deals with the Fight Against Human Trafficking

Advocate for human trafficking survivors pens thriller with a message of awareness and vigilance

Award-winning author and social worker Carla Damron, once named by NAMI as an Outstanding Mental Health Professional of the Year, uses fiction to address social justice issues, and her latest release is no exception. Emotion-driven, The Orchid Tattoo (Koehler Books, Sept. 30, 2022) is one part of Damron’s work as an advocate for human trafficking survivors and people with mental illnesses. Her previous work includes The Stone Necklace, winner of the 2017 Women’s Fiction Writers Association Star Award for Best Novel, which led award-winning author Pat Conroy to say “this is a novelist to be read again and again.”

In The Orchid Tattoo, social worker Georgia Thayer can balance her own mental illness with the demands of an impossible job. Mostly. But when her sister vanishes in the dead of night, her desperate quest to find Peyton leads to a multi-tentacled human trafficking network. When Georgia learns that her sister was brutally murdered trying to help a young victim called “Kitten,” she picks up where Peyton left off, and travels a treacherous path to expose the kingpin of the Estate, a luxurious brothel servicing rich and powerful men, and rescue his victims. Kitten is determined to escape. She won’t be trapped like the others. She won’t sell her soul like Lillian, victim-turned-madam, feeding the dark appetites of international business moguls and government leaders. Aided by Kitten, Georgia maneuvers to bring down the Estate and expose its dark secrets, but her efforts place her--and the very few people she allows to get close--in grave danger.

Continuing her advocacy work, Damron is partnering with Doors To Freedom, a non-profit that provides safe places for survivors of trafficking. They offer housing, education, treatment, and even vocational opportunities for teens and young adults who have been impacted by this issue. Their vocational program includes a cottage industry that makes cuff bracelets which you can purchase on their website. Damron hopes to promote the organization by selling bracelets at her signings, handing out information at her events, raising money, and donating a portion of her royalties. You can find out more at their website: 


“The Orchid Tattoo”

Carla Damron | September 6, 2022 | Koehler Books | Crime Fiction

Hardcover | $32.95 |978-1-64663-765-2

Paperback | $21.95 |978-1-64663-763-8

  

Carla Damron is a social worker, advocate and author whose last novel, The Stone Necklace (about grief and addiction) won the 2017 Women’s Fiction Writers Association Star Award for Best Novel and was selected as the One Community Read for Columbia SC.  Damron is also the author of the Caleb Knowles mystery novels and has published numerous short stories, essays, and op-eds. Damron holds an MSW and an MFA. Her careers of social worker and writer are intricately intertwined; all of her novels explore social issues like addiction, homelessness, mental illness, and human trafficking. In her spare time, Damron volunteers with the League of Women Voters, Sisters in Crime, Palmetto Chapter (President), her church, and Mutual Aid Midlands.


Columbia Theatre Stars Come Together for Jasper Project Staged Reading of MOON SWALLOWER

SUNDAY AUGUST 28TH

DOORS AT 3:30 - SHOW AT 4 PM

CMFA - 914 PULASKI STREET

$10 W/ RECEPTION

MOON SWALLOWER BY COLBY QUICK

left to right - Chad Henderson, Chris Cockrell, Michael Hazin, and Becky Hunter

 

Join some of the city’s most exciting theatre artists this Sunday as they bring a brand-new play to the stage of CMFA. Directed by Chad Henderson, MOON SWALLOWER by Sumter playwright, Colby Quick, is the winner of the 2022 Jasper Project Play Right Series.

A one-act coming-of-age exploration that embraces the world of Youtube, gentle drug use, family dynamics, performative Christianity, and yes, the possibility of werewolves, this is not your typical staged reading.

Check all your expectations of straight back chairs and music stands at the door. Henderson has included lights, music, sound effects and more in this tease of what a full-blown production would look like. And the actors are anything but sedentary. From fight scenes to actors climbing on tables and hissing like creatures of the night, this is an exciting look at an exciting new project coming out of Columbia, SC.

Tickets are only $10.

Join this accomplished cast and crew for a fun Sunday reading complete with wine, snacks, and an opportunity for you to learn more about the page to stage process courtesy of the Jasper Project!

BECKY HUNTER

CHRIS COCKRELL

MICHAEL HAZIN

LONETTA THOMPSON

RICHARD EDWARD

CHAD HENDERSON

REVIEW: House Calls-The Strange Case of Dr. Gale is a Fine Follow-up to Last Week's Composure at Trustus Theatre

In the second of Trustus Theatre’s True Crime Rep series, the new play, House Calls—The Strange Tale of Dr. Gale by Charlie Finesilver, opened on Thursday night, August 18th. Directed by Ginny Ives, House Calls is the story of Dr. Ian Gale, an ostensibly successful psychiatrist who, in the 1970s, lived and worked in Columbia, SC by day, but by night burglarized the homes of 100 or more of his fellow Soda Citizens. Over the course of almost a decade, Gale, who was also an attorney and author, stole valuables amounting in worth to a half a million dollars, hiding the treasure away in a locked room in his home. He was finally caught and convicted in 1979 and served 15 years in prison. In 2017 and at 79-years-old, Gale shot himself in the head and set his home afire, taking many secrets and explanations to his grave.

Finesilver became fascinated with the story upon reading about Gale’s death in the newspaper and developed his own interpretation of contributing events into the original stage play which, like last week’s Composure by Jason Stokes, was intended to be staged in August 2020, before Covid shut the theatre down for health reasons.

Although it was originally intended to be directed by Lindsay Rae Taylor, Ginny Ives stepped in as director for the premiere of the show. Ives is a graduate of USC Aiken and has been a company member at Trustus since 2019.

Jeff Driggers was cast in the part of Dr. Ian Gale at the request of the playwright who had seen Driggers perform in another show and thought him an excellent choice for the part. Driggers, whose background lies primarily in Shakespearean roles, physically plays a bit young for the part although he does strive to create a mature presence that he consistently maintains throughout the play. Driggers is a lot on the stage, and we would have liked to have seen just a bit more variation in his character, more nuance to balance the bigness of his vocal expression, given that he is on stage almost constantly. Even so, Driggers shows fidelity to his interpretation of the part throughout his lengthy stage time.

Driggers is primarily cast against veteran actor Chris Cockrell (Inspector Anderson), one of Columbia’s most accomplished performers, and Deon Turner (Inspector Cummins), both of whom skillfully embody the roles of 1970s era gumshoes with finesse. It was also a pleasure to see Clark Wallace on the stage in the role of Solicitor Egan, reminding audiences of how much this experienced actor brings to a project.

Both Jordan Postal (Stacey) and Kathleen Pennyway (Jodi) gave astute and complex performances which promise more to come from both young women. And Sheldon Paschal, in the role of Gale’s memory of his mother (Vera) was decidedly creepy and intimidating.

Sharing the foundation of a set with last week’s premiere, Composure, once again we have Danny Harrington to thank for a set that is both functional and architecturally appealing. Sound and lights were fine and costuming by Andie Nicks was judiciously designed and era appropriate.

While in all likelihood Finesilver thoroughly researched the subject matter, a substantial part of the story was still conjecture by necessity and at the discretion of the playwright’s imagination in terms of what direction it would go. It would be interesting to know whether there were clues that led the author to point fingers at Gale’s mother Vera, so menacingly portrayed by Paschal, for the doctor’s mental instability or whether the playwright simply adhered to the old Freudian trope of blaming the mother whenever a son failed.  In a hearing that resulted in the revoking of his medical license it was noted that Gale prescribed amphetamines for a romantic interest as well as himself, had multiple false IDs, and exhibited other behaviors that indicated a sociopathic if not psychopathic  personality disorder. Ideally the conflict depicted in the action would have led the audience to additional possible explanations for the protagonist’s mental affliction, outside that of a domineering mother.

Certainly, like all new projects, House Calls would benefit from additional workshopping to sort out the possibilities for plot direction, and the pacing could be increased and the motivation of the lead actor finetuned. Compared to last week’s premiere by Stokes, House Calls may be less sophisticated in its storytelling methodology but, like its series companion Composure, which continues to run alongside it until August 27th, both have exceedingly strong bones and are triumphs for Midlands’s area theatre arts in that they were skillfully presented before enthusiastic audiences by accomplished casts and crews in a professional theatre.

Congratulations once again to the playwrights, casts, and crews for both performances and to Trustus theatre for trusting Columbia audiences to support new theatre art by talented local playwrights.

 

   

Alex Strickland of Abacus on the Band's Evolution, Columbia, Cooking, and Dance Moves.

“Make it your own thing & if it doesn’t hurt, you aren’t doing it right. Knowing & harnessing levels of pain can make a performance very special, positively or negatively”

Photo by Filip Szymanski

Abacus’ music is a smorgasbord of hard genres violently soaked in sweat and barbecue. They are well known and loved in Columbia for their unique sound, aggressive live shows and popular barbecue sauce. Lead singer and local chef, Alex Strickland, is gloriously over the top, seen pulling pork on stage for a recording of At The Addition and playing air hockey while performing at Transmission Arcade. If you want to learn more about him and what the band has been up to, keep reading. 

JASPER: You mentioned in a previous interview that music has always been a release for you. What's it been like the last two years not being able to play shows as often and struggling to balance the stress of everything going on in the world, on top of working in the food industry during a pandemic?

STRICKLAND: I personally haven’t had any other release. I have unhealthy coping mechanisms I’ve used to get through the day to day, but other than that, it’s been music & cooking. Luckily, we had band practice the whole pandemic (give or take). We only saw each other & practiced/wrote/jammed with one another. Cooking & music has been it for a long time for me, don’t fix what ain’t broke, ya know?

JASPER: You guys have been a band now for over 11 years. How has the band evolved over the years?

STRICKLAND: We as people evolved & the music definitely evolved with it. We all got serious about one thing or another (professions, relationships, traveling, life experience). We still make time for our music & artistic expression, but with age, shit gets more real & I think our music directly reflects that.

JASPER: We typically ask a food related question, but I feel like you guys get that a lot with the BBQ sauce and all, so anything else you want to compare each of your albums with?

STRICKLAND: Fuck it, 3/4th of us cook for a living. Food is our thing so we’ll steer straight into that. Our EP is a fried chicken sandwich from The Whig: no bullshit, can be done better at many other places but is just right the way it is. “En Theory” is a from scratch strozzapreti with pork ragu, savory & delicate with bite & a hint of spice. “Pellicule” is a BBQ competition smoked rib with no side. Stands alone with nothing else, meticulously cooked for hours & hours with someone constantly monitoring & babying it. Fall off the bone tender but with excellent chew, a perfect smoke ring & makes you want more

JASPER: When do you know something is done? 

STRICKLAND: When we all look at each other after the final note with equal parts disbelief & accomplishment. That song is in the bank (swoosh, nothing but net)

JASPER: What things do you like or dislike about the Columbia music scene and how have you seen it change over the years? 

STRICKLAND: The friends we’ve made in this town are countless. The experiences & opportunities are endless. The amazing bands we’ve played with push us to be better. I wouldn’t change a thing. So much could be said about “what if we had this or that” etc but all in all, this town is perfectly imperfect. I love it for all that’s wrong & right with it. 

JASPER: What is your favorite or least favorite show you've ever played? 

STRICKLAND: Uncle Lou’s in Orlando is the least favorite. On tour with Sein zum Tode, we were double booked with another touring package (sun genres of metal/punk didn’t mesh at all). They didn’t stay to watch us, the local left after their set for us to headline, we played to a depressed bartender & we couldn’t wait to get the fuck to the next town. 

Any of the battle shows with Vorov and/or Sein zum Tode, opening for Daikaiju at NBT before the pandemic, our shows at SXSW, house shows at QPP, Puuphaus & 88 Spring, opening for Thou in Greenville at Radio Room, playing the Whig & the Bask show pulling pork on stage are all way up there. Couldn’t pick just one for sure.

JASPER: Do you have any kind of special pre-show ritual or tradition?

STRICKLAND: I stretch, do vocal warms ups & get my blood pumping through super basic cardio (jumping up & down while spitting a bunch). Most of us smoke weed before to get ready, but I need the opposite. 

JASPER: What is your favorite dance move?

STRICKLAND: THE JAMES BROWN

JASPER: What tips can you offer other musicians (in similar genres) about dealing with the physical and emotional toll of performing? 

STRICKLAND: Make it your own thing & if it doesn’t hurt, you aren’t doing it right. Knowing & harnessing levels of pain can make a performance very special, positively or negatively. You just have to know what’s right for you. 

JASPER: What is the best way to listen to your music, like the ideal scenario? 

STRICKLAND: If you get in a horrible car accident & the brief moment you have of clarity before impact (the life flashing before your eyes moment) is overcome with pure panic so you flail your arms to protect yourself without knowing you were doing it, your arms accidentally hit a dial/phone/radio & it switches your music to “Disclaim”, that’s the ideal scenario to hear us. 

JASPER: What are you listening to most these days? 

STRICKLAND: As far as aggressive music goes: Ulcerate, Soul Glo, Gel, Demiser, Imperial Triumphant, Sumac, that new Cave In, The Armed, God Mother.

Non aggressive: I almost exclusively listen to ratchet ass trap, east coast hip hop classics, funk, afro beat & Bob fucking Seger (mostly at work which is 80% of my time)

JASPER: Any non-metal, hardcore, punk etc. bands that you draw inspiration from?

STRICKLAND: James Brown & Bob Seger. Showmen of the highest order. The other guys have tons of other people. Josh & Kevin has jazz backgrounds & Paul loves the Weather Channel music so sky’s the limit. 

JASPER: What's the "most metal" thing you've ever seen? 

STRICKLAND: A guy holding his kid on his shoulders during Gwar, huge ear protectors on, getting completely soaked in fake blood from a decapitated George W Bush prop. Metal as fuck. 

You can see Abacus Saturday, August 27th at New Brookland Tavern with Monolord plus Dorthia Cottrell (of Windhand). More details & tickets on New Brookland’s website.

JASPER PROJECT INTERNS WANTED!

The Jasper Project is accepting applications for interns for the coming 2022-2023 cultural year.

Jasper Project Interns may be involved in any part of the organization’s machinations dependent upon the applicant’s background, strengths, and interests.

We’re looking for college and post grad students who are interested in developing their skills in:

·         WRITING

·         PHOTOGRAPY

·         GRAPHIC ARTS

·         VIDEOGRAPHY

·         ADVERTISING

·         SOCIAL MEDIA

·         EVENTS MANAGEMENT

Jasper Project Interns know how to both work hard and play hard. They are progressive and innovative thinkers who relish problem solving and being a part of making magic happen. They value time over money and community over prestige. They are flexible, forgiving, intelligent, and kind.

And they believe that Art, in every form, is a sacred thread that connects humanity to history.

Former Jasper Project interns have gone on to become senior editors at NBC in NYC, writers at WIRED, WIRECUTTER, Vogue, Glamour, and VH1, an editorial intern at MTV, a digital marketing expert at WRAY WARD, NYU’s Summer Publishing Institute and more.

Interested?

Introduce yourself to us at JasperProjectColumbia@gmail.com

PRESS RELEASE: THE JASPER PROJECT PRESENTS A STAGED READING OF COLBY QUICK’S NEW PLAY, MOON SWALLOWER, WINNER OF THE 2022 PLAY RIGHT SERIES PROJECT

Sunday, August 28th at 4pm

Columbia Music Festival Association

914 Pulaski Street

Panel Presentation and Reception to Follow

The Jasper Project is excited to present the staged reading of MOON SWALLOWER a new play by Sumter playwright Colby Quick. MOON SWALLOWER is directed by veteran theatre artist Chad Henderson and features Michael Hazin, Lonetta Thompson, Richard Edwards, Becky Hunter, and Chris Cockrell.

MOON SWALLOWER is the winner of the Jasper Project’s 2022 Play Right Series, an endeavor in which unpublished playwrights are invited to submit their work in competition for a cash prize, publication of their play in book form, and workshopping and development of the play with skilled professional theatre artists, culminating in a staged reading. Dr. Jon Tuttle, playwright in residence at Francis Marion University and member of the Jasper Project board of directors, is the director of the Jasper Project Play Right Series.

MOON SWALLOWER is an alternative coming-of-age story of a young man who finds himself stuck somewhere between small town ideologies and big world expectations with a heavy influence of social media, domestic awkwardness, and the possibility of werewolves. It is a comedy that has kept the case laughing throughout rehearsals.

The Play Right Series is a unique machination for bringing new plays and playwrights to the forefront of local performing arts by calling on Community Producers to invest a modest amount of money in the workshopping and ultimate staged reading of the play in exchange for their intimate involvement in the processes involved in taking a play from page to stage. Community Producers for MOON SWALLOWER are Bill Schmidt, Bert Easter, Ed Madden, Paul Leo, Eric Tucker, Kirkland Smith, James Smith, Wade Sellers, and Cindi Boiter.

The first iteration of the Play Right Series involved a new work from SC playwright Randall David Cook whose play, SHARKS AND OTHER LOVERS was produced in 2017 and directed by Larry Hembree. SHARKS AND OTHER LOVERS has gone on to win multiple awards and be presented throughout the US.

The Staged Reading for MOON SWALLOWER will be held Sunday afternoon, August 28th at 4 pm (doors at 3:30) at Columbia Music Festival Association, 914 Pulaski Street. Tickets are $10 in advance and $12 at the door. The performance will be followed by a panel discussion including cast and Community Producers, hosted by Jon Tuttle, with a reception following. Copies of the play, MOON SWALLOWER, will be available for purchase at the event or online at Amazon.com.

Tickets are available at  The Jasper Project.

 

Coming Up at CMA--Adia Victoria and More than Rhythm: A Black Musical Experience

It’s nice when successful artists come home. Sure, there are sometimes sour grapes in the back (what some like to call the anti-Hooties), but for the most part South Carolinians welcome their success stories back with pride and grace. That will be easy to do on Friday, August 26th when Columbia Museum of Art welcomes Adia Victoria to their Conversation and Concert titled More Than Rhythm: A Black Music Series Featuring Adia Victoria.

Singer-songwriter and poet, Adia Victoria, was born in Spartanburg, SC and lived in the upstate until she left high school and moved from New York City to Atlanta and finally to Nashville where she resides today. She released her first album, Beyond the Bloodhounds, a reference to Harriet Jacob’s autobiography, Incident in the Life of a Slave Girl, in 2016, followed by Silences in 2019 and A Southern Gothic in 2021, which was written mostly in Paris.

Having toured internationally for the past few years and performing some gigs in the US with Jason Isbell and the 400 unit, Victoria is performing in Columbia as part of a multidisciplinary event that will include song, poetry, dance, and discourse. Dr. Mason Hickman, musician and civil engineer with a uniquely math and science approach to his guitar work, will be performing with Victoria and Dr. Birgitta Johnson, professor and ethnomusicologist at the University of SC will be performing host duties.

According to the CMA, the “More Than Rhythm series returns for its second season with a special performance from South Carolina native and globally recognized blues musician Adia Victoria. On break from her world tour, Victoria joins host and ethnomusicologist Dr. Birgitta Johnson to discuss her journey as an eclectic 21st-century blues artist before taking the stage with guitarist Mason Hickman. Their performance includes original poetry paired with dance interpretations by Columbia-based dancer Erin Bailey.”

The CMA galleries and bar will open at 6 pm with a Conversation at 7 pm, followed by an 8 pm concert. The event is free, but seats must be reserved by contacting the museum.

REVIEW: COMPOSURE at Trustus Theatre, Written and Directed by Jason Stokes

“Composure brings to light major issues that, after one-hundred and nineteen years, are still prevalent today. Fact versus interpretation of fact, truth versus bias, opinion-based reporting, righteous versus self-righteous, and the checks and balances between the press and the government…” - Jason Stokes, Playwright

Pictured Clint Poston as James Tillman (left) and Jon Whit McClinton as N. G. Gonzales (right)

It’s been a long time coming for Jason Stokes, writer and director of the play Composure, which premiered Thursday night at Trustus Theatre. The inkling of the idea for presenting this story was born almost 20 years ago when Stokes first learned about this particularly sordid excerpt from South Carolina history that, in 1903, finds a white supremacist lieutenant governor, James Tillman, murdering in broad daylight N.G. Gonzales, journalist and co-founder of The State Newspaper, then walking away a free man. Stokes first developed the story as a screenplay before transforming it for the stage. It was scheduled to be premiered pre-Covid in cooperation with Chad Henderson, former artistic director of Trustus, along with Charlie Finesilver’s original production of House Calls, which premieres August 18th.

A larger story to be told than the one incident of the murder, Stokes does an impressive job of integrating the lead-up and aftermath of the shooting and trial into two acts. In fact, the structure of the play is highly sophisticated as the events and dialogue jump logically across place and time in order to explain not just most efficiently and dramatically the events, but the contributing causes of the events that took place.

The cast is, for the most part, stellar, with some of the finest actors Columbia has to offer on the stage in support of their colleague. It was a treat to see such accomplished actors as Hunter Boyle in the commanding role of Pitchfork Ben Tillman, Stan Gardner as attorney Patrick Nelson, G. Scott Wild as attorney William Thurmond, Kevin Bush as journalist J.A. Hoyt, and Terrance Henderson as Ambrose Gonzales, brother to murder victim N.G. Gonzales. Libby Campbell Turner displayed remarkable theatrical chops in her multiple cross-gendered roles as C.J. Terrel and additional characters, often changing characters on a dime just by adjusting the fit of her tie and her own composure. Her facial features and posture reminded the audience that she is a cast of characters unto herself. And Katie Leitner, as the long-suffering wife of the murderer, displayed a grace and elegance even when called upon to deliver the rare mellow-dramatic line. It was great, too, seeing Nate Herring back on the Trustus stage as George Lagare.

We were surprised, however, by some of the casting decisions.

With powerhouse artists like Bush, Wild, and Gardner on board, why were some of the most demanding roles assigned to some of the weaker actors on the team? As James Tillman, Clint Poston, though a fine supporting actor, was saddled with an incredibly challenging role, a role that seems made for the likes of G. Scott Wild who could so easily slide into the character of the blustery and entitled white Southern fascist Tillman must have been. Poston doesn’t seem to have a handle on how deluded and despicable Tillman was, sometimes coming off as somewhat sympathetic and misunderstood.

And while Brandon Martin at times rises to the level of contemptibility of future SC Governor and Senator Coleman Blease, a man who embraced white supremacy and lynching and violently opposed miscegenation, his physical appearance, posture, and contemporary hairstyle, as well as his time spent on stage when not speaking, make it difficult to believe him as the robust character of Cole Blease. Stan Gardner, on the other hand, would have soared in this role. (Since writing this, we have learned that Mr. Martin joined the cast at a late date to take the place of Stann Gwynn, an artist inordinately well suited to take on the role of Cole Blease. Jasper wishes the best both to Mr. Martin as he acclimates to the role and to Mr. Gwynn as he fully recovers from his medical procedure.)

But the most poorly cast actor, in a slate of otherwise excellent theatrical artists, was Jon Whit McClinton in the critical role of N.G. Gonzales. While McClinton was able to manage the side-role of judge most of the time, though he did break character and snicker at his own mistake at one point, he was out of his element among the artists with whom he shared the stage. The particularly jarring reality is that McClinton played opposite Terrance Henderson as Ambrose Gonzales in the majority of his scenes. Henderson’s stage presence, professionalism, and experience would have delivered a far more serious, and certainly less giddy, character than McClinton was able to provide.

We’re not sure whether Stokes conceptualized the set or if this was the singular purview of veteran scenic designer Danny Harrington, whose work has been a gift to most if not all theatre stages in the Columbia area, but the set for Composure, though problematic for the actors in places (Damn those pipes!), is a work of art itself. A play as complex as Composure could have required a multitude of scene changes. But Harrington’s innovative design—and the flexibility of the actors—allows for one large multi-use set that presents as something quite beautiful from the audience.

With a cast this size costuming can be a financial challenge and for the most part costume designer Andie Nicks does a fine job and, in some cases—like Katie Leitner’s elegant black and white skirted pants ensemble—an exceptional job. If financially possible, more consistency of style would be appreciated, too, particularly when it comes to pleats and cuffs for the gentlemen’s pants, hats vs. no hats, and the standard three button coat of the turn of the 20th century. And a good fit, no matter what the wardrobe, is ideal. Similarly, standardized hairstyles for men invite no comparison whereas the juxtaposition of a contemporary style, like that of Mr. Martin’s, stands out and begs notice, disrupting the flow of the play.

While kicking off the sound and lights posed a problem on Friday night, which Stokes managed with grace and humor, the lighting design by Teddy Palmer was helpful in guiding the audience’s attention to a stage in which, at times, as many as three scenes moved from frozen to active in a matter of seconds. In the best of all possible worlds (and budgets!) more intense spotlights would have been available, but in this world, this lighting worked fine. Background sounds by Jason Stokes were appropriate and complementary, with music added in places to enhance the setting but not overwhelm it.

Overall, it was a delight to see the vision of local multi-talented theatre artist and writer Jason Stokes become a reality. This play and its production are important to this community and beyond for a number of reasons.

Kudos to interim artistic director Dewey Scott-Wiley for following through on this project, begun by Stokes and Henderson, which could have fallen by the wayside once Covid forced its delay. We see far too little new stage work from an abundance of literary artists in SC and Columbia in particular. But local theatre and literary artists will continue to produce new art if given the opportunity to see it come to fruition, as Composure has. South Carolina and South Carolina playwrights have fascinating—and sometimes barely believable—stories to share, such as this story and that of Dr Ian Gale in next week’s premiere of House Calls: The Strange Tale of Dr. Gale.

Sadly, we are not as far removed from the issues and behavior depicted in Composure as we would like to think—we’re simply better at subterfuge. As Stokes writes in his playbill notes, “Composure brings to light major issues that, after one-hundred and nineteen years, are still prevalent today. Fact versus interpretation of fact, truth versus bias, opinion-based reporting, righteous versus self-righteous, and the checks and balances between the press and the government. Both are vital to American existence, both must keep careful watch on the other; but when these powerful forces become more self-aggrandizing entities than protectors of the people they serve, the American existence is lost.”

The question now is What’s next for Composure? Without question, the play should live on, possibly with a shorter first act, possibly continuing the model of more actors performing multiple roles to condense the cast. Some degree of workshopping might be helpful, but not a lot. This project strikes us as a good candidate for festivals. It’s a fascinating story that despite the passage of more than a hundred years still resonates and begs the same questions today that it did in 1903.

Congratulations to the cast and crew of Composure, a new play written and directed by Jason Stokes.

The Jasper Project

Trustus’ True Crime Rep: Charlie Finesilver Traces Mystery Behind Local Psychiatrist Turned Serial Burglar

 

Charlie Finesilver

 

Last week we discussed the first show in Trustus’ True Crime Rep, where two plays about crime in Columbia’s history will run simultaneously, alternating each night.

The second of the two plays, House Calls, written by longtime playwright Charlie Finesilver, recalls the strange case of Dr. Ian Gale, who died in 2017.

Finesilver started writing when he was in the Peace Corps in Mali, Africa, in order to process what he was seeing and feeling—in the time since, he has had 4 Off-Broadway productions. 

Finesilver finds writing plays preferable to other mediums “because theater gives physical boundaries and limitations that you need to break by using creativity and focus – it makes you reach and think.”

As far as creation, Finesilver notes that when he gets an idea, “The scenes are there. It just writes itself. I just feel like I'm just there for the ride.” But that doesn’t make the process simple. It doesn’t even start, as we might imagine, with pen and paper.

A chance encounter with an article from The State would become Finesilver’s inspiration for House Calls. He asserts that he doesn’t read the news very often, but in one of the few times he picked up a local paper, he found himself staring at a headline, which informed him that former doctor, Ian Gale, had committed suicide. 

“It sounds nuts,” Finesilver said, “But I did feel as though Gale was really watching over me. He was tapping me on the shoulder.” Who was Dr. Gale? A once seemingly stable and successful psychiatrist who, in the 1970s, burglarized over 200 South Carolina homes for apparently no reason.

This “apparently no reason” is exactly what kept Finesilver up at night. The question rang in his head – why? 

With an impetus in place, the script started to swirl in his head. Finesilver searched archives online and conducted interviews with people who knew Gale. He even went on what he calls “The Gale Tour.”

“I started at Clemson and Forest Drive, where Gale was pulled over surrounded by the police in '79. I went to his office. I passed by his house. I drove by several of the houses he picked off in Forest Acres,” Finesilver continues, “It's a rush to actually follow his steps, follow his route.”

Finesilver has brought in director Ginny Ives to achieve his vision for telling Gale’s story, and together they’re sharing it with us through a vibrant cast including Jeff Driggers, Clark Wallace, Kathleen Pennyway, Jordan Postal, Deon Turner, Chris Cockrell, and Sheldon Paschal.

As a writer, of course, it’s always difficult to see how a cast and crew will receive your work. “With anybody doing art, I totally get it. It's your baby. Nobody wants to hear somebody say, ‘Man, your baby is ugly,’” Finesilver jokes, “But I don't get defensive. My ears are open to anything, any kind of feedback that's sensible. I will change the script, absolutely.”

Now, as a team, this group will attempt to tell the confounding rush of a story that is the life and death of Dr. Ian Gale—a true story that often feels unreal.

On that note, Finesilver emphasizes the importance of balancing historical fact and creative vision: “You're thoroughly involved in what you're writing and what happened, the actual events, and you kind of have to be able to stay two or three steps back, and sort of capture the essence without getting too far, where you might lose people, you know?” 

And, of course, a playwright doesn’t want to lose people when there’s a message to tell. 

“This is a psychological thriller about a psychiatrist. I think the audience will walk away wondering about psychiatrists and their complexity,” Finesilver reflects, “Who are they? What do the people who uncover what we’re hiding, keep hidden?” 
You can see Finesilver’s play at Trustus, August 18th – 27th. People can buy tickets for House Calls and Composure—or get both as a package deal and dive into the mysteries of Columbia’s past.

Jason Stokes (L) and Charlie Finesilver (R)

Columbia Operatic Laboratory Brings Unconventional Opera to Art Bar with “Still Notoriously Hot *And Bothered*”


Columbia Operatic Laboratory (COLab) was founded by (now) alumni of the University of South Carolina School of Music in 2015. Since then, they have continued to try to promote the timelessness and accessibility of opera.

The nonprofit, that Jerryana Williams-Bibiloni, Marketing Director at COLab, says is like a Beezer's Gourmet Sandwich Shop T-Bird, consists of five members—a small board of artists with “day jobs” who have a passion for sharing opera to the city they love and dwell in.

“Although we all have our unique role to play for practical reasons, each vote has equal weight, which is especially beneficial as we come from fairly diverse backgrounds and want our respective niches represented,” Williams-Bibiloni shares, “This means also that we take turns in the director and musical director chair by assigning project leads based on our strengths and weaknesses or just availability!”

This group of dedicated individuals operates by the mission not your meemaw’s opera company, which emphasizes “the fact that [they] relish the opportunity to adapt classics to have [their] special COLab twist as part of [their] demystification of opera.” 

If you go to a COLab production, you aren’t going to see time-period appropriate costumes or the same production of the ole’ opera those already deep in the genre have seen a plethora of times. They are making opera for those who may never have attended one otherwise. 

“An example of this was our latest production of Mozart’s der Schauspieldirektor. Right off the bat we decided to move forward with the common English title The Impresario and to set it in Columbia, SC, with modern lyrics by librettist Evelyn Clary,” Williams-Bibiloni details, “As a show about a poor opera company, it felt appropriate to tackle as our first full production post-pandemic, and with the expertise of both Clary and Director Michael Brown, we were able to successfully address misogynist tropes of Mozart’s time and shape a more prominently feminist tale.”

Williams-Bibiloni jokes that part of COLab’s success is that they, like Star Trek, aim “to explore strange new worlds. To seek out new life and new civilizations. To boldly go where no man has gone before.” In reality, they are actively trying to perform where others don’t, to perform in nontraditional ways—unconventional is their middle name.

“To achieve this we are constantly seeking partnerships with local organizations and looking for ways to highlight some of what makes the midlands area a fantastic place to live and work,” Williams-Bibiloni shares, “This goes right in hand also with our #SingLocal initiative that focuses on supporting local artists both on and off stage with job opportunities that respect not only what they bring to the table but also that they deserve to be paid consistently and fairly.”

This newest opera, “Still Notoriously Hot *And Bothered*,” is somewhat of a spin-off of their “Famously Hot” show last year, in which they paid “homage to the city we call home by trying to incorporate Columbia’s loving branding of being famously hot.”

“The title of our August 19th performance — Still Notoriously Hot *And Bothered* — comes from this as a 2.0 spin-off of sorts,” Williams-Bibiloni explains, “We’re still hot and sweaty but we’re also excited to share what makes us hot and bothered in a variety of ways as we’ll be covering the 3 Ls — Love, Lust, and Loss — through opera, operetta, and even musical theatre.”

This performance takes place at Art Bar, who has been one of COLabs strongest supporters since day one—a relationship that has only grown stronger over the years.

Patrons can expect a “night of melodious, intimate storytelling” featuring Jennifer Mitchell, baritone Greg Pipkin, and collaborative pianist Sharon Rattray. Art Bar is a 21+ venue, and there is no cover charge for entry to the event. Food and drink will be available.

“There won’t be a full orchestra, unless you count the hum of the city noises outside or the chatter of other bar patrons, nor will there be a specific dress code, but you can count on a welcoming, come-as-you-are environment with something for everyone in our program,” Williams-Bibiloni intimates.

Whether you like Art Bar, opera, art turned on its head, or new experiences, Opera at Art Bar: “Still Notoriously Hot *And Bothered*” is a show that will entertain and bring joy. The performance is Friday, August 19th at 6:00pm.

For those who want to spend even more time with COLab, on Friday, September 16th, they are having their first Pirates of Penzance Sing-A-Long: a pirate-themed fundraiser featuring Gilbert & Sullivan with an (optional) audience chorus.

For more information and updates on their events, you can follow COLab on Instagram and Facebook at Columbia Operatic Laboratory or email them at ColumbiaOperaticLaboratory@gmail.com.

Moses Andrews III and His Journey to Finding Black Identity and Confidence

“This album, while it talks about being human, it shows that I’m no longer afraid of being Black anymore. I’m no longer afraid of saying that I’m a Black man - not African American, but Black. This album is about empowerment and jumping over hurdles. This album is the start of me standing up for people with bodies like mine.”

 

Photo by Kati Baldwin

 

If you want to learn about who Moses Andrews III is, we highly recommend listening to his newest album Exodus Pt. II. The personal stories he tells and the range of emotions in the album paint a strong likeness. If you want to hear him expand on the album and the stories, keep on reading.

JASPER: You are one busy dude! What bands (or projects) are you currently working in/on?

ANDREWS: Well, I have quite a list of bands, artists, and projects I’m a part of. To name a few: Autocorrect, GFATS, Miles To Go, Passing Worth, The Runout, The Restoration, The Witness Marks, and a few others. Occasionally, I step in and play with Space Coke, Fat Rat Da Czar, John Callaway (based out of MD), Commandment 11 (Simpsonville), and some others here and there. I’m also a session musician at Jam Room so that gives me so many opportunities to branch out even more.

 

JASPER: You recently worked on the soundtrack for a Sundance submission—can you tell us more about that?

ANDREWS: The film is an Afro-centric film called Hero and every part of it was shot in Columbia, so this could be something really big for the town. Todd Mathis, a local musician, had given my name along to the Director and the Music Director for the film. I’d found later that Todd would be the engineer and I’d be joining Corey Harris (a Blues and Reggae musician from VA), Kyle “Red” Love (Music Director and Blues harmonica player), and a couple of other musicians from around the country. A lot of the selections were pieces that Corey had written, but we decided to put a new spin on them for the film. We’d also incorporated lots of African sounds into the soundtrack. I’m excited to see how everything fits together.

 

JASPER: Your newest album Exodus Pt. II came out last month and in the description for it you mention that it is made up of stories that you have held for decades. What do you want people to know about the album? 

ANDREWS: The main thing I want people to know about Exodus Pt. II is that it is an effort to be completely honest. People make mistakes. I even talk about my own mistakes on this album. I wanted to add more songs to this album, but it would’ve been too long, so I want to be even more honest with my music in the future.

Black people and other People of Color have navigated this world in so many ways. We’ve had to overcome. As soon as we walk out of our door, we walk into a world where we have to prove that our existence is more than just useful, but valid. We have to prove our feelings are valid. We have to prove that we’re more than just a shooting target. We have to lower ourselves to show that we aren’t a threat. This album, while it talks about being human, it shows that I’m no longer afraid of being Black anymore. I’m no longer afraid of saying that I’m a Black man - not African American, but Black. This album is about empowerment and jumping over hurdles. This album is the start of me standing up for people with bodies like mine.

The content of this album is not influenced by what I believe, but what I embody. The Faith that I come from was not just a belief, but was a fully embodied faith: even in bondage, singing songs of freedom. Even in toil and trouble, singing songs about how we overcome. In a world where I may not have much power to do anything, I still lend my voice in the off-chance that some hearts are changed and are motivated to change others.

 

JASPER: Was there a song that was really hard for you to write?

ANDREWS: One of the songs from Exodus Pt. II that was the hardest to write was “I Know Everything About Black People.” I had to reopen so many wounds to be able to write this one. This song is just a snapshot of what Black people experience in predominantly white spaces, especially churches that are very Conservative-leaning. About 95% of the lyrics were taken from conversations with white pastors who have made their places of worship into safe havens for racists and bigots. I look at Spotify and see that it’s the top song on this album, but I think it’s because of the name. It catches your eye and draws you in.

Our minds are drawn to things we think are wrong or things we feel like we can correct or make better. Some say that this has come with the age of social media, but I believe it’s always been around, but people just didn’t want to see it. I feel like there are so many people who will not listen to this album because of this song. I also feel that some people know that this song is written about them, or maybe they know who’s the main character.


JASPER: What is your favorite thing you've written and why?

ANDREWS: If I think about everything I’ve written, I think I’ll be spinning my wheels a bit. There are a few songs that stick out to me.

One of my favorite songs I’ve ever written is on my most recent album, and it has to be IOU. The feelings that I’d felt while writing it are still there. You can feel the pain of someone being asked to completely change who they are to please others in the workplace. I feel like a lot of people, especially Millennials, can identify with some of these feelings of just being there, making little money, not getting ahead, etc. While a lot of songs were honest, this one was like talking to my therapist.

 

JASPER: If you were to associate a condiment with each of your albums what would they be and why?

ANDREWS: Well, If we’re talking about my personal music, this is an easy one. Exodus Pt. I would be more like ketchup because when you’re growing up, your taste buds haven’t developed enough to appreciate more than ketchup. This album is easy listening compared to the next one.

Exodus Pt. II is like a hot sauce that I make called Sri-HOT-cha: you can feel the heat at the beginning, but then you get some garlic and fruitiness coming through until you reach the slow burn, ramping up and taking you on a roller coaster. Exodus Pt. II was like that for me, especially in the way it was laid out. Hot sauce is my favorite condiment and Exodus is my favorite album that I’ve ever recorded.

 

JASPER:  How has becoming a father impacted you and your music?

ANDREWS: Being a father has changed a lot for me! I used to have instruments set up everywhere in the house, but they’ve since become his play areas. Almost every one of my instruments is packed up and in the closet because there’s nowhere to put anything. This has also affected my practice time because I want to give Miles more attention. Family time is important. After he goes to bed, it gives me a chance to actually visualize what I need or want to play since I can’t just plug in and play out loud. It is very interesting to see how he reacts to different styles of music. I can’t wait to see what Miles does in the future.

 

JASPER: What is the biggest assumption people tend to make about you and your music?

ANDREWS: What a question! People assume a lot about me simply by the way I look. Being a big Black man in the South, I get a lot of interesting questions and looks. I’m a big guy so people look at me like I’m a Grizzly bear instead of a Teddy bear. I was releasing an album with Autocorrect one evening and someone asked me if I was playing and if I make the beats. I used to make beats when I was a teen and there’s nothing wrong with making beats, but you can’t just assume that since I’m a Black person that I just make beats and not play an actual instrument. When I was at Carolina, I’d be carrying an instrument in a case and they’d still ask if I was a DJ. Those are small examples.

There are many other ways people have made assumptions about me and my music, but it has also happened in the white church. Being in predominantly white spaces, people learn one thing about you and they assign that one thing to you. You change yourself to help people feel more comfortable so that you don’t risk being “too Black” or look like a threat. Over time, you strip yourself away and become this completely different person playing Contemporary Christian Music only to have people approach you and talk about Gospel music and how much they love Andrae Crouch. I’d spent so much time away from Gospel music that I’d forgotten what it felt like to play it and be challenged by it. They assumed I was still in Black American Christian culture when I was so far removed from it.

 

JASPER: What are some things you like or dislike about the Columbia music scene?

ANDREWS: Some of the things I love about the music scene in Columbia is that there are always new artists coming out with music. Just watching people like Lola Grace is so cool. Another thing I like is that we have places like New Brookland Tavern and Foxfield that welcome musicians no matter how many people they draw. This is where they can grow and become somebody.

One of the things I dislike about this Columbia music scene is that there is still so much division. There are still cliques and people only know each other passively. I wish I could see more people working together. I think it’s so common these days to see the Person of Color being the one building the bridge or going the distance to create harmony. We always have to be the person to make the move and invade these spaces to add more color. I can name a handful of people of color in a lot of these spaces. I can guarantee you that when they are in these spaces, they feel like they’re the only one at that particular time.

 

JASPER: What wisdom do you wish to impart on musicians just starting out? 

ANDREWS: 

  • Make friends with everyone. Break down the barriers.

  • Stop booking the same kinds of shows all the time.

  • If other artists or bands are coming out to your shows/gigs and buying your music or “merch,” make sure you are returning the favor. So many people can’t get anywhere because we aren’t supporting our own musicians in our own towns.

  • Learn how to play more music. If you learn more styles of music and get good, you may get called into the studio to do session work.

  • Change your attitude. Be humble. There are musicians that I know who think they’re amazing, but they can’t play more than four chords. All they bring is an image, a vibe. The time has come to learn and grow. Take time to work on things and come with something new.

  • Make space in the community for people who don’t look like you, and not just the tokens or the ones who make you comfortable.

You can see Andrews perform  Thursday, August 18 at 8pm at Uncle Festers with St. Jupiter, Deft Key & MC Beetnik and listen to his newest album on his bandcamp.

A Bit of Introspection through Keith Tolen’s New Exhibition

 
 

“Who am I?” 

That’s the question Keith Tolen poses and hopes to answer in his newest exhibition at Stormwater Studios. In an introspective body of work like this, the process of creating each piece relies on the soul and spirit of the artist. Tolen is no stranger to exhibiting his work, as his Stormwater residency is the second of the summer and third of the whole year. A prime example of the sheer talent that resides in the Midlands, Tolen’s methods of creating artwork result in awe-inspiring pieces that stay with audiences for a long time.

With the constant stream of unprecedented events that inevitably affect our day-to-day lives, these particular pieces allow Tolen to maintain a sense of control that effectively functions as a means of catharsis. It also serves as a welcome challenge for Keith. 

“The fact of the matter is that this is very hard,” Tolen says when asked about the difficulty that comes with making art that analyzes himself or his emotions, “In most cases, I usually gravitate to images that attempt to tell stories. Creating art that is personal is still a struggle for me.” 

His role as an artist impacts the community as well; Tolen’s role in the art world of Columbia allows him to spend time around the positive energy of other creative minds which only brings him more joy: “My journey has been rich with color, full of imagination, and a constant search through the joys of life.” 

The spark of inspiration needed to get the creativity flowing started with a simple dot. “The dots are currently both my inspiration and fascination,” Tolen shares, “I enjoy the process of making them. I like working with colors and by using the dots, I am able to see how colors act and react with each other.” 

This natural flow of making art causes immense joy in the act of creating within Tolen and helps propel the narratives of his work even further. Everything about creating a new artwork excites him, even if it’s not himself doing the painting: “For thirty years I taught art in public school, and I was always fascinated by what individuals would create especially when given time, materials, and opportunities to freely express themselves.”

If there’s one thing that Tolen hopes the audience takes away from his exhibition, it’s to not have any one specific emotion. He’d rather capture your attention, and let your mind wander to its own conclusion, only to seek more answers by continuing to look at the following artworks in his collection. His art always aims to share a story, and in this particular set of artwork, it’s a deeply personal one. He reiterates how powerful a tool art is to positively communicate and address complex or sensitive topics. Viewing his works as an extension of his own being is what really emphasizes the subtext within each and every piece he makes.

“Who Am I?” will be displayed at Stormwater Studios from August 17th to the 28th. The opening reception is on August 18th from 5:30 to 7:30, and an artist talk on the 28th will conclude the showing. So, for those of you who look to find the answer to that opening question, Keith Tolen’s work might just be the solution you’re looking for. In his own words, “This body of work in many ways is an extension of many ideas that have shaped my life for many years. I enjoy working with colors, so painting these works in many ways fed my soul.”

Say Brother’s Tripp LaFrance: Wiser, Older, Sober — And Still Fun as Hell

“big bands are only big because other people support you, your show only sells out because people care enough to spend money to come see you. be grateful an humbled by that. cause if you fall off an youve jus been attached to this image of yourself, youre gonna fall fuckin hard.” — Tripp LaFrance

Self-labeled as country folks—and referred to in the press as young guys playing old music—Say Brother has danced, hollered and jangled in the Columbia music scene since 2010. In that time, they've toured the East Coast and as far West as Texas, but thankfully, they still call Columbia home. We talked with lead vocalist and guitarist, Tripp LaFrance, about how things are going and what has and hasn’t changed in the last 12 years. 

JASPER: What the heck have y'all been up to?

LAFRANCE: well like erbody, the pandemic kicked our asses musically. it was great for some much needed self reflection an improvement though. i feel like erbody in the band came out the other end a lil more put together. were finally gettin our new stuff down an pickin up where we left off. feels good to be back at it.

JASPER: Has the pandemic had any impact on your music, creativity or process?

LAFRANCE: oh absolutely. like i mentioned, it obviously brought musicians to a standstill. not bein able to play live an get them wiggles out was frustratin to say the least. it has shown me not to take it for granted though. im throwin all i got at it now, instead of bein a perfectionist who releases a new song once every two years haha.

JASPER: What does life look like now vs. 2019 when you were playing Hopscotch and the Fair?

LAFRANCE: life looks...more organized an completely confusin at the same time. i sobered up an thats been great, but my trajectory is all over the fuckin place now. its near impossible to say where or what ill be in a year.

JASPER: You guys have been a band now for over 10 years – woah! How has the band changed in that time? How has Columbia and the music scene changed?

LAFRANCE: the band has had a pretty revolvin door lineup. some people left and came back, left again, came back haha. but we have what i think is the perfect squad now. weve lost people along the way, but its never felt better. 

an yeah i feel the music scene has changed. its hard to put my finger on exactly how though. could also be a result of the lockdown an erbody comin back out as changed people. who knows. im in my lane.

JASPER: In these last 10 years what’s your favorite show you've played?

LAFRANCE: tanglefest 2021! that was the first real show we came back out an played. jus felt like community an love. lydia worked her ass off to put that festival together, an is doin it again this september on her farm. i seriously cannot fuckin wait. its jus a sloppy, happy, beautiful local fest full of awesome food, people, campin, an good times.

JASPER: What makes you want to play music?
LAFRANCE: its jus such a release. i swear, an i feel like most musicians would say this, the only time i feel at peace an my mind shuts the fuck up is when were on stage. everything else melts away an i am 100% in the moment soon as the first beat drops. honestly its more necessity than desire. 

JASPER: What does your writing process look like? 

LAFRANCE: there isnt much to it. i grab the guitar when the mood strikes, an usually run through a couple of chords an sing jibberish tryna find a melody i like. if one clicks ill record it an start to layer the rest of the instruments over it in garageband that are ever changin as the song progresses. its prolly not much different than most peoples, but damn man theres no better feelin than when you know you have somethin sick an youre jus listenin to it on repeat tweakin lil things here an there. thats a high like no other.

JASPER: Do you have a favorite lyric or song you've written, and if so, what is it? 

LAFRANCE: damn thats tough. i think “comfort me” might be my favorite? i wrote it in a total hurry under pressure cause we had a video shoot booked for it before it was even written, an i kinda thrive under that pressure. theres not much time to overthink anything, an i think that jus leads to more honest writin. i tend to pick apart everything i write to the point that i hate it. which is also why weve released only a handful of songs, an ive written hundreds. its a quality of mine im always tryin to get rid of. its incredibly fuckin frustratin.

JASPER: How do you know when something is done? 

LAFRANCE: i dont haha. when the rest of the band tells me so i guess. i tend to wanna go back an rework shit, but its only cause ive heard it a thousand times. once we all get together an play it at practice, we can tell if we got a banger or not pretty immediately. im blessed to have a group of brothers at my side who all have a similar ear an direction. theyre also all creative an write their own music separately so that really helps when you present somethin.

JASPER: What are you listening to these days? Are there any newer musicians local or otherwise you are into?

LAFRANCE: currently as i write these answers im listenin to sarah shook and the disarmers, theyre a sick sorta country rock an roll band thats gainin crazy traction right now. ive found myself listenin to a lot of instrumental beats these days. like the low fi almost hiphop shit that is jus raw an relaxin.

JASPER: Have you or anyone else in the band ever ridden a horse?

LAFRANCE: i did when i was younger, i think thats prolly the truth for the rest of the band as well. haha i can imagine now that experience would be painful bruh. we in our 30s if i bend down to pet my cat wrong it takes me 17 seconds to stand back up all the way straight.

JASPER: Having been playing for a while, what freaks you out most about the younger generation or encourages you and why?

LAFRANCE: the musicians arrogance. thats not jus attached to the younger generation of course, but maybe attached to the younger age we all go through. our generation remembers life before instagram an shit. but everybody is a celebrity now. there seems to be this feelin of self importance that in my opinion has no place in music. big bands are only big because other people support you, your show only sells out because people care enough to spend money to come see you. be grateful an humbled by that. cause if you fall off an youve jus been attached to this image of yourself, youre gonna fall fuckin hard. an it happens. im a human, ive struggled wit the ego bullshit of course, i was a lil shit for a while, so im definitely not hatin on anybody. jus gotta work to keep yourself in check.

but i am encouraged by how open these kids are. destroyin stigmas around mental health, bein themselves without holdin back, fightin for what they believe in. theres a lot to like when i get a glimpse into their narrative. 

You can see Say Brother with The Josephines at New Brookland Tavern on August 13th and hear their music on Bandcamp.

Trustus’ True Crime Rep: Jason Stokes Retells Century Old Columbia Murder in Composure

 

Jason Stokes, Writer and Director of Composure

 

In 2020, two new plays were created by local playwrights with the intent to premiere at Trustus, until COVID put a halt in production. Now, the two shows, Composure and House Calls are finally being shared with Columbia as part of Trustus’ True Crime Rep.

The shows will perform in repertory, running at the same time with performances alternating nightly. Composure, by Jason Stokes, premieres first, starting on Thursday, August 11th and running until the 27th.

Stokes is far from new to the Trustus scene, having been part of the acting company at the theater since 2004 — and having been working on screenplays since a young boy.

The story for Composure came from a work presentation on a 1903 case that Stokes attended around 20 years ago. The case? The then sitting lieutenant governor (Jim Tillman) finished session for the day, walked out of the State Capitol building, saw the founder of The State newspaper (N.G. Gonzales) pulled out a gun, and – without warning – shot him dead.

Stokes keeps a journal on him at all times with notes all the way back to when he first heard this story in 2003. When he knew he wanted to craft a play, he went to the Thomas Cooper Library to read books and newspapers and to find little known information that coverage of the trial left out.

“It was frustrating because I wanted to write it, but I didn't know what I wanted to write,” Stokes shares, “When I hit on the idea that the why was more important to me than the what, that’s when the catalyst sparked.”

With inspiration and research intertwining, the script started being fleshed out. Stokes started and finished his first draft four years ago—as a screenplay. It was this screenplay that was read at Trustus and that he’s been molding into a stage play since 2016. With this, though, came a unique challenge – how do you transform something made for the screen to something made for stage consumption?

This transformative process from screen to stage was new for Stokes and did in fact challenge him creatively. “The biggest thing was character consolidation. Because when you're out in the real world and you're doing a shoot, you can hire somebody for a day,” he details, “In terms of scenes, you have to think what you can compress or change to put the characters somewhere that's static yet authentic. You realize you have to find focus through dialogue as opposed to through visuals.”

Stokes has embarked on this path by functioning as director of his own play. “I just don't think that I could hand this piece specifically over to somebody else,” he continues, “I feel that this was a living, breathing thing for me. But at the same time, if someone reads something that doesn't make sense, I want them to talk about it. We can change it.” 

Part of this confidence in the ability to change parts of a script based on the opinions of others comes from having an outstanding team, specifically a wonderful cast. Original and new cast members join together to bring this play to life, including Hunter Boyle, Kevin Bush, Libby Campbell, Stan Gardner, Brandon Martin, Terrance Henderson, Nate Herring, Katie Leitner, Jon Whit McClinton, Clint Poston, and G. Scott Wild.

Stokes asserts that “By the end of the process, if I've done my job and I know my cast have done their job, they're going to know the characters better than I ever will.”

With his wife Marcia Leigh Stokes by his side as Stage Manager, Stokes and his cast and crew have worked together to tell a story steeped in history with roots spiraling far before the gunshot at the
State House even took place a century before.

“It’s a unique challenge anytime you deal with historical fact,” Stokes notes, “You've got to be historically accurate, but you have to make it entertaining, so this process was about balancing what bits of history to keep in versus what to take out.”

Stokes certainly hopes his play, which is very much rooted in what happens when your disagreement with another individual falls far off balance, inspires stories and decisions long after the curtain closes.

“I think today we find ourselves in a world where people believe, ‘If you disagree with me, you're wrong,’ or ‘If they're reporting against me, they're lying,’” Stokes asserts, “So I think what’s important is we learn from our mistakes and move forward and understand that there are going to be things and people that we don't agree with.”

Get your tickets to Composure (and House Calls) on the Trustus site and come back next week for our piece with Charlie Finesilver on House Calls!

Jason Stokes and Charlie Finesilver

The Beat: Concert Review: Maddie Turner, Lola Grace, Kat Gandy, and Death Ray Robin New Brookland Tavern, July 14th


 
 

“Sad girl indie” has been bubbling under on the indie charts the past few years, with major artists such as Lucy Dacus and Soccer Mommy surfacing as stars in the subgenre. On Thursday, July 14th at the New Brookland Tavern in West Columbia, Columbia’s version of the “sad girl” scene took the stage in a show that featured Maddie Turner, Lola Grace, Kat Gandy, and Death Ray Robin.

Maddie Turner’s set put the spotlight on her calming voice, evoking Phoebe Bridgers in ways besides covering songs of hers such as “Scott Street”. While newer to the music scene of Columbia, Maddie possesses the stage presence of a much more seasoned performer. Her personality surfaced best between songs, as she kept the audience laughing and reacting to what she had to say. 

Lola Grace, of Stardust Motel, has a powerful voice reminiscent of Florence Welch (Florence + The Machine). Her set included songs that drew from her own life experiences such as finding true love; the one that you know will be there for you, and expressing those feelings in ways only young lovers can. The show came ahead of the release of her new single, “Reconsider”, and as a special treat for the audience, she not only included songs written as a solo artist but solo renditions of music from Stardust Motel’s discography such as “Starcrossed Lovers”. 

Kat Gandy is usually seen in Outerego or as part of Paisley and the Birdwalkers; the airiness of her voice gives her songs a layered, organic feel even in the world of impersonal stage amplification. Starting out with a cover of the iconic “Running Up That Hill”, recently made relevant and popular again via its inclusion in the show “Stranger Things,” Kat followed that opening statement with a set of her original music created as a solo artist and also from her other musical endeavors. Her skill with the various pieces of musical technology on stage created the illusion that there were three copies of Kat harmonizing along in the background, lending her set an intricately arranged, ethereal quality.

Death Ray Robin has a personality and stage presence that commands attention all on its own. While often backed by a full band, this show was all about Desirée herself as she took the stage with only her voice and her keyboard. Her vocals leave room for plenty of vulnerability and passion to shine through on songs such as, “Boss Babe (You Can Have It)”. 

The ambiance of New Brookland Tavern helped bolster the effects of these performers on the audience as well, with monochromatic lighting moving over the singers and listeners, connecting them in a single ray of light as if they were the one person being sung to directly. 

Regardless of what you call it, and whether it’s truly sad or just emotionally raw and open, the kind of indie appeal that even local artists like these have is apparent in the rapt audience attention and their own passionate delivery of their original material. 

 
 

Co-Owner of Studio 3P Kim Case Imbues Whimsy and the Fantastical into Her Photography

 
 

Recently, Jasper got the opportunity to talk with Kim Case, effervescent photographer and co-owner of Studio 3P – a photography studio in Irmo, where she has lived since 1976.

Case has been studying art since high school, growing a “foundation of basic studio lighting, camera settings, and classic posing,” before homing in on her identity by apprenticing under Randy Jones and William of Carolina.

As she came into her own as a visual artist—inspired by artists such as William Mortensen, Norman Rockwell, and Caravaggio—she centered on fine art portrait photography.

“Hallmarks of my work are richness and whimsy,” Case emphasizes, “Primarily a portrait (and self-portrait) artist, in my works I seek to capture a moment in time, revealing an intimate aspect of the subject—I want people to feel something familiar when they see my portraits.”

 
 

Case’s photographs are so intimate and rich that they are often mistaken for paintings—especially in light of the “humble” but “sometimes fantastical” themes, wardrobe, and props she uses.

“In my world, I portray themes of quiet strength. The images have a peaceful calmness to them. I love the rich textures of velvet and linen,” Case effuses, “I seek out clothing, housewares and tools that are old, worn, and real. Warmth and richness permeate my works, so do shadows created by a strong and directional source of light.”

Case has rooted this love into South Carolina soil at her Irmo business, Studio 3P, where she serves as co-owner and lead photographer. She shows work all over the city, most recently State of the Art and Chapin Town Hall, and is often inspired by fellow local artists, namely Michael Story and Rob Shaw.

 
 

 

Her passion and skill has been widely recognized, and, notably, in 2018, her portrait creation “Girl with Sword” won Best of Show in the professional category of the SC State Fair—the first and only photograph to ever take that prize in the 150+ years of the fair.

Recently, Case has created two series that stand out in her memory. Homespun shows children and young adults in “rustic and wholesome tableaux—captured in mundane tasks” while “graced with strength and dignity.” In the Time of COVID is “composed of self-portraits and still-life art…[focusing] on aspects of life during the pandemic, such as isolation, altering of routines, search for information, tangible boredom, signals of hope, and desire for normalcy.”

Currently, Case is in the final stages of a portrait project called Tools of the Trade—seeking to find a display location late ’22/early ’23—and is initiating a multi-discipline group collaboration that should be ready for the public in late 2023.

See more of Case and her studio’s work at their website.