Story for Grandparents Today Magazine

As a grandfather, parent and overall believer in traditional values, I must say I worry about past cherished customs being discarded in today's fast-paced world. What will happen if things are not written down any longer? Do you remember letter writing, thank you cards, Christmas cards, Birthday cards? Do you recall having a diary or seeing one that a relative had? When my wife Clarice died a few years ago, it was painful, but I cleaned out all of her clothes and jewelry and treasures, except her diary. I didn't know she had one until last week  I was rummaging through a bureau drawer looking for God knows what, when I found this small but compact brown leather covered book. I thought it was a bible at first, but when I opened it, I recognized my Clarice's handwriting. "OMG", I thought, "she kept a diary". How did I overlook this? I felt strange about reading it, but what harm could it possibly do since she has not written in it in over 5 years. I proceeded toward the back of the book and began to peruse one of her last entries.

January 5, 2013

Today was a particularly lovely one. The beautiful pearl necklace that Jim gave me for Christmas had a broken clasp, so he had it replaced and gave it to me today.. He put it around my neck with such a loving touch, that it was almost as if he had given it to me for the very first time. He is so special, my dear Jim.

I started to cry, because Clarice and I were close, even though we had our difficulties, but....I never heard her refer to me as her...dear Jim! I wondered if I should read any more entries. Of course, my curiosity and the thrill of seeing her beautiful penmanship drove me on. I could almost hear her soft, sturdy voice as I read what she wrote. I turned the pages to the beginning, read some girlish remarks about her wonderful parents, so decided to turn the pages quickly until I got to a more interesting time that included me. I turned to 1985, when my little girl Susie was about 10; Clarice and I had  married in 1973.

November 10, 1985

I can't adequately describe how I feel today. My heart is nearly broken. Jim has been working late every night for over two weeks. I know something is going on. He is seeing someone else. He comes home late, kisses me briskly and goes to bed. He leaves the next mrorning without coming to the breakfast table or even bidding me a goodbye. Our little Susie asked me this morning why her daddy has not been friendly toward her lately. "Mommy, is Daddy sick? He always used to kiss me every morning and every night. It's been a long time since he spent time with me".

December 1, 1985

I love my husband in spite of his infidelity to me. I hate the thought of divorce or even separation. I must stay with him.  I will stay with him ...  so Susie knows her father. I cannot bear for her to be unhappy. Somehow we must work this out. We will. I will do everything I can to make it right.

I was never unfaithful to Clarice. I worked double hours in order to buy her a diamond bracelet for Christmas and to give Susie a giant doll house. When Christmas came and Clarice and Susie saw their presents, all was well. They were overjoyed. But I never knew how she really felt and how deeply my absence at that time affected her, until I read these entries.

December 25, 1985

I am in tears. Today Jim gave me the most gorgeous diamond bracelet and explained that he had taken a second job at night in order to pay for it. He gave Susie a large and beautiful doll house with lifelike rooms. She hugged her daddy so hard. I wonder if he will ever know how much we love him. I feel ashamed to have ever doubted him. I should have known better. However, if some infidelity had occured, the tension here would have been practically impossible to live with on a daily basis. It is the price one must pay to keep your family together under one roof. Thank God, this Christmas was a wonderful one and we are all so happy again.

Recently I spoke with Susie on the phone. She talked of separating from her husband Bob. She didn't know exactly what he had done, but she said she was feeling neglected. They have a little boy Timmy who is 5 years old. Susie had him later in life and of course, adores him, as do I. I'm a proud grandpa.
(He looks at diary). I tried and tried to tell her that she must communicate with Bob and try to stay with him, for Timmy's sake. (looking intensely at diary again...) Now I know why I found this. It's a life saver. I must send it to Susie right away. She may remember how she felt back then when her daddy was out of touch for a while, but ... if she sees in writing and is able to read what her mother went through emotionally, that she actually contemplated the possibility of leaving me...Susie might reconsider and do the same for Timmy. It's worth a try.

(He looks one last time at the diary in his hand.) The value of writing things down is so important. An email is hardly as effective as a handwritten message. One's personal writing is authentic and carefully thought out; it bares one's soul and tells the truth. So, it may very well be a major contributor in changing lives.

A major concern still exists. How can we be sure that our children, and especially our grandchildren, will not only get the message but actually write themselves? I have decided to write a letter to little Tim. Susie recently sent me a drawing he made of me. I am going to send it back with my letter and ask him to write a description of what he drew underneath the picture ... to tell me in words what he drew in the picture. I don't expect a miracle from a five year old, but whatever he says is his first effort at writing a real honest to goodness paragraph. This will hopefully bring the whole issue of writing full circle. If we do not accomplish this, and the children ignore writing altogether, our future is bleak.

We are slowly becoming a nation of computer oriented geeks. We spend most of our lives reading summaries and synopsies, not real, intelligent books and putting together poorly written, opinionated email messages that end up sounding nonsensical and may be grossly misinterpreted. Where will we be without great journalists and authors, who open our eyes to fresh possibilities, without chefs who write new exciting recipes, without teachers creating challenging lesson plans, without leaders who will write coherent speeches advocating justice and fighting its cause...where will these people be unless we insist that youngsters, our grandchildren, start looking ahead, take the responsibility and write down their beliefs, their feelings, their original ideas and their hopes and dreams for a better life? Without letters, documents and such, we have lost a great art and will not - cannot - survive with any real sense of intelligence or purpose.

Interview: Susan Edwards Martin

Actress/singer/vocal coach Susan Edwards Martin, Lady Blues in Torch Song Trilogy on Broadway and star of many other musical shows, recently premiered her solo cabaret show at Upstairs at Vitello’s. I reviewed the show and she was sensational.* She is taking the show to Feinstein’s 54/Below in New York on March 23. Edwards Martin also has created an original show about the optimistic way she lives her life called, ‘Unlimited! You’ll Have the Time of Her Life!”, that had a spectacular one night presentation and is currently waiting in the wings for a full production. Busy, busy, busy, Edwards also recently performed with Musical Theatre Guild as the lead in Minnie's Boys to rave reviews. Ms. Edwards Martin sat down and discussed her career thus far, and about the story behind Unlimited! You’ll Have the Time of Her Life! and her latest cabaret show. Before we start to look back I always ask a few less relevant questions about musical theatre.

Who is your favorite composer?

Susan: Gershwin. Musically his songs live on forever. They're timeless. In my view, the best of the best whether it be the lyrics or the music.

Do you have a favorite show? It need not be one you have done.

Susan: A show that had a major impact on me was Carnival. It starred Anna Maria Alberghetti. I was 10 years old, and it was my first Broadway show. The affect of the show on me involved the passion, the story, the music...the hand puppets just totally thrilled me. I went to a music and art camp and made marionettes and puppets. I came home with them and my mother helped me write a show; my father built a stage, and I started performing at kids' parties. Then it grew and I presented my show at assembly programs at schools, and boy scout and girl scout groups; I was working every weekend. Financially, I did very well. I was 10 years old making $100 a show! This was during elementary school, junior high school and almost through high school. I played the guitar, I sang and the kids related to my hand puppets. That was the beginning of realizing my talents.

Minnie's Boys, 2019

Any newer show that you like?

Susan: Hamilton, a pioneer show in theatre history as Torch Song Trilogy was when I performed in it. In Torch Song no one had ever dared to do anything like that before...a love story about a drag queen who just wanted love in his life, a home, a family and a relationship, everything that we all want. Being a part of that was an extraordinary time in my life.

Looking back, tell our readers about your involvement with Torch Song Trilogy and how that began.

Susan: I was in New York. I had a thriving career, constantly working. I performed on Broadway, national tours, and Off-Broadway. I had developed a following. A friend in my building told me he had just seen a show at the Actors Playhouse called Torch Song Trilogy written at the time by unknown Harvey Fierstein. He told me, "There's a part in it that is perfect for you and it's coming to Broadway." I let my agent know and I got an audition at the Actors Playhouse. That's the video scene you see in my cabaret show where Harvey is auditioning me. I booked it. There was a girl playing it off-Broadway but when they moved it to Broadway, they split the part. Lady Blues became its own role. I also understudied the part of Laurel in Act Two, playing both roles quite often during our three year run.

Do you think playing Lady Blues prepared you to do cabaret?

Susan: Absolutely. I was performing every night. Especially when you have to sing, you've got to be in top form. Your voice has to be available to you, you have to get your rest and eat well to have the energy. You have to really take care of yourself to do 8 shows a week. While I was performing in Torch Song, I started doing cabaret all over town. I was performing at all the clubs, the West Bank Cafe, Back Stage, Inner Circle, Caroline's, and I met some of the best people. I had done an out.of.town tryout of a show called Prince of Grand Street and I met a gentleman, Colin Romoff, who was the musical director of that show and who did the orchestrations. When I started working with him he mentored me. He coached Mary Martin, Ethel Merman, Judy Garland… he worked with all those great classic women. He was my coach. I worked with him for quite a long time. The song "The Gypsy in My Soul" that I perform in my show, was his arrangement An amazing talent who is, unfortunately, no longer with us.

Who else mentored you?

Susan: David Krane, who most recently created musical arrangements for the Mary Poppins movie, was Colin's assistant at the time. He was just a young man. It's so fun to see how far careers evolve. In 2000, when I adopted my son Nick, I put everything on pause. What I created here in California in the 80s, was a show that I could perform everywhere. I was working with the very talented musical director Michael Orland (currently with American Idol) at the time and I put all the music on tape. I performed at women's groups, men’s groups, clubs, and corporate events in California and Florida. I love to perform cabaret.

We'll come back to your current cabaret in a bit, but let's switch to your theatrical show Unlimited! You'll Have the Time of Her Life! Tell us how it got started and what is at the core of the show.


Susan: It's based on all true inspirational stories. I joined a writing group in L.A. Minda Burr, a talented and empowering advocate for women, has a master women's writing group. She convinced me that her class would be perfect for me. The first assignment was to write the story of one’s life. Nobody ever asked me to do that. I thought, "OMG, I get to write about all my “stuff." When I started to think about it, I realized that I had experienced some really interesting things in my life. Most importantly, I was raised by a loving family on Long Island. My parents unconditionally adored me and my brother. They totally supported me. In college I auditioned for “Callback” a TV show which was being taped at the Village Gate. The musical director was an unknown talent named Barry Manilow. This was his first musical directing job. I went to his apartment to pick out the songs and work on the arrangements. I sang two songs in the show. Soon afterwards he played for me at my auditions. I paid him $10 (that’s right, $10!!) and we took cabs together to my auditions. He wanted to do an act for me with Adrienne Anderson. He said it would cost me $2000. I was working with my puppets, playing piano bar gigs and starting college; $2000 was all I had. My point of view then in my young life was "How can I give him all the money I have? This is more than I’ve ever had." I asked him if he could wait four years while I went to school. But right after that, he met Bette Midler at the Continental Baths and the rest is history.

Close, but no cigar! What came next?

Susan: I auditioned for a new Broadway show called Bubbling Brown Sugar, and they told me, "We're looking for a white girl." I sang, read and danced, all in the same day... and got the part. The miracle was, I had walked into the wrong theatre. I was supposed to be at the Alvin Theatre at another audition and mistakenly found myself across the street at the ANTA Theatre and landed my first Broadway show! These are just two of my inspirational stories from Unlimited! You’ll Have the Time of Her Life! Oh, my Aunt Doris was my mentor. She had an act as a ventriloquist. She had built an outfit that fitted on her body and the breasts, belly button and butt all doubled as characters. She would throw her voice and the boobs would talk to each other. I wrote a song called "My Aunt Doris and Her Talking Torso”.

That's hilarious. Isn't your personal life included in the show as well?


Susan: I got married late in life at 49 and became a mom at 50. Adoption was fine with my husband Peter and me, as we were dedicated to nurturing another soul. Getting back to Minda's class, I realized in writing about my life, the stories had to be inspirational. I didn't want to just write "Wow, look at me and how fabulous I am!" The show I wrote had to be entertaining and inspiring. I started to look at other composers' songs such as Sondheim and Schwartz, but there are royalties to pay. Someone said to me, "You're a songwriter write your own!" So I did and with each song and story, I became obsessed. I wrote for a year. I went to bed every night with a pad of paper next to me. Every week in class I would present a monologue or a song just to get feedback. They were very supportive. I realized that once it was out there, it had to be my best effort. So, I asked my friend Larry Blank who writes, orchestrates, conducts and plays piano for Michael Feinstein to listen to what I had created just to see if I had anything good.

He stayed for four hours, sat down at the piano and consequently became my mentor. He was incredible. It was then I knew I had something. We worked all summer and he helped me to write more succinctly, as I have a tendency to overwrite. Then he told me to perform it in front of an audience. I thought, "I need the best place to do my show". I am a member of the North Hollywood Church of Religious Science, so I performed there for one night as a fundraiser, in November of 2017 and 300 people attended my show. It was a thrilling experience! I had worked on it for two years. It was a big hit so I went to APAP in January of 2018. APAP (Association of Performing Arts Professionals) is a marketplace for producers, directors, and performers, to sell and buy shows. I needed to work on the marketing, find the right producers and the best theatre for my show. Until I produce my show as a finished product, I have my cabaret show coming up at Feinstein's 54/Below on March 23.

Any changes to the show since I saw it at Vitello's?


Susan: The brilliant John McDaniel is on the piano! He has done many Broadway shows such as Bonnie and Clyde and Patti LuPone in Concert. He also accompanied and musically directed Rosie O'Donnell on her TV talk show. Recently, he did all the arrangements for the sold out Lights Out: Nat "King" Cole” in L.A.

He's amazing! Will he perform solo?

Susan: Yes, as Sam Kriger did at Vitello's, John will have his own solo spot. He's so great! I can't wait to work with him. Otherwise, the show is the same.

Anything you wish to add about your shows or life in general?

Susan: An important part of my life, besides adopting my son from Romania, is to devote myself to creating a positive role in the world... I'm very active at Temple Beth Hillel; we have a wonderful sisterhood there. I'm also very active at the North Hollywood Church of Religious Science. I love giving back, I love being part of the community and helping any way that I can by doing good work in the world. I was honored to be the recipient of an award called the Braille Review Award. It was created originally to honor Sisterhood women who made a positive difference in the Braille Institute. Now it’s given to those who are dedicated and who go above and beyond in service to the community. I'm very grateful for that. I am also an advocate for the homeless epidemic here. I want to do it all but if we do one thing, as an act of kindness, we can all make a difference in the world. As the lyrics in my original song, “It’s All Good”, “…choose the thing that makes your heart sing”!

*Read my review of the cabaret show here:

https://grigware.blogspot.com/2019/02/cabaret-review-susan-edwards-martin.html

and to learn more about Susan, go to:

www.UnlimitedSusanEdwardsMartin.com

https://youtu.be/Cz2enf7CHck (music video)

https://store.cdbaby.com/Artist/SusanEdwardsMartin

Interview - William Reilly

William A. Reilly has been co-producer/ co-artistic director of Crown City Theatre going on 22 years. Crown has been located at St. Matthew's Church in NoHo for almost 12 years. April 1 the company must leave, as St Matthew's has received a grant to make the spaces a homeless shelter. Reilly sat down recently and talked about what the group will do as they look to the future. Close local spaces are being investigated as rentals until they settle on a new permanent space.

Reilly went on to explain in his dry and rather blunt sense of humor that his company will look at T. U. Studios down the street, and Coast Playhouse in WeHo who are interested in bringing in a new company.. The difficulty with North Hollywood right now is many theatres have already closed or are closing and the city either is not aware of this fact or are ignoring it. The once expanding North Hollywood art and cultural center is now sadly diminishing.

What are some of the problems in seeking out a new home?

As with The El Portal up the street in Noho, for example, they look for someone to bring in things. I think it is much better to bring in a company and let them build an audience. This is what we have been doing. Audiences know that every weekend of the year we have something running. The only question that they have is "Is it the next show yet or is it still the show we saw?" But they know that it is there, that our theatre is accesible to them. The problem with these erratic six week runs in LA theatres is getting audiences in, and it's expensive to run the shows without full houses to pay for the costs. We are amazed that The Importance of Being Earnest is doing so well, but people came in to see The Mousetrap, loved it and call in for upcoming reservations. We don't announce a season. There's a downside to that, especially if a show collapses quickly, or if you have some big time casting issues in keeping the show open, and then you figure out that you have to close the show.We're caught with our pants down.

That hasn't happened to you yet, has it?

Every now and then we have about a month's lag, and it hurts financially. There's not enough income so we have to retool. It's like. We were making golf clubs, now we have to make tennis rackets. Close the plant down, change the machinery. (he chuckles)

I can see the church making a homeless shelter there with the theatre space and the upstairs space. There's a nice soup kitchen behind the theatre...

The attitude when they got the grant was, "Well, we don't need your income now, we got a grant." I don't want to bash them, but ironically, this is a blessing in disguise.

And you got a grant too, correct?

We have a two year grant from the county. The main reason the church has stayed alive the last ten years is because of us and our steady rent checks to them. Over the years we've payed them millions of dollars. Don't let the door hit you on the way out, but that's alright. Everyone does what they need to do. In a way, as I said, it's good for us. At least it's good for me. Like Gary (Lamb, co-artistic director), I can't do this 24/7 anymore. It's hard work...a lot of stress. I've had some good support, but not enough. Whenever the theatre needs something done physically, I can't do that anymore. Keeping the plant in shape, all the lifting and carrying. It galvanizes the younger members of the company who already realize that I no longer have the same energy.

Is Gary (Lamb) totally gone at this point?

He's not around as much, but we talk to each other every day. He's still involved in the decision-making process. We do not like to have people think we are in a position of power, like Harvey Weinstein. No. It's our responsibility to help people put on good shows.. that's where it ends;.that's all the power we want...

I've seen many shows of yours through the years. I look at the set each time and see the same walls, but the adaptations from one show to the next make whatever needs to be seen work ... and well.

Basically, it's one of our cast members who keep putting different costumes on it. (he laughs) You have a curtain and you put the furniture in front of it, or you remove the curtain and rearrange the furniture behind. It's great for rentals. We clean off the scenery...and it's great for rentals, which is a huge source of income.

What are some possible theatres where you may rent on your way to finding a permanent home?

The Coast, the Colony, Sacred Fools, The Secret Rose...many more... an old friend and hoofer since the revival of Pal Joey in 1949 Judy Rose has many connections that we are checking out... it has to be a genuine path through Equity, not fictitious, so it may take 10 years to get what we're looking for...as long as we get in and produce good theatre...the irony is that we're in a better financial situation right now than we've been in for a long time.....we did Earnest because there are no royalties to pay...

Let's leave this topic and look at what, in your opinion, are your greatest achievements through the years.

I have my prejudices because of my personal involvement in certain shows... I think Gary (Lamb's) production of Cabaret (above) was an amazing accomplishment, the other is a toss up between two very different shows Stage Beauty and Two Grooms (below, right) - both with the brilliant Ben Rovner, who's left the business to continue his education - that we retooled into our own creation where we used the church for the wedding and then the theatre space for the reception...Gary would say Nosferatu; Michael J, Marchak was brilliant in that, as was Michelle Holmes...

What about future projects in rental spaces?

Marco Gomez who was brought in to save LA Stage Alliance, is developing a brand new multi-media performance space. He's going to have a lot of projections, and he wants to open with Nosferatu, (below, bottom) with a whole lot of special effects, smoke, hydraulics... Of course, I would love to see us remount The Apple Tree and any other vintage musicals like Rodgers' and Hammerstein's Cinderella from the 50s and 60s Golden Age...

We wish Bill and Gary and Crown  City Theatre the best of luck in finding a new home and continuing to pursue their dream of doing exceptional theatre...

Spotlight on Chase Cargill

The Road Theatre on Lankershim is proud to present the world premiere of Death House by Jason Karasev that first bowed as a staged reading in August of 2017 at the Road's Summer Playwrights Festival. It's a scintillating look at prisons and the death sentence as told through the struggles of an inmate on death row, the prison chaplain attending to her and the new pastor. Each week through March 10 we will spotlight a member of the cast or creative team. This week we shine the light on Chase Cargill.

What character do you play in Death House?

Allen Coiro. He's an ambitious, passionate young preacher who is training as Death House chaplain, set to take over for George. He is inheriting the "keys to the kingdom" from his idol and inspiration, and he is determined to do good for his community by serving those affected by horrific crimes. 

What challenges have you faced as actor of the role?

I think it's important to know what Allen is hiding at any given moment, and how best to play that secret. There are so many layers to this amazing play that Jason (Karasev) wrote. Being able to stack each piece of backstory in my mind and allowing them to unravel throughout the course of the play has been a real challenge, but one I have seriously enjoyed. That and the whole being open thing! 

Tell us about your director and fellow cast members.

Michael is great with moment to moment work. He really likes to dissect a scene and find out what is happening underneath the dialogue, and what our characters might be doing in order to protect themselves or achieve a certain goal. Diving in to the intention of a moment and breaking it down to its bones is always a challenge, but he was definitely up for it! 

Sam and Verity are two of the best actors I have ever worked with on stage. I know it's mushy! But I mean it...these guys make me strive for something beyond excellence every single day and I am immensely grateful for their talent and hard work. 

What do you hope audiences will take away?

To me, this show is about healing. I hope people are able to feel the message underneath that has always spoken to me so deeply; we are all more alike than we think, and forgiveness is achievable, given the right perspective. It's a message we need right now. Kudos to that Karasev guy.

Death House plays Fridays and Saturdays at 8 pm and Sundays at 2 pm through March 10 at the historic Lankershim Arts Center at 5108 Lankershim Boulevard in North Hollywood. Arrive early to ensure street parking.

Over the past six years International Recording Artist Lyn Stanley has sold more than 38.000.albums - currently worldwide, but before that time she had had absolutely no singing experience whatsoever. I, like practically all journalists, was amazed to hear this. "Not even singing along to background music on the stereo or radio as a child?" I asked. Directly and sincerely she replied,

"My estranged father, a traveling salesmen, was a self-taught jazz pianist who learned by ear and tried to mimic great players like Erroll Garner and Art Tatum. He would hit jazz clubs after hours and was often welcomed to sit in. My mother was of the era when swing dancing was the rage and she got good enough that if a fella could not dance he was more or less ignored by her. My parents separated when I was 8 years of age and my time with dad had diminishing returns as he went on with his life. He married a total of three times.In my family the arts were not encouraged, only material success and level of education required to achieve it were viewed positively.That said, in my high school freshman year a choice was offered to me by the music teacher to have a music elective but I decided to use the same period to become a school cheerleader. This audition was about the end of my singing exploration. Hence the curiosity to know if I even had a voice as I entered middle age!"

So, with no background singing experience under her belt, what has enabled Lyn Stanley to be so ahead of the game within this short period of time? How has she managed to overcome the obstacles and come out a winner?

Firstly, let's take a look at the musical role models who inspired her. Who told her that she could in fact sing? "I met famous pianist/accompanist Paul Smith at a benefit. I introduced myself to him and eventually to his wife Annette Warren Smith, a vocal coach. She auditioned me and that is the very first time from what they told me, that I learned I could sing." When i encouraged her to be more specific about the training she received, she proceeded to tell me.

"I was encouraged by Annette and Paul’s interest in me as a singer but not convinced I would be good doing it professionally. If anyone else had told me these things I would not be a singer today, for sure. At the time with all their experience I did not think they would steer me wrong. Annette encouraged Cabaret work for me. I was never interested in becoming a Cabaret performer. This was too much Broadway influence. The idea of a trio was much more appealing to me than a piano and a singer telling a story. In training with Annette and Paul.. Annette focused on vocal exercises and Paul focused on jazz interpretations. Instinctively I know there was not much money to be made in Cabaret— except for a handful of established artists— so I jumped into jazz and never looked back. I was willing to be labeled classic or stylist.. but now got to play within the notes and explore interpretations."

"I needed to know how to put on a show so this is where I studied with Erv Raible at Yale University in the summer of 2010. He brought in Amanda McBroom, Tovah Feldshun, Alex Rybeck and others as instructors to teach 27 of us from around the world who won in an open call. I came back from Yale “hot” to do a show and Paul Smith agreed to be a guest performer. Packed the house!" A few months later she was recording her first album Lost In Romance.

Often referred to as a song stylist, Stanley does possess a unique vocal instrument, a deep sultry voice. But, even with a fine voice, success is never a guarantee. "Annette would say to you that there is one common denominator with all successful singers— be and sound unique- unless your goal is to be a cover artist. Having the “it” factor is key and never try to imitate—to make it on your own. There already has been a Chet Baker.. we do not need another even if he plays another instrument. There’s already been a Julie London too. Be different; be unique; get money or have money to get your product out there. No one needed another Frank Sinatra— so why pretend to be him if you are his son."

Sage advice that Stanley adopted and her uniquenss has assisted her in recording not one or two, but six albums in six years and every one has been a best seller. In Japan, she is revered as one of their favorite jazz artists.She makes several trips there per year and sometimes sings live on radio or television talk shows.

Lyn Stanley learned quickly. She started in one market and then expanded to a broader jazz market. Now, as I mentioned at the top, she has worldwide distribution. She learned to hand pick her musicians, market her album, including designing the covers and hiring her own expert photographers and, believe it or not, send out copies herself. She has done a multitude of audiophile shows and learned from the ground up, honing her craft.. Times have changed and she insisted on inviting her fans to join an exclusive club on FB. Stanley continued to put her fans first in all her projects, to this very day. On FB they are able to approve or disapprove of her choices in writing. They make requests and she listens. She also answers most posts with honest replies. She wants their feedback. "The music business has transformed so much, you need to reach out and make contact with the fans.They tell you what they like and what will sell."

I wanted to look for other accomplishments in her life.before singing, that might justify her propensity for success. There are a couple of major ones that I must relate.

A communications major in college, Stanley had previously worked for top ad agencies in Los Angeles where she had to compete in a predominently male world. Needless to say. she came out a winner there as well, at one time a Doctoral candidate, and teaching workshops and college classes..

Just for relaxation she took up ballroom dancing and became an amateur champion ballroom dancer in International Standard. At one point she had an accident, rupturing her achilles tendon, but was back on her feet dancing after a short recovery. She set her mind to win and she did. She did not allow anything to stand in her way. .

With so much success behind her in these totally divergent worlds, the big picture started to become clearer to me. A hard-working, driven person develops skill and the stamina to break down any or all barriers.

Within a year of each other, she has produced the previously mentioned Lost in Romance, Potions, songs from the 50s, Interludes, Moonlight Sessions, on two discs, and the latest London Calling, a Tribute to Julie London. A live to disc recording D2D (Direct to Disc) called London with a Twist is in progress. In fact, a single from it is already receivng air play. When the album is released this spring, it will be her 7th.There is no stopping Stanley's passion and ambition to move further up the ladder..

She addressed her fans on FB, "I have been invited to write an artist/audio column for a well-known 30 year old audio magazine. What should I call my column's title? "Sweet Audio" comes to mind, but I welcome your suggestions. Eventually, I will be writing a book about my journey in music and this would be part of it.".

It is of prime importance to reiterate that unlike most singers, Lyn Stanley has delved personally into every aspect of recording. She picks musicians who write beautiful arrangements and has contributed to these arrangements. That's what makes a difference...that's why she is a complete success, incorporating everything she has learned in education, in business and in dance and allowing all of it to help shape her music.

Total success depends upon steady impovement. Stanley always works at improving her craft and for that reason, does read the reviews. "My thanks to reviewer C. C Michael Bailey for his unwavering support of my work. Jazz critics like Michael keep the blood flowing in our jazz veins as he appreciates all the nuances of change and invention associated with this art."

In conclusion regarding her efforts, Stanley said wihout reservation, "Self funding is a big challenge as you never know when the ball of success will drop. If you fail with one album it will take two or three more to get redemption. It’s a huge risk. A lot are out there and will only go the vanity album distance.They might be afraid to fail I do not know".

Downloads and Super Audio CDs may be purchased at:

CDBaby.com

https://LynStanley.com

2019 Interview with Heather Chesley

Director Heather Chesley is about to open a rare revival of Tolstoy's Anna Karenina at Actors Co-op on Febrary 8. In our conversation, she talks in depth about the play and why it is rarely seen.

Why did Actors Co-op select Anna Karenina? Is it because it is so rarely if ever done?

This show is about two people who struggle to understand their place in the universe, their connection to other people & their purpose in life.  Both Anna Karenina and Konstantin Levin are in a crisis of faith. They are critical of social norms and class systems, yet they both take advantage of their place in it. At times, they make their own rules, in order to justify their actions; and those actions send them into a moral spiral and self made solitary confinement. They doubt God's existence and are rejected at points by the church. This story forces Anna and Levin to work hard at living truthfully. They sacrifice so much, and the outcome for both is drastically different.  

I think this story holds a mirror up to the human experience. It is a back and forth of faith and doubt.  It seems perfect for Actors Co-op in that way.

What challenges do you face directing this piece? 

In Tolstoy's novel, Anna & Levin meet one time. At first look, Leo Tolstoy created two seemingly separate stories. Upon closer look, the decisions those two  people make in their separate journeys, forever link them together. It is a gorgeous illustration of the deep and sometimes unconscious connection between human beings.

Helen Edmundson turned this story on its ear. We open our play in "another place". Levin comes upon Anna Karenina, she is visiting or re-living moments in her life. She asks him, "What are you doing here? This is my story."  and he responds, "Its seems it is mine." Both characters see into each other's memories and experience the effects their choices have on each other. In this play, Levin & Anna serve as judge, jury, conscience, friend & confident to one another. They both seek to understand why their stories are connected.

The play brings each character's subtext to the stage. Their thoughts are sometimes put in action, as if they are calling these moments to mind. At one point, one character breaks the fourth wall directly to address our audience. The world of this play functions  on a supernatural level. I love that- it is what drew me to the piece, and it is definitely a challenge to bring that to life.

Are you a great Tolstoy fan? For what reasons?

I am a new Tolstoy fan!  Helen Edmunson's adaptation is what brought me back to Tolstoy. I read Anna Karenina when I was fifteen, but I think I was not able, or I was uninterested, in looking at the story beyond Anna's love triangle. Fifteen year old Heather was angry that Anna was forced into marriage so young. I was mortified that she was outcast for falling in love and I was angry at society for forcing her into her deep depression. 

That said-when I read the play, I thought "Who- is this Levin guy?"  It makes me laugh to think of it now. I really didn't remember. 

I was so excited by Edmundson's telling of the story. So there I was coming back to the novel, twenty-five years later and I admit, I fell in love with Levin. Levin participated in the world Anna is "condemned" by and he chooses to reject it. He seeks a simpler way of life. And while he does not get everything he wants, he seeks to better himself, to better understand the people in his world. 

When you let yourself read up on Leo Tolstoy and the questions he struggled with, it is easy to see him in Levin's story. I think it is safe to say, Edmundson and Levin have made me a Tolstoy fan.

What is the message of the play? Does it resonate in today's world?

I think this play tells us that the decisions we make, small and large have an effect on the world around us. What we do causes a ripple effect on the world at large.

The play shows us the good, bad and ugly of human nature.  It looks deep into depression, and yet remains hopeful. It reminds us, while in times of great darkness, we are connected; at times of great hope, we are also connected. Perhaps if we can continue to reach out to one another, we might find our place and our purpose.

Historically Anna was a novel first. When was it adapted for the stage? Why do you think it is hardly ever performed?

The novel is this gorgeous nine hundred page window into 19th Century Russia. There is so much detail in Leo Tolstoy's story telling. I imagine it an incredible challenge to adapt this story to the stage. What details do you let go of? How do you stay true to Tolstoy's world?

Edmundson adapted this play in 1992. While Tolstoy's voice is anchoring this play, the relationship between Levin & Anna is entirely Edmundson's. It moves quickly as if we are on a ride going through moments in their lives. 

The play doesn't finish the novel. We end before the book.  We end with more questions than we began with- my favorite kind of storytelling.

The characters and their manners of course are fascinating to behold. Do you find Tolstoy in any way similar to Chekhov? One was a novelist, the other a playwright, but I mean in terms of the universality of the people they explore.

Well, Tolstoy and Chekhov had a personal relationship. They were friends. Some say that Tolstoy treated Chekhov like a son, but he was very critical of Chekhov's plays! I think Tolstoy would tell you, he was nothing like Chekhov. 

From "Memories" in the The Book of Life, Peter Gnedich recalls Chekhov's account of his relationship with Leo Tolstoy. Tolstoy said to Chekhov,

“A playwright should take the theater-goer by the hand, and lead him in the direction he wants him to go. And where can I follow your character? To the couch in the living-room and back—because your character has no other place to go.”

I admit, I think Tolstoy is unfair to Chekhov, but I see his point. Tolstoy wanted to tell stories that went beyond the home front, that put Russian society, not just the individual, in conflict. He had questions about Fate and the universe and God he wanted to ask.  

Both men are wonderful writers of course. They write characters that love, win and lose.  In that way, both writers bring us very real characters, very relatable people. 

They also write characters that hide quite a bit. From an artist's perspective, it is always fun to uncover the subtext.

What is the audience takeaway in your opinion?

I hope the audience leaves intrigued by our connection to one another. Our decisions, the way we talk, the way we support, or do not support each other, effects the world we live in and the people who live in it.

Add anything you wish about the cast and working on the project.

This cast is just the best group of people. This design team too-a dream team! This play exists in 19th Century Russia, but it also exists somewhere out of our understanding. On a show like this, all you can ask for is collaboration, and a whole lot of trust. Actors Co-op has always been a place full of people who want to work and "play" together. We are working on a difficult show that goes to a lot of dark places- but boy have the rehearsals been full of laughs. I'm grateful for the team's willingness to take risks, and enjoy taking them.

for more info and tix, go to:
www.actorsco-op.org

2019 Interview with Emrhys Cooper

Former BWW Award winner Emrhys Cooper opens up about his latest projects. Always a man on the go, delving into athletics, modeling, dancing and having fun, his work usually aims to please. As an actor he is equally adept at comedy and drama. From the photos, it all looks terribly exciting.

(photo credit: Ryan Orange)

What brings you back to LA this winter? I believe I read you are doing a film. Tell our readers all about it.

I’m shooting a horror film called Dreamcatcher a sort of modern day “Scream”.

Jacob Johnston wrote the script and will helm the film as his first directorial feature. It’s an ensemble piece that follows a group who plan to avenge the mysterious death of their friend at a Music Festival, only to end up stalked by the same assailant.

I am having the time of my life on this project. I couldn’t have asked for a better cast and crew.
It was just announced in Deadline.

A short film you did Trophy Boy is about to receive a TV adaptation. Tell us about that in detail.

We’re so proud to be working alongside the prestigious Dynamic Television to bring this series to life.

Just announced https://worldscreen.com/tvdrama/short-film-trophy-boy-set-for-tv-adaptation/

The series Trophy Boy delves deep into the salacious world of four social media “stars”—where the audience quickly learns that all that glitters is not gold. Everybody can be bought, but at what cost?

It’s a psychological exposé of a group of friends who appear to be famous on social media but are actually going on journeys of self—either self-improvement or self-destruction. The characters live duplicitous lives, one carefully curated and ring-lit online, and the other a pale comparison, rooted in the harsh lighting of reality.

Trophy Boy is a gritty dramedy in the real life style of HBO’s Girls meets Entourage, with a dark poetic vision in the vein of Steven Soderberg’s The Girlfriend Experience, about four colorful friends and their lives and trials in New York City.

Truthfully, these four are pinching pennies and trading currency in online likes and followers—
which they soon find out is a fickle dollar.

Behind the smoke and mirrors of online fabulousness lies a darker truth. The characters will go to any length to attain fame and notoriety—even if they have to trade their bodies to get there.

Strangely enough since you left LA a couple of years back, your film career seems to have picked up greatly. Why do you suppose with your move to New York that this has happened? Is there actually more film work generated in New York than in LA?

An artist should always live where they feel most inspired. LA had started to feel drab and moving to NYC lit up my imagination,. The irony is not lost on me that the films picked up after leaving Hollywood,. In the end I feel like New York is a good place for me at the moment.

I am also lucky to have found a wonderful team who have really believed in me and pushed my career.

What other successes have you experienced in New York? Any offers of theatre work?

I set up my own production company EmCo Entertainment and I have been busy writing & directing my own projects. I haven’t had a moment to do any theatre, but I am dying to get back on stage and find the right project.

I have been thinking a lot about Oscar Wilde. Later, hopefully I will manifest some time for his writing in my life.

You received a BWW Award a few years ago as an Outstanding Newcomer., based on your work in a local production of Entertaining Mr. Sloane. Did the play affect your career? If so, how?

I was really surprised and humbled by how the audience responded to that sociopathic role LOL. Playing Sloane definitely helped open some doors, as three weeks after we finished, I booked a role of Desperate Housewives, I think it helped that the creator of the show Marc Cherry came to watch.

Tell us more about your production company and other projects that await you in 2019.

(photo credit: Gavin Beasley)

I am super proud of the work EmCo has already achieved. The first project Trophy Boy premiered at the Cannes Film Festival last year, and is now being turned into a TV show. Up coming projects include Nosferatu, a dark comedy set against the dark world of self help.

At EmCo Entertainment we produce film, TV, theatre and original online content that is both highly entertaining and contains a thought-provoking message for the audience.We believe that the digital currency for the 21st Century is the ability to capture and hold people’s attention. This criterion is the blueprint for all our creative ventures.We are a New York based team of industry experts who offer a top quality, full-package approach to any production need. We collaborate effectively with all our clients to bring their innovative ideas to a global marketplace.

Anything you wish to add?

Please watch my short film Trophy Boy, and spread the word:)

https://vimeo.com/259475704

and to follow Emrhys, visit:

Instagram
https://www.instagram.com/emrhyscooper
Twitter/Facebook @emrhyscooper

My production company that I founded last year
https://www.emcoentertainment.com

My official website 
https://www.emrhysofficial.com