Check it out! I was interviewed for Jews of Color Celebrate Jewish Diversity

Jews of Color Celebrate Jewish Diversity from Patrick Wall on Vimeo.

Esther performs at the Short Play Lab Series in New York

This theater community asked me to perform in their Short Play Lab Series, and I said "Yes!"
If you are like I'm not really into theater, but Esther keeps sending me these invites...this could be an opportunity to fit this ...into your schedule this weekend or share with a friend to check out some entertainment and for me to share excerpts with you.


John Chatterton presents

Short Play Lab Series

October 24 @ 4:00pm - 5:30pm

October 25 @ 1:00pm - 2:30pm



PURCHASE TICKETS ONLINE HERE:
http://www.smarttix.com/show.aspx?showcode=WHE29

Where Eagles Dare Studios

347 W. 36th Street

New York, NY 10018
(Between 8th and 9th Avenues)
Tickets are $15


If you were like, what's this play thing about again?
A story of healing and restoration. The audience gets to watch a young racially mixed girl mature into womanhood resolving generational wounds while striving and fighting for a healthy love relationship. A string of loving complex characters come alive in Random Sharp Objects: How I Got the Past Out of My Ass


Hope to see you there

Public Reading of Random Sharp Objects - Sept 21, 2009 @ 8pm

Readings of 3 new sexy, smart, sensational plays!
Host: Lynx Ensemble Theater
Type: Music/Arts - Performance

Price: $10 Suggested Donation - $25 for all 3

Location: 440 Studios
Street: 440 Lafayette St.
Phone: 212-252-5195
Email: admin@lynxtheater.org

Description: SAVE THESE DATES!
Lynx Ensemble Theater's 2009 Chain Lynx Text Reading Series brings you the new work of three sensational playwrights:


ESTHER FRIEDMAN
RANDOM SHARP OBJECTS:

How I Got the Past Out of My Ass

directed by Christina Zorich

* Monday, September 21st at 8PM *

A story of healing and restoration. The audience gets to watch a young racially mixed girl mature into womanhood resolving generational wounds while striving and fighting for a healthy love relationship. It is a very universal coming of age story.


White Box Theater
440 Studios
3rd floor
440 Lafayette Street
New York, NY 10003-6919
across from the Public Theater

Readings will be followed by moderated discussions with
playwrights & cast.
Join us for a complimentary glass of wine and a delicious chat following each performance.

Admission to the Chain Lynx Text Reading Series by
SUGGESTED DONATION
$25 for the READING SERIES
$10 Individual Readings


Lynx Ensemble Theater is a non-profit, 501(c)3 organization that explores the nature of identity, exploding stereotyping and engendering empathy and understanding between diverse people.

Lynx Ensemble Theater is a member of A.R.T./New York and a recipient of grant awards from the Nancy Quinn Fund, the Katherine Dalglish Fund,
the Mary Duke Biddle Foundation, the Arch and Bruce Brown Foundation, and the Ernest O. Reaugh Foundation.

Lynx Ensemble Donation page [http://rs6.net/tn.jspet=1102694495902&s=1819&e=001KJ1zsBCCA1c4vkjITUrujjY_UCcW6lHk55sxi2doCINe_VYMlQ_y1CgS1U2h2mmYsMucoD_30XXFg1fUolfhvcEwPVDemCC5H3q4VVTRf6fMrHlGfeYvRVQfs321TjOChTrRllE1oSdW2vS3wkm3q6zkf_8fVLLwoA6jYX4cGM=]

I will be interviewed LIVE

I will be interviewed LIVE Wednesday November 19,2008 5pm Eastern/2pm Pacific to discuss all aspects of the Mixed experience.



Mixed Chicks Chat is the only live weekly show about being racially and culturally mixed. Join your hosts Fanshen Cox and Heidi Durrow LIVE each Wednesday at 5pm Eastern/2pm Pacific to discuss all aspects of the Mixed experience.

Don't miss this great weekly podcast on www.talkshoe.com. (Keywords: Mixed Chicks)
Subscribe on www.itunes.com FREE and listen whenever you want.

http://www.mixedchickschat.com/

Curtain Rising Magazine Review on Pages 34 & 35

Click on Photos below to read latest reviews for Random Sharp Objects

Process of Creating a Solo Show # 7

The original title of the show went from Reflections and Shadows, to Random Sharp Objects (you'd have to see the show for the reference). It was pretty cool the different reactions from people. For the most part people really enjoyed it and could relate. I had a couple of incidents where I felt I had to defend myself and my art and it is through those indcidents I am grateful for standing my ground on how I tell this story. It's my story and I don't have to alter it for anyone else to make them feel comfortable. That was a great lesson for me to learn. I'm also thankful to Larry Clarke who reminded me to just tell the story and tell the truth. That is what I always remember before I go on.

It was sad when we closed but we all needed a break. I decided to go back East and see my family. The whole time I was there something inside me would be reminded that my sister Sarah said she could see this play in New York. Other people said the same thing, which is a nice compliment, but how was I going to do that? I asked the universe that question. I asked Hali if she wanted to continue and she said she would be was unable to travel so I adjusted the script to have me just do my parts.
I submitted the show to various theaters in New York, and I had some bites, some discussions and people said I need to get into the NY Fringe Festival. I thought that would be a daunting task and almost pulled out of the notion of even going to New York. After the 3rd theater that passed on the project, I contacted Cheryl King the creative director of Stage Left Studios. Her theater specializes in solo repretory and I thought how perfect. I submitted my piece and shared my vision and Cheryl was on board. Sarah and Adam Cruz said they wanted to co-produce. Then Shari said, I need a roommate. Which by the way we live on the same street my mother and grandmother opened their first dress shop and a block away from where my dad had his record stores. I've come full circle. All the pieces where coming together, it was all right in front of me and as of the first week of December 2007, I decided to just say "Yes" to all open doors and see where they lead and that is how I'm in New York doing a production of Random Sharp Objects: The Story of How I Got the Past Out of My Ass

Process of Creating a Solo Show # 6

I'm rushing to get current with this blog called Process of Creating a Solo show because things have been moving so fast, it's hard for me to keep up.

So last I shared my writing process and about the angels that I have been graciously been blessed with. So I'm starting to feel confident and I was even getting to the point where I could see myself actually perform a show. I was not nearly ready but I could see it.

I asked my ace boon coon Jeana Rhinerson to host a reading of my solo show. Only my trusted friends and fellow peers where invited. I basically read it out loud for the very first time. I was so nervous, but I was in safe loving hands. I asked for feed back and oh boy they gave it. Some critical some supportive, but most importantly I took what I needed and I left the rest. Everything they had to say helped me tremendiously. I kept writing.

I also got involved with a lovely team of fellow writers called Naked Angeles. Hosted by Kathleen Dennehy and Larry Clarke. Because I had to wear two hats, the performer and the writer I asked the actors from this group to read my different characters. This helped me separate and focus on my writing. Then I went back in and performed what I wrote. I am forever grateful for that process. Thank you angels.


As I envisioned a venue, I remembered Frank Megna from Working Stage. The first theater I was able to perform in when I arrived to Los Angeles. It had been over 8 years since I worked with Frank. I looked him up and noticed that he had a writing/performing class. I thought I need to contact Frank and get into his class. It would really help me flush out all the stories I was compiling. I emailed Frank and said "Hey Frank, It's a Blast from the Past, remember me?" Frank is like, hell yeah I remember you. I sign up for Frank's class. Here was another commitment I would make. Once a week no matter what, I will write and I will attend this class and I will get up on my feet. Eveyone in class was awesome. When it was my turn Frank would have us improv the scenes that I wrote and new stuff and by doing this new angles came up and things I completely forgot about. Fellow actors filled in for members of my family. It was a good time doing this work.

Frank decided that the student would put together a showcase of what we were doing in class. I had to at least do 15 minutes of the show. I thought this was doable. So we started crackin it in rehersals. A turn of events took place between the other students schedules and it was now down to only Hali Morell and myself and Frank thought to combine both of the pieces we were working on because some how they were related. We did an improv on how our stories were related and Hali went home and wrote then brought in the opening scene for our show. We were trying to figure out a date to have a production and then how Hali tells the story I came in to rehersal and said we've got to do it May 24th no matter what. Why everyone asked. Because my sister and her husband are coming into town that week which is rare and I really wanted her to be there. We must do it that day. Frank said let's do it, which meant we'd have to open in 2 weeks. Talk about fire under our asses. Exciting times. The energy was in the air. We were living in the theater.

We did the show for an audience for the first time and it was a hit. Frank and co creative director of Working Stage Diana Ljungaeus said they felt we could pull off a couple of more nights, which we did. After 4 shows, Frank had some ideas to flush out the story some more so we went back into workshopping to find our way through. Then Frank and Diana told us one night that they thought we could pull off another 6 week run, would we be up for it. Hali and I just looked at each other and said sure.

After a 6 week run we got some reviews and great feedback and had a hell of a good time.

Process of Creating a Solo Show #5

So last I left off I was talking about how I started to write my story and when I got stuck I asked for help. Over 8 years ago, I told my acting teacher Michelle Shay - who most recently played a character Aunt Ester in August Wilson's play Gem. She already won a Tony for Seven Guitars. I'm doing my best to follow in her foot steps. Anyway I told her how I wanted to do a solo show. She suggested I meet with Elana Golden -
Elana invited people to share with her their most intimate and difficult moments. Realizing the cathartic experience inherent in the artistic expression of one's "wound", as well as ecstasy, she began to teach writing, using her own life journey as inspiration. Elana re introduced me to the story of Persephone -
I would be inspired to find my own story after ready about Persephone, but I was also scared of my own story so I put my pen down. Why bother I thought. I have nothing to say. I siked myself out real good.

A year went by and I came across Mark Travis. Mark has a process of developing and directing one person shows that has generated numerous notable productions including, Time Flies When You're Alive, and A Bronx Tale. Mark was taking on new clients and I had an opportunity to sit with him and discuss how I could start creating a show. Mark taped that conversation for me so I could hear what I was trying to say. I was confused and scared and just didn't really know what my story was, in a way I wanted him to tell me. The whole process felt daunting to me so I said forget it and walked away. I never called Mark back.

Cut to another 3 more years gone by. A story was itching in me and I was attracted to other people who had solo shows so I went to see more theater. One of the first was Fielding Edlow - writer and performer of Coke Free JAP. Loved it. I was intrigued with her intellect and smart writing, related to her angst, and saw a soul sister before me. Watching Fielding being a warrior and how she operated inspired courage in me. Love you Field.

So I thought maybe to get back in the game again. As I got out to see theater more I also came across Jamie M. Fox, writer and performer of Independence -
Jamie had mad skill in telling a story and I reached out to her for guidance. She was so generous to share with me her experiences and passed along resources and I started to feel like maybe I could do this.

As I was putting my intention to write a solo show out into the universe I came across Ruth Otero - another very talented actress. Ruth a professional solo performer was putting together workshops that help you create and produce your solo show. Two things I definitely needed to do. So I took Ruth's 2 day workshop and I walked out of there with a templete for a show. I was willing to write and see where it took me. Ruth gave us self contracts to sign and set the date for us to get our rough drafts done and to get a signature of a witness. I asked Jamie M. Fox to sign mine. It was dated 6/27/06 and I finished my draft 8/26/06. Thanks ladies. Ruth is awesome, sign up for her future workshops.

I started writing my ass off and then I remembered that a lot of my stories had to do with my ass and how that related to the past, so my working title became How I Got the Past Out of My Ass. I didn't know if that would actually be the title but if I could get away with it that is what it was going to be.

So I had my rough draft. I was so proud of myself to make it this far. That was enough for me. I could put it down now. But something inside myself said if you put it down it might take another 3 years to move forward. So as I was struggling to get myself do some rewrites my boyfriend broke up with me. I was shocked and then I realized I had choices. I could sulk and go to bed real early and cry for a couple of months or I can put everything I have into this creative project. I chose the creative project. Every piece of energy, resource went into the completion of my script. Everything!!!! I wanted to really experience moving forward and making it to the other side. There where so many people before me that have done it and I want to be next.

Once again putting that energy out into the universe, I started being lead to the next indicated step. At a social gathering I ran into Mark Travis again. I didn't think he would remember me, so I introduced myself to him again. I told him I still had the recorded tape of our meeting and a completed draft of my script. I asked if he would work with me this time around. I knew Mark was before me that I was given a second chance and I was taking it. Mark agreed to work with me and I made the commitment to work with him once a week no matter what. Mark challenged me during this process and we got to the nitty gritty of the story. Mark was then given numerous opportunities to promote his book and teach all over the world so our time together came to an end. I am so grateful to have been given the opportunity to work with Mark. Big smiles and hugs Mark

Process of Creating a Solo Show # 4

When my mom passed away I had a lot of time to reflect. Reminicing and seeking happy times to keep me strong, then remembering some not so happy times. It is during this period in which I was falling apart did I have to find myself again so by picking up the pieces of my emotional and physical make up did I pick up my journal and started writing. In one particular entry I asked myself the question, why is it I don't seem to date black men? I was trying to remember and then count how many black men I did date compared to how many white men I dated and I thought that was odd. I am a bi-racial woman and I love me some flavor, yet I stopped dating black men. Then I started becoming standoffish with black men. It was disturbing. I remember my body and mind was trying to work something out but for some reason I was paralized and what ever message was trying to express itself through me could not because of fear, anger, it was frozen inside. During a Kundalini yoga class with Gurmukh of Golden Bridge, she mentioned that we hold the past in our ass and if we can beat it out we would feel much better. A seed had been planted. It was within this area, my buttocks I held all that anger all the fear I had of black men and I wanted it out of me. Doing body work exercises and taking the time to really listen to my body I was finding the answers to my pain and in the midst of releasing I was given an opportunity to heal though I didn't know it at the time, I only knew afterwards. It was a simple conversation in a gym with a gorgeous black man did I rediscover who I was and gain some freedom from all the unnessecary pain. I got to see how I was projecting fear of black men but in reality I was just scared of myself, my own body as a woman and how powerful just being a woman really is. There were several entries in my journals, but I thought this one most interesting and transformative in rediscovering myself again, so I began writing and writing and when I got stuck, I asked for help.

Process of Creating a Solo Show # 3

I'm on a roll tonight, because I was behind in writing my blog. So after seeing my favorite performers in New York City I decided in this lifetime this is what I am going to do. Like I said I don't know how I just know I am. I'm not going to discuss the other back story behind moving to LA. I am going to focus on the journey of creating a solo show. So when I got to LA, I was in survival mode. After leaving the Village Voice in New York, my sister Deborah pitched for me to work at the Los Angeles Jewish Times in California. I worked there for 3 years and at the end was General Manager. Talk about crazy experiences, I'll have to write about them in another project. As I worked I thought to get myself in the theater scene right away. The first place I went to was Working Stage. I met and worked with Frank Megna. He says, I was a smart ass, not focused. My head was always some where else. He was right. All I did was drink coffee and smoke cigarettes and talk about how I wanted to be an actress. I had talent, I just didn't know how to focus in on it and make it work for me. So I got to work with Frank and he asked me to be in a Working Stage Production called Licking Light Bulbs. I played a drugged up girl Friday. Good times. Near the end of the production I was struggling with family drama and relationship drama and struggled with the "show must go on". It was really hard and as soon as the production was over, I disappeared. I was not getting the parts I wanted, I was not even getting called in and I thought to put up my coat and as I was preparing to squash my own dream my Mom passed away.

The Process of Creating a Solo Show # 2

Last I left off my experience at the Public Papp Theater. So I knew that is what I wanted to do. I didn't know how I was going to do that, I'm just saying that is what I wanted to do. I could say it was also around 10 years old when I use to perform old Rosana Dana skits for my parents and then recreate the commercials from 1978, 1979. Spic and Span, Tide, but it was really after watching Anna Deavere Smith. I also got to see John Leguizamo in Mambo mouth. I know to wait outside of the theater a little bit to the right or left of the entrance where the performers will eventually come out to go back to their normal lives. John jumped out the door with rollarblades and speed off into the city streets. I got no time to get my playbill signed, but I still thought it so cool that he was wearing his jeans and a tshirt like everybody else and he really seemed to be like everybody else, he was just telling his story 20 minutes before to a live audience of about 500 people. He also happen to sit next to me at the Manderian Chinese restaurant on Beverly Blvd. in Los Angeles 5 years late, but I just kept eating my food and never said a word. I so wanted to say, Hi John, I saw you in New York, but I didn't and I didn't regret it, I just might get to see him again and tell him how I am a great fan of his. I just might get to say what a great inspiration he has been for me.

2 week count down to the opening of RSO

What's going on? Well, I am working off of Sarah's laptop at the moment which survived 4 to 7 year olds throwing a ball around that hit coffee and spilled all over the laptop! Nightmare waiting for the thing to come back to life. Adam took it apart cleaned it and it finally magically came back to life, yet the keys on the right side don't necessarily work, so I am doing the best I can with what I have. Example, I can't press return so I'm going to have run on sentences in this blog. It is week count down. All the press releases went out and we got our listing on several cool theater sites. www.theatermania.com, www.broadwayworld.com, www.nytheater.com, www.playbill.com, www.broadwayinsider.com, to name a few. Now we just need to get the media to come and review the show. I was talking to a very professional PR person at a high profile film studio and she said it is still done the old fashion way, you fax or email your press release and then you call to follow up. There is no way of getting around making that phone call. She said don't leave messages on the machine. A newspaper writer will not even listen, it is most likely they will delete. Keep calling until you get someone and then pitch your story. Let them know why their readers would like to know about what you are doing. She told me to not be ashamed of promoting the show. Get the word out there. So that is what I am doing.

The Process of Creating a Solo Show # 1

Originally I've been inspired by John Leguizamo, Anna Deavere Smith and Jennifer Lewis, all of whom I've seen live. When I saw each one of them I knew that is what I wanted to do. They are true storytellers and they bring life to all the characters in their stories, they become those people.

I remember I had to see Anna Deavere Smith. Smith is perhaps best known as the author and performer of two one-woman plays about racial tensions in American cities — Fires in the Mirror (Obie Award-winner and runner-up for the Pulitzer Prize) and Twilight: Los Angeles 1992 (Obie Award-winner and Tony Award nominee).

I had to see Fires in the Mirror and it was the last night at the Public Papp Theater and I didn't have a ticket nor money to see it. I don't know what I was thinking but I went to the theater and stood in front of the box office and stood in the corner. My plan was to wait and maybe an extra ticket would pop up. A miracle ticket. Which I use to get at Grateful Dead shows. In the past I have given away free tickets so I knew I was due return karma. One guy did have an extra ticket because his date didn't show up, but he wanted to sell and decided to wait till someone brought the ticket from him, which they did.

I started to panic because the doors had closed and the show was about to start. I asked the box office, if they would be so kind as to gift me one because it was the last show and no one else was going to buy the ticket. They said no.

A little over 10 minutes went by and I wasn't going to budge. There was a sadness inside myself because I thought to give up, but there was some spark to hold on because anything could happen. I waited and tried to fight off the fear of nothing happening. I stared at those closed doors and then one door swung open. I don't know who the woman was, she may have been an usher or someone from the box office, or maybe even another theater goer who saw my plight outside, but she motioned for me to come over, she pointed to the only seat in the room and said go. I walked down the aisle to the second row, CENTER.

I sat there in awe of Anna and then later smiled to myself of the whole experience.