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writemarcus · 2 years

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BWW Review: FIDELIO at the Met – Not THE MET – Proves Beethoven's Only Opera Is No Museum Piece

Heartbeat Opera’s Revisions Bring FIDELIO Smartly into the 21st Century at New York’s Met Museum

by Richard Sasanow

Feb. 16, 2022

It's no secret that many of the standard repertoire's most famous operas had troubled premieres--often (but not always) at the hands of overzealous censors--but Beethoven's FIDELIO had more than its share.

Still, as the program notes, the opera's message is of "hope in the face of despair."

Thanks to the efforts of the small but vibrant Heartbeat Opera, which performed its revised version at New York's Met Museum this past weekend (before a short tour), we can see the forest for the trees. Many of the work's problems have been dealt with in a surprisingly effective way and the story brought up to date without destroying its integrity and remaining mostly true to the many writers who worked on the original versions of the libretto: Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, Stephan von Breuning and Georg Friedrich Treitschke.

In this adaptation, crisply directed by Ethan Heard, Leah (the original's Leonore) attempts to free her husband, a Black Lives Matter activist who has been wrongfully incarcerated by a corrupt warden. Disguising herself as a female correctional officer to infiltrate the facility where she believes he is being kept, Leah, known as Lee, is determined to prevail despite the warden's racism. As in the original, this FIDELIO is about courage in the face of danger.

Beethoven's sumptuous arias are performed in their original German form--grandly sung by the cast and a chorus taken from Midwest prisons--and the story is in English with free hand given to presenting it in current vernacular. Scissors have been taken to the entire work, by director Heard (also adaptor/co-book writer); Marcus Scott (co-book writer); and Daniel Schlosberg (music director/arranger), with characters excised wisely and smartly, and Heartbeat has found, well, the heart of the opera.

The cast is now just five principals, with all giving noteworthy performances. Soprano Kelly Griffin, is a major presence and voice as Leah/Lee, the Leonore of the original, whose efforts to free her unjustly incarcerated husband Stan (the strong tenor Curtis Bannister), Florestan in the original, is at the center of the opera. Baritone Corey McKern was a fearsome presence as the warden, Donnie (ahem) Pizarro, who has no shame and knows a thing or two about torturing prisoners. Bass Derrell Acon was a fine jailer, Roc (originally Rocco), with soprano Victoria Lawal a full-voiced Marcy, his daughter (originally Marzelline).

However, it was the chorus of more than 100 voices of incarcerated singers and 70 volunteers from six prison choirs that made for a thrilling experience, both touching and exhilarating: Oakdale Community Choir, Kuji Men's Chorus, Ubuntu Men's Chorus, Hope Thru Harmony Women's Choir, East Hill Singers, and Voices of Hope.

The simple sets were designed by Reid Thomas, with lighting by Oliver Wason, sound by Kate Marvinand projections by Caite Hevner. Costumes were by Valerie Therese Bart and Kara Branch. Nigel Semaj was the movement director and fight choreographer with Emma Crane Jaster the original movement director.

Music director Schlosberg was conductor and one of two pianists, with Euntaek Kim, in the chamber ensemble, with Nicolee Kuester and Kyra Sims on horns, Clare Monfredo and Nathaniel Taylor on cello and Brandon Ilaw on percussion. They did a remarkable job on Beethoven's wonderful score, though I did miss the bracing overture (the composer wrote four) that was cut from this version.

That's not to say that all the problems of Beethoven's original have been solved or that others haven't been added, such as power of the recognition scene, since the wife no longer is disguised as a boy. The fusing of the serious and comic elements seems to have backtracked somewhat since the last time I saw the company's version of the story--it was performed in 2018 at the Baruch Performing Arts Center as part of the NY Opera Fest--and not necessarily to the work's advantage. And the framing device, with the faithful wife efforts to get her husband released from jail, didn't totally work for me.

Still, the majority of what has been accomplished by Heartbeat Opera is spectacularly good and seems like quibbling against the company's achievement.

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larryland · 3 years

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REVIEW: "Coming Back Like a Song!" at the Berkshire Theatre Group

REVIEW: “Coming Back Like a Song!” at the Berkshire Theatre Group

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larryland · 6 years

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Barrington Stage Presents the World Premiere of “The Chinese Lady” (Pittsfield, MA) Barrington Stage Company (BSC), the award-winning theatre in the Berkshires (Pittsfield, MA) under the leadership of Artistic Director Julianne Boyd, is proud to present the world premiere of…

#Barrington Stage #Barrington Stage Company. BSC #Daniel K. Isaac #Fabian Obispo #Geoff Boronda #Julianne Boyd #Junghyun Georgia Lee #Lloyd Suh #Ma-Yi Theater Company #Oliver Wason #Pat McCorkle #Pittsfield MA #Ralph Peña #Shannon Tyo #St. Germain Stage #St. Germain Stage at the Sydelle and Lee Blatt Performing Arts Center #Sydelle and Lee Blatt Performing Arts Center #The Chinese Lady

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larryland · 6 years

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by Macey Levin

There’s a nostalgic diversion receiving its world premiere at Berkshire Theatre Group’s Fitzpatrick Main Stage in Stockbridge, MA. Coming Back Like a Song! By Lee Kalcheim is a play about Irving Berlin, Harold Arlen and Jimmy Van Heusen, three giant composers on the Broadway and Hollywood stages of old. Though there is biographical information and moments of emotion throughout the work, the show is basically a revue of wonderful music from the mid-20th century. What’s so bad about that?

On Christmas Eve 1956, Berlin (David Garrison,) Arlen (Philip Hoffman) and Van Heusen (David Rasche) gather at Berlin’s New York townhouse after an ASCAP (American Society of Composers, Authors and Playwrights) meeting to discuss the onslaught of rock ’n’ roll into popular music, in particular, Elvis Presley, Berlin puts on a 45 rpm (which he disdains because they’re small with a big hole in the middle) for a cut of Presley’s Hound Dog. Van Heusen is a proponent of the new music because things change and you have to change with them. The other two are not happy with the state of things… “Where’s the music?”

The three of them go to the piano singly or together and run through myriad songs they’ve written for the theatre or movies or just to write them. The first, of course, is Berlin’’s Alexander’s Ragtime Band which catapulted him to international fame as a relatively young man. Arlen’s Blues in the Night, which his cantor father persuaded him to sing in the synagogue, sees the three of them harmonizing. What’ll I Do? (Berlin,) Moonlight Becomes You (Van Heusen,) Swingin’ on a Star (Van Heusen,) Somewhere Over the Rainbow (beautifully sung by Hoffman’s Arlen, who composed it) Cheek to Cheek (Berlin,) Lydia (Arlen) and a host of others. With most songs there are quick anecdotes about the song, the show, or the star who performed it.

We do learn something about their characters and their lives. Irving’s first wife died five months after they were married; he had a son die at three weeks on a Christmas Day; his current wife, Ellin, a devout Catholic, was disowned by her father for marrying him, Berlin being Jewish. When the Depression hit, Berlin supported Ellin’s family. Garrison looks like the brilliant and feisty Berlin, but his voice is much better.

Harold’s wife Anya has been in various sanitariums for several years. He is devoted to her and shares this with his friends. He has purchased a Christmas tree and is planning to pick her up the next day to bring her home for a short stay. A phone call to the institution this evening to speak with her brings him the news that she’s not well enough to travel – again.

Frank Sinatra owes his life to Van Heusen who saved him after the singer slit his wrists. For payment Sinatra expects Jimmy to be at his beck and call and to fly to California tonight to play the piano for his Christmas party. Van Heusen, who flies his own plane, politely refuses since it is snowing east of Chicago. He is a womanizer. He doesn’t marry until he is 56 years old. He says, “I write emotions but I can’t feel them.”

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The foundation of Kalcheim’s script is the music; the plot material with occasional disagreements is close to being filler that more than smacks of gossip, but interesting gossip. We discover things about the composers and others whose lives they have touched or vice versa. The dialogue is literate and certainly amusing. Gregg Edelman’s direction revolves around the piano with several short scenes at the coffee table where the friends sip several martinis. He does give the characters energy and identification as also defined by David Murin’s costumes.

Randall Parsons’ set is clean and looks like the home of a wealthy family. BTG’s main stage may be too large for the intimacy the show requires. Oliver Wason’s lighting is subtle except for those moments when the performers are in a spotlight rather than the general lighting of the living space. The musical director and pianist Daniel Mollett has coached his three singers to interpret the songs in the style of their era.

Profundity is not in play in this show, but what is there is the nostalgic warmth of a n irretrievable time in American culture creates an enjoyable production!

Coming Back Like a Song! by Lee Kalcheim, directed by Gregg Edelman, musical director Daniel Mollett, runs from June 28-July 21, 2018 at the Berkshire Theatre Group’s Fitzpatrick Main Stage in, Stockbridge, MA. Scenic Design: Randall Parsons; Lighting Design: Oliver Wason; Costume Design: David Murin; Sound Design: Nathan Leigh; Stage Manager: Stephen Horton. CAST: David Garrison (Irving Berlin) Philip Hoffman (Harold Arlen) David Rasche (Jimmy Van Heusen.

Running Time: 85 minutes; no intermission. For more information and to purchase tickets, please visit www.berkshiretheatregroup.org or call 413.448.8084 x 50

REVIEW: “Coming Back Like a Song!” at the Berkshire Theatre Group by Macey Levin There’s a nostalgic diversion receiving its world premiere at Berkshire Theatre Group’s Fitzpatrick Main Stage in Stockbridge, MA.

#Berkshire Theatre Group #BTG #Coming Back Like a Song!#Daniel Mollett #David Garrison #David Murin #David Rasche #Fitzpatrick Main Stage #Gregg Edelman #Harold Arlen #Irving Berlin #Jimmy Van Heusen #Lee Kalcheim #Nathan Leigh #Oliver Wason #Philip Hoffman #Randall Parsons #Stephen Horton #Stockbridge MA

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larryland · 7 years

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by Macey Levin

On December 4, 1956, in the seedy recording studio of Sun Records in Nashville, Tennessee, four iconic rock and roll musicians met in an improvised jam session. Immortalized by a photograph of Elvis Presley at the piano staring up at Jerry Lee Lewis, Carl Perkins and Johnny Cash, this major moment in music history is the inspiration for the rollicking and nostalgic show Million Dollar Quartet currently at Berkshire Theatre Group’s Unicorn Theatre in Stockbridge, Massachusetts.

The founder of Sun Records, Sam Phillips (Ben Nordstrom,) who discovered and nurtured the four singers, narrates the story of these relationships as he reflects on the development of his recording label. He tells us that after Presley’s (Brycen Katolinsky) initial success “Blue Suede Shoes” which Perkins (Colin Summers) wrote and performed until overshadowed by Presley, he sold Elvis’s contract to RCA records for $40,000 in order to keep Sun from going out of business. A factor in arranging the session that memorable day was to bring the two men together to mend fences; Elvis arrives with his current girl friend Dyanne (Christy Coco.) Coincidentally, Lewis (Gabriel Aronson,) Phillips’ newest discovery, is present; Cash (Bill Sheets) just happens to be in the neighborhood but with an ulterior motive.

As the raft of musical numbers, including R&R classics (“Matchbox,” “Down by the Riverside,” “Great Balls of Fire,” “See You Later, Alligator” and more,) mainstream pop numbers (“Fever,” “Memories are Made of These” and others,) and a gospel hymn (“Peace in the Valley”) course through the show, several plot devices, not necessarily having occurred in real life, unify the action, though the plot is less important than the music. Actually, this is a concert with dialogue, and it is one hell of a concert.

The opening of the show places this event in historical context. There are projections of images, designed by Nicholas Hussong, of the 1950’s, i.e. kids taking cover under their school desks, and a series of comments about the fact when we awoke we would wonder if there would be a nuclear war that day. The quote is attributed to Bob Dylan. As each of the four enters the studio, other projections show photos and newspaper articles about the actual figures.

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The cast under the direction and music direction of James Barry recreate the sound, style and movements of the four. Some of the actors even have a close resemblance to their “ancestors.” Director Barry, who started his career at BTG eighteen years ago, played Perkins in the first national tour of Million Dollar Quartet for two years. He has a sure hand in the staging and delivery of the music. The actors have been given the freedom to simply enjoy themselves as there is a sense of spontaneity that pervades the production.

Of the four performers Aronson as Jerry Lee Lewis stands out because his character is a dynamic entertainer with an exuberance and rudeness that overshadows his partners. Brycen Katolinsky’s triggers our memories of the pelvic gyrations and sneering expressions we associate with Presley. Sheets captures Johnny Cash’s low, rumbling voice and stolid personality. Perkins’ low-key attitude mixed with his deep southern drawl is personified by Colin Summers. All of them are terrific professional musicians who can hold a stage and, more importantly, keep an audience in thrall. Listening to and watching them recalls a seemingly simpler time.

Nordstrom’s Sam Phillips personifies the cockiness and confidence of an entrepreneur who is assured of his own brilliance. There is almost a sleazy charm to him but it is difficult not to like him. Presley’s then-girl friend Dyanne (Coco) a professional singer as well has a couple of solos (“Fever” and “I Hear You Knockin’”.)

There are two other performers one of whom (Nathan Yates Douglass) plays Perkins’ older brother Jay, who does amazing things with his bass fiddle, and David W. Lincoln as Fluke on the drums.

Jessica Ford’s set looks like the scruffy but comfortable studio often referred to by the various characters. It tells us a great deal about the record industry 60 years ago when there were a number of start-up companies struggling against the big boys. Several exterior scenes are played in the house in what looks like an alleyway in back of the studio. The costumes, also designed by Ford, are reminiscent of the era. Oliver Wason’s lighting design is fluid and complements the flashbacks as well as creating a night club style environment for several of the music numbers.

The show is listed as running 90 minutes without an intermission, but after the initial curtain call there is another fifteen minute concert that had audience members standing and dancing and shouting.

This is a terrific show! It runs through July 15. For tickets: 413-997-4444 or http://www.BerkshireTheatreGroup.org.

Million Dollar Quartet Book by Colin Escott and Floyd Mutrux; Direction and Music direction by James Barry; Cast: Gabriel Aronson (Jerry Lee Lewis) Christy Coco (Dyanne) Nathan Yates Douglass (Brother Jay) Brycen Katolinsky (Elvis Presley) David Lincoln (Fluke) Ben Nordstrom (Sam Phillips) Bill Sheets (Johnny Cash) Colin Summers (Carl Perkins); Scene and Costume design: Jessica Ford; Lighting design: Oliver Wason; Projections design: Nicholas Hussong; Sound design: Nathan Leigh; Stage Manager: Shelby North; Running Time: Ninety minutes plus; no intermission; Berkshire Theatre Group’s Unicorn Theatre, Stockbridge, MA; From 6/14/17; opening 6/17/17; closing 7/15/17; Reviewed by Macey Levin at June 22 performance

REVIEW: “Million Dollar Quartet” by Macey Levin On December 4, 1956, in the seedy recording studio of Sun Records in Nashville,

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writemarcus · 6 years

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BWW Review: 'Orange' is the New FIDELIO from Heartbeart Opera at NY Opera Fest

Richard Sasanow May. 5, 2018

Despite some great music, nobody ever said that Beethoven's FIDELIO is an easy opera to love.

Yet, the reduced, revised and reconfigured 90-minute version that Heartbeat Opera premiered the other night--as part of this year's NY Opera Fest from the New York Opera Alliance--showed some fearless work that was somehow true to the original yet very current.

This tale of the rescue of a political prisoner, Florestan (here, Stan), by his wife, Leonore (here, Leah), disguised as a prison guard, will always work, whether in the original 18th century Spain or in these times of Black Lives Matter. And the powerful use of a chorus of prisoners--represented in the production by projected work of actual prison choruses from around the Midwest--was a master stroke.

The composer had some long struggles with it, writing in a form that wasn't natural to him--it would be his only opera, and he sometimes felt caught between heroic opera and opera buffa--and he had already lost 60 percent of his hearing by 1801. Just as important, the Austrian censors forced him and his librettist (Joseph Sonnleithner) to change the setting from the French Revolution--which, in 1805, still hit too close to home in a country occupied by the French--and set it in 18th century Spain. Yet, he managed to produce thrilling music,

On its own terms, I thought Ethan Heard's production, see at the Baruch Performing Arts Center, was more successful than the opera's most recent revival at the Met. The opera's spoken, colloquial dialogue, newly written by Marcus Scott and Ethan Heard, was performed in English, but the music was sung in the original German and managed to coexist well together. (Translation by Nick Betson.) The basic sets and costumes were done by Emma Crane Jaster and Reid Thompson, respectively, with effective lighting by Oliver Wason and sound by Kate Marvin

The arrangement--and distillation--of the score by Daniel Schlosberg worked wonderfully, though I missed the powerful overture (Beethoven wrote four versions), which only appeared in snippets toward the end of the piece. The music ensemble--two cellos, two horns and two pianos, including conductor Schlosberg--were heard to extraordinary effect.<

This version jettisoned a couple of major characters without harming the flow of the work and, perhaps, improving it in some ways. One was Don Ferrando, the prime minister who, basically, rides in on his white horse at the end of the opera to save Leonore and Florestan and bring the downfall of the evil prison warden. The other, more important to the shape of the original, was Jaquino, the jailer's assistant. This character existed for comic relief, providing a foil in the relationship between the jailer's daughter, Marzelline, and Fidelio (Leonore disguised as a boy to get a job inside the prison).

In this new version. Marzelline (now Marcy) is a lesbian attracted to a no-longer-disguised wife, now called Leah. While it may be understandable for the job of the jailer's assistant to be held by a woman, I thought it watered down the recognition scene: In the original, when the prisoner governor comes to kill Florestan, Fidelio/Leonore tells him, "You'll have to get through his wife first," unveiling her drag persona. Now, when evil warden comes to kill Stan and she says the line, the drama is reduced, as she is simply unmasked as more than an assistant but the prisoner's wife.

For the most part, the cast worked quite well in putting across Beethoven's music, though the illness of tenor Nelson Ebo, cut somewhat into his impact as Stan; he nonetheless cut a dramatic figure. Soprano Kelly Griffin made an incisive Leah, powerful yet warm and soprano Malorie Casimir was a winning Macy, using her light voice smartly, while bass-baritone Derrell Acon made a dignified, smart Roc (the jailer). While bass-baritone Daniel Klein did well as Pizarro, I wished for a more dramatically fearsome sound for this reprehensible character.

As mentioned earlier, Beethoven's wonderful choral writing was performed, and projected, by several outstanding singing groups active in American prisons, close to 200 singers, who sang with power and hope. The groups represented were the Oakdale Community Choir at the Iowa Medical and Classification Center, director and founder Mary L Cohen from the University of Iowa; Kuji Men's Chorus from the Marion Correctional Institution in Ohio, director Catherine Roma; Hope thru Humanity Women's Choir, Dayton (OH) Correctional Institution, director Catherine Roma; Ubuntu Men's Chorus, London (OH) Correctional Institution, director Catherine Rome; East Hill Singers, Lansing (KS) Correctional Facility, conductor Kirk Carson; and Voices of Hope, Minnesota Correctional Facility, Shakopee, conductor Amanda Weber.

The opera now ends with a coup de theatre that I won't give away, but it ended the opera on a sad and touching note rather than the joy of the original.

#BroadwayWorld #Review #theatre review #theater review #Fidelio #Heartbeat Opera #Marcus Scott #MarcusScott #WriteMarcus #Write Marcus

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writemarcus · 6 years

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FAITHFUL TO FIDELIO?

Derrell Acon, Malorie Casimir, and Kelly Griffin in Heartbeat Opera's radical Fidelio

How is it that Beethoven only wrote one opera and spent a dozen years doing it? It must not have come easily to him. Indeed, he rewrote the overture to Fidelio several times and the opera as well. It premiered for the first time in 1805 in Vienna which was, at that time, under French rule. Largely influenced by the ideals of the French Revolution it was denied performance by the censors and only achieved production due to the intervention of Hapsburg Empress Maria Theresa. Two centuries later, Co-director of Heartbeat Opera Ethan Heard brought Beethoven's opera (actually, a singspiel with spoken dialogue) into the 21st century, emphasizing the need for social change in the important area of incarceration. In case you didn't know this, with only 5% of the world's population, the USA has 25% of the world's prisoners! And guess which racial group bears the brunt of this injustice! They make up about 37% of the prison population, which is thrice the percentage of their representation in the population of our nation. In Mr. Heard's adaptation of the original libretto by Joseph and Georg Friedrich Sonnleithner, the role of Jaquino has been eliminated, shifting the focus of the opera to the interaction between three main characters--Leah (Leonora) the faithful wife, Roc (Rocco) the kind-hearted jailer, and Marcy (Marzellina) his daughter. Playing the LGBTQ card, Mr. Heard has made Marcy a lesbian so that Leah needn't pretend to be a man. Roc pushes the two women to get together! It was a an interesting directorial choice but did not contribute much to the impact of this iteration and seemed to distract us from the main thrust of the story. By way of contrast, an addition that contributed enormously to the impact of the story was the use of actual prison choirs to sing the prisoners' chorus. No, they were not released from prison and put onstage. Mr. Heard traveled to the Midwest with Daniel Schlosberg as accompanist and recorded prison choirs on video. This part of the performance was incredibly moving for us; as we listened, we wondered what this meant in the lives of the incarcerated men and women who participated. Did it give them hope in the face of despair, which was Beethoven's intention? Did music serve to soften their rage at society and any injustices they suffered? We need not have wondered. Grateful letters from the inmates were posted in the lobby. Now this is opera we are reviewing and not politics but surely music, and especially opera, can serve political ends. (We'd love to see an opera shaming our pussy-grabbing POTUS.) The singers did very well in the vocal and acting department. As the eponymous Fidelio, we heard soprano Kelly Griffin whom we so enjoyed as one of Daniel Cardona's large voiced "finds". She impressed us as a different Leonore, the one in Verdi's Forza del Destino with New Amsterdam Opera. Mr. Heard and Marcus Scott wrote a spoken prologue for her, by way of exposition. Way upstage, she agonized over her husband's unjust incarceration. She explained to a slightly sympathetic but unavailable pro bono attorney that her husband was not a criminal but a political activist. He'd broken no laws but had been incarcerated without any contact with the outside world. She lost her temper at the lawyer's indifference. We felt her frustration and anguish. This prologue set us up for the 90 minute tight retelling of the tale. After winning the confidence of Roc and offering the possibility of romance to Marcy, she succeeded in giving the prisoners a half hour outdoors. When called on the carpet for this act, it was attributed to a celebration of Martin Luther King Day. Bass-baritone Derrell Acon was a powerful Roc, singing forcefully and creating a character who wavered between obedience to authority and human compassion. Morality is doing what is right regardless of what you're told. Obedience is doing what you're told regardless of what is right. As Marcy, we were very happy to have another opportunity to enjoy the pleasing light soprano and winning stage presence of soprano Malorie Casimir, whose Sophie and Zerlina we had previously and enthusiastically reviewed. Leah's husband Stan (Florestan) was not one of the prisoners released into the yard. He was being kept in a secret cell in solitary confinement because the Warden (effective bass-baritone Daniel Klein), a thoroughly evil character, planned to murder him in his cell after depriving him of sustenance for a very long time. The role of Stan was sung by tenor Nelson Ebo who, it was announced, was indisposed. His indisposition took away the luster of his voice but actually made him very believable. He sounded as one might expect someone to sound who had been shackled and starved! But we want to hear him when he is healthy! The scene in which Roc and Leah descend into the subterranean reaches of the prison was particularly effective as they navigated through the balcony of the theater (the Rose Nagelberg Theater of Baruch Performing Arts Center) carrying lanterns against the dark, climbing up and down. It would not be an overstatement to say that we were on the edge of our seat for 90 minutes of rapt attention. We know the plot of the work but we didn't know what Mr. Heard was going to do with it. We won't tell you. You will have to find out for yourself. What we will tell you is that we absolutely adored Maestro Daniel Shlosberg's arrangement for chamber orchestra, which included two pianos, a pair of horns and a pair of cellos. Schlosberg conducted from the piano and Ben Cornavaca contributed some stunning effects with percussion. Reid Thompson's set was minimalistic--a few desks and chairs, well lit by Oliver Wason. Costuming by Valérie Thérèse Bart comprised prison uniforms. Thinking about the mission of Heartbeat Opera and it's two Co-Artistic Directors (Mr. Heard and Ms. Proske), there is no denying that they put old wine in new barrels and make opera accessible to a new generation. Indeed, Heartbeat Opera makes a sizable number of free tickets available to students. We rode up in the elevator with a group of them who very much enjoyed the performance. This revolutionary company deserves your support! (c) meche kroop

#Baruch Performing Arts Center #ludwig van beethoven #Beethoven #Ben Cornavaca #Daniel Klein #Daniel Schlosberg #Derrell Acon #Fidelio #Heartbeat Opera #Kelly Griffin #Malorie Casimir #Nelson Ebo #Marcus Scott #MarcusScott #WriteMarcus #Write Marcus #theatre bleek

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