I've been posting my movie musings on Facebook for a few years now, much to the chagrin of true arbiters of taste. I tend to go see whatever film has been most obnoxiously hyped, marketed, and oversold in any given week...art films? Bah! Won't find too many of those discussed here.
And every once in awhile, I may review a TV show, record album, theatrical production, or book (yeah, probably not too many of those)...and I may use this blog for some shameless self-promotion. Just a fair warning! Enjoy! Speaking of which - I now have a book! Order it here: http://www.amazon.com/Reel-Reviews-Keepin-Real-Volume/dp/0615964907/ref=zg_bs_4494_15.
Also, you can read my mom’s work at www.susieduncansexton.com and check out my theatre group at www.pennyseats.org
This week’s Legal Marketing Coffee Talk guest is Gregory Griffin, who recently joined Jaffe PR as Senior Vice President, Client Service. Roy Sexton and Greg will discuss keeping conversation strategic when coaching attorneys on business development opportunities and how this pandemic has turbo-charged those efforts, and Greg’s exciting, new role at Jaffe to share his insights as a legal industry consultant.
Greg will also share his fitness journey as a half-marathoner and how his cerebral palsy has given him a drive to succeed and an empathy that fuels his extensive community volunteering. Recently listed by the Houston Business Journal as one of its ‘40 Under 40,’ Greg consistently gives back to his community, profession and others.
History shows that, when the majority in rule starts to feel that they are losing their cultural hegemony, they get ugly and they go on the attack, no matter what lip service they provide to the contrary. Even in some of my volunteer board service recently, I have seen it from others in ways that truly have shocked me.
My mother and I were having this conversation yesterday. The wonderful thing in this moment is that those who have been forced to live in the margins now have access to so many megaphones – digital and otherwise – by which to tell their stories and hopefully cement positive, permanent change.
One such example is Theatre NOVA’s latest “Play of the Month”: The W.I.T.C.H, a firecracker of a show, written and performed by incisive, chameleonic Morgan Breon and ably directed by Diane Hill with a keen eye toward economy of space, dance-like movement, and the rich language of the text itself. (THE W.I.T.C.H. stands for Wound Intervention Through Care and Healing.)
From the press release: “Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents a new play written specifically for the Zoom format each month (January through April) with their PLAY OF THE MONTH series. ‘THE W.I.T.C.H’ by Morgan Breon, the fourth offering in the series, will be performed live on Zoom on Wednesday, April 28 at 8pm and available ON DEMAND for Series Pass holders through the end of May 2021.
“‘THE W.I.T.C.H.’ shows the joys, pains, and struggles of Ms. Morgan, a newly hired Behavior Specialist at a Detroit public high school. When hope begins to crack open her students’ hearts and minds, Ms. Morgan’s office might just be the most dangerous room in the entire school. Directed by Theatre NOVA Producing Artistic Director, Diane Hill. Featuring Morgan Breon in a tour de force role as she portrays an array of characters in the public school setting including a behavior specialist, students, teachers and administrators.”
And that press release isn’t just hype. It is one of the most accurate descriptions I have seen in a press release about a piece of work in a long time. Morgan Breon in style and delivery is like this wondrous combination of Anna Deavere Smith and Zoe Caldwell. She is alchemic and transfixing. A one person show is never easy, let alone holding the audience’s rapt attention via Zoom for 30 minutes.
Like quicksilver, she depicts a host of characters – from teachers to multiple teenagers to school administrators – gracefully, sharply, rapidly morphing from one to the next, each clearly drawn and distinct. It is a remarkable performance, made that much more significant in service as it is to a message of inclusion and of the necessity for all of us to break down the fears that hold us back from authentic connection.
Note: the performance was followed by a talk-back about the play and the desensitization to trauma amongst youth experiences in and out of school. Interested attendees had the opportunity to ask questions and join the discussion.
Tickets are $10 each month, or $30 for a Series Pass, which includes admission to four plays for the price of three and the opportunity to view all four plays ON DEMAND if any of the live performances are missed. Purchase tickets online at www.TheatreNova.org. All proceeds benefit Theatre NOVA’s ongoing efforts to stay alive through the pandemic. This activity is supported in part by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.
Morgan Breon (playwright/performer) earned four degrees from the University of Michigan Ann Arbor—none of which are in theatre. She holds an: LLMSW, EdMA, BA Psychology and BA English. She kick-started her theatre career playing 15 of the 16 characters featured in Nilaja Sun’s, “NO CHILD” at Matrix Theatre Company. Morgan is an ensemble member of Shakespeare in Detroit and is an alumnus of Mosaic Youth Theater in Detroit, University of Michigan’s CRLT Players, and the University of Michigan Educational Theatre Company and has received awards for her plays “WAKING UP ALIVE” and “PORTRAIT OF A WISE WOMAN.” Morgan was a 2017 Mitten Lab Fellow, 2017-2018 University Musical Society (UMS) Artist in Residence, 2018 Playwriting Scholarship Recipient with PlayPenn Theatre in Philadelphia, PA, and a 2018 Kresge Arts in Detroit Fellow. Her docu-play “TELLING OUR STORIES” platforms the narratives of Black women in America, and a technology-infused version of the project was showcased at the 2018 TEDxDetroit Lab in collaboration with Metropolitan Museum of Design Detroit. The exhibit told stories through QR codes, and was entitled “smART: Telling Our Stories | Black Women in America.” In December, 2020, Morgan published “A Refugee of Me: A Collection of Poems and A Refugee of Me: The Workbook,” which uses poetry to guide readers into self-reflection and healing. Morgan credits Jesus Christ for her gifts of anything creative.
Diane Hill (Director) is a Producing Artistic Director at Theatre NOVA and was founder and Artistic/Executive Director of Two Muses Theatre, another nonprofit, professional theatre in West Bloomfield. There she performed in and directed many plays and musicals each year and did the work of technical director, publicist, sound designer, webmaster, and graphic designer for every production. Diane was a professor at University of Detroit Mercy and Oakland Community College, where she originated and designed the Theatre degree program. She has a Ph.D. in Theatre from Wayne State University and a Bachelor of Music and Master of Arts in Theatre from the University of Michigan. She previously taught high school drama and music, where she produced and directed theatrical productions in the public school system (Ypsilanti and Ann Arbor) for 20 years. Diane has additionally produced and directed shows for professional theatre companies including Breathe Art Theatre Company in Detroit, Opus Mime in Ann Arbor, Jewish Ensemble Theatre in West Bloomfield, Tipping Point Theatre in Northville, and Heartlande Theatre Company in Detroit. Diane is an award-winning actor and member of Actors’ Equity Association and the American Guild of Musical Artists and has performed at many professional theatres in southeast Michigan, including the Fisher Theatre, Meadow Brook Theatre, Masonic Temple, Michigan Opera Theatre, Detroit’s Gem Theatre, Purple Rose Theatre, Tipping Point Theatre, Encore Musical Theatre, Croswell Opera House, Open Book Theatre, The Ringwald Theatre and Cherry County Playhouse. She was awarded a Wilde Award for her portrayal of Professor Vivian Bearing in “WIT,” a Rogue Critic’s Award for her work as Mama in “‘NIGHT MOTHER,” both with Breathe Art Theatre Project, and an Ann Arbor News Award for her work as Agnes in “I DO! I DO!” at Kerrytown Concert House. Diane also has performed leading roles in several independent films, television and radio commercials, and industrial films. At Theatre NOVA, she directed “CLUTTER,” “FOLLIES IN CONCERT” and “KILL MOVE PARADISE” (Council Cargle Award for Excellence in Diverse Storytelling) and has kept very busy this year producing, directing and stage managing several Zoom plays written especially for Theatre NOVA. Theatre NOVA audiences saw her play Olympe de Gouges in “THE REVOLUTIONISTS” (Wilde Award Best Production), Zelda in “THE HOW AND THE WHY” (Wilde Award Best Actress), Penelope Easter in “THE TOTALITARIANS,” Sherri in “ADMISSIONS” and Phyllis in “FOLLIES IN CONCERT.”
“Camp is the answer to the problem: how to be a dandy in the age of mass culture.”
“Camp taste turns its back on the good-bad axis of ordinary aesthetic judgment. It doesn’t argue that the good is bad, or the bad is good. What it does is to offer for art (and life) a different—a supplementary—set of standards.”
“The connoisseur of Camp [finds pleasure] in the coarsest, commonest pleasures, in the arts of the masses.”
Some of us old geezers might recall that auteur filmmaker Todd Haynes once directed a biographical film treatment of Karen Carpenter’s life – Superstar – using only Barbie dolls. Either Mattel or Karen’s creepy brother filed a cease and desist, and the film has only seen the light of day in bootleg copies on eBay.
Part of me doesn’t want to write a word as I don’t want to spoil any of the loopy fun for you. How do I net this out? Sublime Richard Payton channels Angela Lansbury‘s TV classic amateur sleuth/crime novelist Jessica Fletcher, now hosting an au courant pandemic “true crime” podcast. Pop singer Britney Spears, the recent subject of a tell-all documentary (#savebritney) appears to have been abducted and possibly murdered.
Spoiler alert, but as the cat is out of the bag via Ringwald‘s promotional materials, local legend Dave Davies is arguably the perfect thespian stand-in for Ms. Spears. He may be worth the price of admission alone. Never ridiculing his character, but fully in on the joke as to how absurd it is that he is playing the “Toxic” songstress, he is an absolute riot, both in TikTok style “found footage” and in podcast interview mode. I dearly hope there is a sequel.
Ringwald’s merry band of usual mischief makers is on hand in supporting roles. Joe Bailey is a gleeful Sherriff Amos Tupper, Fletcher’s dim bulb sidekick whose outsized adoration of Spears leads to a series of comedically nonsensical allegations. Suzan M. Jacokes is understated genius as harried producer Andrew Lark. Joel Mitchell nails Gene Smart, a store clerk whose great tragedy in life is being assigned his least favorite cash register. Nicole Pascaretta channels the sheltered charms of Britney’s baby sis Jamie Lynn. Dyan Bailey commands her moment as a Linda Ellerbee (remember her?) style newscaster. And Donny Riedel and Cory Shorter nicely round out the team as (respectively) hellzapoppin superfan Chris Crocker and louche hairdresser Jeffrey Bean.
The genius of the Ringwald is that they mine every aspect of pop-culture for mash-ups that are as unexpected as they are strangely logical. These are smart people using silly situations to comment on the real life comic tragedy of modern America. Susan Sontag meets Charles Busch meets Carol Burnett.
But back to the Barbie dolls. One of the great pleasures of seeing Ringwald’s evolution in pandemic is the way they are leveraging video production, one of the highlights of their prior stage work. Brandy Joe Plambeck deftly directs (with assistance from Dyan Bailey, Vince Kelley, and Katy Schoetzow) from a jam-packed script by Kelley and Matthew Arrington. Much like last winter’s Have Yourself a Misery Little Christmas, their filmed format has allowed the troupe to step up their production values exponentially. In that context, the lunacy has a beautifully heightened quality. The polish is in nice juxtaposition to the camp.
As for the dolls, when Sheriff Tupper devolves into his multiple theories surrounding Britney Spears’ disappearance, the reenactments are staged using Barbie dolls, playhouse furniture, and assorted other pink plastic accoutrements. It adds a layer of meta-commentary on American materialism and shallow celebrity obsession that is chiefly comic but more than a bit haunting. As another layer, the sequences employ the chilling orchestral version of Britney Spears’ “Toxic” from Promising Young Woman’s pitch perfect soundtrack. And if you have been wise enough to check out that essential film, the Barbie doll scenes take on an even more devastating quality.
Back to Payton for a minute. Ultimately, his Jessica Fletcher is the ringmaster of this circus. Payton’s anarchic intelligence is like a wildfire across every scene. He is both eye of the hurricane and instigator. And his impish genius elevates any and all material he touches. I can‘t see him perform enough. Utter brilliance.
And do yourself a favor and stick through the credits. The cast vamps through Britney’s seminal hit “Baby One More Time.” You haven’t lived until you’ve seen Joe Bailey shimmy in a door frame.
The Ringwald’s press release follows, including dates and ticket information.
The Ringwald Theatre is pleased to announce the release of their latest show, Murder, She Podcast: Baby One More Crime. Several Ringwald favorites have come together to (safely) film The Ringwald’s follow-up to their smash Yuletide release, Have Yourself a Misery Little Christmas. As with that show, Ringwald stalwarts Vince Kelley and Matthew Arrington return as writers.
In Murder, She Podcast: Baby One More Crime, bestselling author, amateur sleuth, and trenchoat aficionado Jessica Fletcher is recording her latest podcast with her trusty sidekick and co-host, former Sherrif Amos Tupper, at her side. Today’s topic is the mysterious disappearance of music sensation Britney Spears. Where has the Pop Princess gone? Is it just a disappearance, or is something more sinister at play? As the investigation deepens, you will be asking, “Where’s Britney, bitch?”
Murder, She Podcast: Baby One More Crime was developed prior to the release of the Framing Britney documentary. The Ringwald firmly stands in support of the pop icon, and shares this piece of art with love and affection.
Murder, She Podcast: Baby One More Crime stars Richard Payton as Jessica Fletcher, Joe Bailey as Sherriff Amos Tupper, Suzan M. Jacokes as Andrew Lark, Joel Mitchell as Gene Smart, Nicole Pascaretta as Jamie Lynn Spears, Donny Riedel as Chris Crocker, Cory Shorter as Jeffrey Bean, and a super special secret guest star as Britney. Brandy Joe Plambeck directed with assistance from Dyan Bailey, Vince Kelley, and Katy Schoetzow. All safety precautions were observed during filming.
Tickets for Murder, She Podcast: Baby One More Crime are available at www.theringwald.com at three different giving levels: $20, $50, and $100 and can be purchased Friday, April 16 through Sunday, May 2nd. The performance will be available to stream through May 10th. Once you purchase your ticket, an email will be sent to you which will include links for Murder, She Podcast: Baby One More Crime and a virtual program. The video is hosted on Vimeo. You can watch on your phone/computer/tablet or, if you have the capability, you can stream the production to your smart TV.
The Ringwald opened the doors to their Ferndale location 13 years ago on May 11, 2007 with Fatal Attraction: A Greek Tragedy. Quickly, The Ringwald became a mainstay of Detroit’s theatre community. Past highlights include: Head Over Heels, Clue, Company, Merrily We Roll Along, The Rocky Horror Show, Heathers The Musical, The Legend of Georgia McBride, Mr. Burns: a post-electric play, Angels in America, Into the Woods, A Streetcar Named Desire, August: Osage County, Mercury Fur, The Book of Liz, and Evil Dead: The Musical.
Eversheds Sutherland’s Dominic Ayres – as well as my precious mom Susie Sexton! – joined us to chat today about business development and client engagement in this new age.
We had a rich and robust conversation about the power of client teams, bringing humanity into your conversations with clients, anticipating their needs through empathy, being aware of social issues and expectations, the importance of diversity and inclusion in those conversations, and proper data and reporting being essential to the process.
Shout outs in the show to Brenda Pontiff, Timothy Corcoran, Mari Hutchinson, Don Sexton, Stefanie Marrone, Nancy Slome, Joe Biden, trains, Star Wars, beloved dogs, kids, Legal Marketing Association – LMA International, and Greatest Showman.
Show description: This week our guest on Legal Marketing Coffee Talk is Dominic Ayres, the Senior Client Development Manager – Industrials Sector at Eversheds Sutherland. He and Roy Sexton will discuss the approaches Dominic and Eversheds have taken to supercharge client development in these quarantine days. Dominic will address Eversheds’ Global KAM with its greater focus on protecting and investing resources in a smaller set of clients.
Dominic and Roy will also talk about developing content with which clients actually want to engage, getting closer to the clients in ways meaningful to them, firms becoming more than just “external lawyers” but connected advisors, and the rapidly evolving value and roles of Business Development and Marketing professionals in those processes.
They may also talk about what it’s like to work from home with three little ones in England during this pandemic, Dominic’s love of Star Wars and superheroes, building a home gym in one’s garage, and playing Greatest Showman dress-up with one’s children.
In this episode of The LeXFactor, a lawfully good podcast, Lexicon Brand Manager Lauren Hoffmann and CIO Brad Paubel are joined by Roy Sexton, Director of Marketing, Clark Hill, in discussing how legal and professional services have unique challenges where branding and marketing are concerned – what really is of interest to clients vs. what do practitioners believe has value?
Quote: “We are different! We want to stand out! Wait, what are other firms doing? Maybe we should just do that.”
Law firms continue to see the expansion of “client experience” roles in forward thinking organizations. And where it’s long been said that brand is more than a logo, but how we sell and exemplify culture and experience, how do we do that these days and how do you help internal stakeholders realize that football games and fancy dinners aren’t really helping anymore?
Roy’s engaging – yet self-described introverted – nature takes center stage (he’s a double-degreed Theater major) in this episode – download and tune-in now!
Shout outs to Jay Harrington, JD Supra, Legal Marketing Association – LMA International, and more …
For kids of all ages – the #PiedPiper – with yours truly reading the title role. Thank you, Debbie DeCeco Lannen and Pass The Time Players, for having me. NOTE: no (virtual) rats were harmed in the making of this #Zoom event. You’re welcome. 😊 🐀 🎶
The Pied Piper of Hamelin Narrator: Debbie Lannen / Orlando, FL Merchant: Sally Daykin / DeLand, FL Erich – Kyle Coykendall / Wixom, MI Advisor: Tomothy Majzlik / Westland, MI Mayor: Joe Lannen / Orlando, FL Pied Piper: Roy Sexton / Saline, MI
Only I would take this beautiful day, and spend most of it indoors, working my way through the very long Zack Snyder’s Justice League. But it was worth it. Even if every 30 minutes John wandered through and said “Is this still on?”
I can barely remember the theatrical version, which is likely for the best. What I found in this updated version is that Snyder had room to explore ideas and relationships. And that made all the difference. I am not a fan of his work. By any stretch. But, perhaps because of what he has lived through the past few years, this film had something many of his previous efforts did not: heart.
My mom Susie Sexton’s take on Carey Mulligan’s Promising Young Woman:
GOOD GOD ALMIGHTY…already loved this actress … discovered her on PBS in a Dickens entry years ago. Outstanding!
This movie upends with its surreal treatment of a very real truth bedeviling this globe since the appearance of manKIND walking on its own evolved two feet – astounding, disturbing and so true and sad that it hurts, haunts and breaks any heart that is the least bit human.
The barbie doll sets and clothes simply enhance the deep damage done to humanity as we have all looked the other way and endured unnecessary heartache. Give it a look, enjoy!
No nudity, and only one supposed murder. An oddly wholesome at times comedic treatment of a tragic problem. Bravo!
Threw this viewer for a loop (which most all of us have existed within for all of eternity). Truth on film if there ever ever was. Whew?
If classic playwright Dario Fo wrote for Saturday Night Live in these technologically insular COVID days, I suspect he would have come up with something like Ron Riekki’s 4 Genres. That is a compliment BTW.
From Theatre NOVA’s press release: “Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents a new play written specifically for the Zoom format each month (January through April) with their PLAY OF THE MONTH series. 4 Genres by Ron Riekki, the second offering in the series, will be performed live on Zoom on Wednesday, February 24th at 8pm and available ON DEMAND for Series Pass holders through May.
“In 4 Genres, four characters reveal what they’ve learned after being trapped within four respective film/theatre genres (musical theatre, documentary, slapstick, and horror). A hilarious comedy exploring the role of art in life and society, 4 Genres is directed by Theatre NOVA Founding Artistic Director, Carla Milarch and features Jennifer Felts (An Almost British Christmas), Nate John-Mark (A Hero of Our Time, 2020), Dan Johnson (Kill, Move, Paradise) and David Moan (I’m Streaming of an Alright Christmas).”
The show uses its “high concept” as a lens to address (lightly) the existential dread we have all been experiencing for one year now under COVID – this week being the anniversary of first going into lockdown, if I recall correctly. My mind feels as rattled as those of the characters in this piece.
4 Genres moves briskly. More than a few technological mishaps (I’m assuming unintentional) – dropped sound, internet wobbles – aid and abet the viewing experience. We ain’t looking for polish in quarantine.
The four performers are marvels of commitment. John-Mark has the showiest role, and he doesn’t miss a trick. He mines comedy gold from the anxiety of being trapped in a “summer camp/asylum/orphanage” populated by werewolves, witches, chainsaw killers, but NO orphans. The richest laughs come from his exasperated delivery of quips aplenty.
Moan has a ball leveraging his musical comedy chops. Ironically, singing seems to cause his character physical pain, even as his dulcet tones delight the viewer. Spoiler alert: you may never hear “You Will Be Found” from Dear Evan Hansen the same way again. And Moan’s “Rose’s Turn”-style nervous breakdown medley at the play’s conclusion is pretty damn brilliant. For that moment alone, this is one of the few Zoom shows I wouldn’t mind seeing staged IRL when and if this quarantine ever ends.
Felts and Johnson do reliably fine work in their respective roles. If Riekki were to make any revisions to the script, I might recommend taking another pass at these characters. These two roles don’t benefit from the same comically sharp definition as the others, so the piece suffers a slight imbalance. Again, that isn’t a result of Felts’ and Johnson’s performances. They both go all in, but they don’t have as rich of material to explore.
Director Carla Milarch knows how to position new works effectively. She has a marketer’s eye for pulling out a unique hook that will engage the audience. She leverages the immediacy of Zoom with its inherent isolating limitations – literally everyone is in a box – to provide a proper framework for the narrative. However, she also gives her actors *some* free reign, pulling the camera back a bit so that they each exist in three dimensional space, be it a charnel house, B&W soundstage, or velvet curtained cabaret. This offers the actors refreshing opportunity for physical business, in addition to the more typical “lines delivered directly at the camera” that we see so frequently in the ever-evolving pandemic-remote staging style.
I must admit that one of the things I find most appealing about this Zoom-based delivery mechanism for theater is that I can watch it on a Sunday afternoon, a week and a half after the premiere, knowing that my review can still benefit the overall experience, not only of this production but of the series. Will we ever go back to showing up collectively at one start time on one date and committing an evening to viewing theater? I hope so, but I don’t hate that this show is only 30 minutes and I could enjoy it while wearing my pajamas.
The show is a helluva lot of fun, as witty as it is thought-provoking, and serves as a nifty little showcase for four very talented local performers. Definitely check it out. If nothing else, it provides a lovely waiting room distraction as we all still figure out how in the heck to get vaccinated.
Tickets are $10 each month, or $30 for a Series Pass, which includes admission to four plays for the price of three and the opportunity to view all four plays ON DEMAND if any of the live performances are missed. Purchase tickets online at www.TheatreNova.org. For more information, pleaseemail firstname.lastname@example.org. All proceeds benefit Theatre NOVA’s ongoing efforts to stay alive through the pandemic. This activity is supported in part by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.
MEET THE CAST OF 4 GENRES:
Nate John-Mark (Horror) is originally from Grand Rapids, MI. He attended Western Michigan University where he pursued a degree in Organizational Communication. Nate has always had a passion for performance and poetry which he satiated by hosting events on campus to create platforms for artists like himself to be heard and seen. After undergrad Nate began an Audience Development Assistantship at the Oregon Shakespeare Festival where he was later introduced to performing Shakespeare with the OSF school tour. He has since joined Universes Theatre Ensemble, performed in Shakespeare tours around the country and is now living as an actor and playwright in Detroit, MI.
Dan Johnson (Doc) returns to Theatre NOVA after previously appearing in James Ijames’ KILL MOVE PARADISE (Winner, 2019 Council Cargle Wilde Award) and has been fortunate enough to work in SE Michigan theatre for the past decade, including recently winning 2020 Wilde Awards for Best Supporting Actor in a Play (MISS BENNET: CHRISTMAS AT PEMBERLEY) and in a Musical (MAN OF LA MANCHA). Along with his partner, Ashley M. Lyle (blaqn.org), Dan has also co-created “Toward An Anti-Racist Michigan Theatre,” a statement and workshop meant to help facilitate the work of positive, transformative change in 2021 and beyond. Many thanks to the cast and crew, to Mom, Dad and Angela for their love and support and (now more than ever) THANK YOU for supporting live Michigan theatre and theatre artists. Enjoy!
David Moan (Musical) is honored to be back on the virtual NOVA stage as part of 4 GENRES. Originally from Pittsburgh, David was most recently seen as the Big Man in Red in the 2020 panto, I’M STREAMING OF AN ALRIGHT CHRISTMAS at Theatre NOVA. In the before times, David could be seen on real stages throughout southeast Michigan most notably as John Wilkes Booth in ASSASSINS and SWEENEY TODD at the Encore, God in AN ACT OF GOD at the Dio, and Martin in CANDIDE with the Michigan Opera Theater. Until Theatre is back in full, you can find David “performing” while playing video games at twitch.tv/davidmmoan. David would like to thank “everyone at Theatre NOVA for finding a way to make theatre happen, Monica and Kim for keeping me sane in quarantine and all of you for supporting the arts in the time we need you most.”
Jennifer Felts (Slapstick) is currently a lecturer of Theatre at Eastern Michigan University and received her Master of Fine Arts from The London International School of Performing Arts. She directed TROJAN WOMEN and THE BIRTHDAY PARTY at Eastern Michigan University and VENUS IN FUR at the Performance Network Theatre. She has created movement, choreography and stage combat for many productions including SPRING AWAKENING, ONE MAN, TWO GUV’NORS, FIDDLER ON THE ROOF, URINETOWN, JULIUS CAESAR, ANGELS IN AMERICA, DEAD MAN’S CELL PHONE, BUD, NOT BUDDY and EQUUS (Wilde award for Best Movement Direction). As a performer, she has worked at the London Gate Theatre in the UK, Tipping Point, Andiamo Theatre, Theatre NOVA, and Performance Network. She also enjoys devising and collaborating on new work such as SIMONE: AN EVENING IN CHAPTER TITLES at Detroit’s Planet Ant Theatre or SHOULDER TO THE WHEEL at the Riverside Arts Center.
Hoosier author Susie Sexton is featured in the Henry Ford Centennial Library “Big Read” Tree Anthology. The book is available for purchase on Amazon. Sexton’s work was published in the organization’s prior three “Big Read” collections Call of the Wild Dearborn: Animal Tales (also providing the photographic cover art), Dreaming Dreams No Mortal Ever Dared to Dream Before, and What’s In A Name? The program has been running since 2015, and Sexton has been included in each edition.
Sexton has three essays in the book: “Sunshine on My Shoulders,” a poignant and funny reflection on the healing effects of the sun and the relentless passage of time; “All We Know of Heaven,” assessing the divisive effects of modern political discourse; and “Compassion Does Contain the Word Passion,” reviewing the conflict of commerce and nature and the importance of attending to our planet’s needs.
“Writing heals my soul. It has offered me a safe harbor from which to reflect on a life fully lived, on the influences and history of living in Columbia City, Indiana for the bulk of my life, on my appreciation for my kind and gracious parents Roy and Edna Duncan, on my love of movies and theatre and animals, and on my interests in the environment and political life and the intersection of the two,” Sexton observes.
“I’ve been fortunate over the past twenty years to have others take an interest in my thoughts, to be able to publish across a wide spectrum of outlets, and to have the support of my son Roy Sexton. I’ve dubbed him ‘Maxwell Perkins,’ the editor and sometimes muse of my beloved Thomas Wolfe. Thank you especially to Henry Fischer and the Dearborn Public Library for continuing to honor me by including my work.”
The Big Read is a program of the National Endowment for the Arts in partnership with Arts Midwest, designed to broaden our understanding of our world, our communities, and ourselves through the joy of sharing a good book. For a third time, Dearborn Public Library is one of 75 organizations nationwide that received this grant to host a Big Read program in their community. Tree Anthology focuses on nature and ecology as primary themes.
To help bring this massive project to life, Dearborn Public Library has partnered with many institutions and organizations, including DFCU Financial, AAUW-Dearborn, The Henry Ford, the Arab American National Museum, the Dearborn Community Fund, Dearborn Public Schools, the City of Dearborn Department of Public Information, Artspace, Dearborn Public Library Foundation, Dearborn Library Commission, Friends of the Library-Dearborn, University of Michigan-Dearborn (UM-D) Mardigian Library, Henry Ford College Eshleman Library, Beaumont Medical Library, East and West Dearborn Downtown Development Authorities, Dearborn Inn, Green Brain Comics, and Dearborn Heights Libraries.
Susie Duncan Sexton grew up in small town Columbia City, Indiana. After graduating twelfth in her class at Ball State University (winning the first ever John R. Emens award for “most outstanding senior”), she returned to her hometown where she has worked as a teacher, a publicist, a museum curator, and a health lecturer.
She is a prolific writer. She has written two columns: “Old Type Writer” for a popular local blog Talk of the Town and “Homeward Angle” for the Columbia City Post and Mail newspaper. She has been a frequent contributor to the literary journal Moronic Ox, and her poetry was selected by poet Charles Michael Madigan and by Wayne State professor M.L. Liebler to be featured in Poetic Resonance Imaging: Behind the Door. She also has been featured in Our USA, Writing Raw, Where Writers Write, and InD’tale magazines. Her books Secrets of an Old Typewriter and its sequel Misunderstood Gargoyles & Overrated Angels are currently available in paperback (as well as download formats) at www.amazon.com and www.susieduncansexton.com. Her son Roy Sexton published two books of film, theatre, music, and pop culture essays, Reel Roy Reviews, 1 & 2 (www.reelroyreviews.com).
Describing her work, Susie says, “I willingly share nostalgic trips to the past as I have now achieved such an old age that no one remains who can question the authenticity of my memory of places, people and events that were very much never what they were cracked up to be.”
Always an observer of events and human traits, Susie Duncan Sexton offers without apology her thoughts and observations as they are and once were, and fitting her persona into pigeonholes is impossible. “I have searched for the ‘We of Me’ since toddler days and have always come up wanting,” she says, “though I trust that in my next life I shall finally have figured out how to make this world a better place full of tolerance and inclusiveness and understanding for all forms of life.” Find out more about Susie and read her latest columns at www.susieduncansexton.com.
This may be one of our wilder shows but rich with great content, pun intended! There is singing, there is dancing (sort of), there is personal reflection, there are quips, and there is a really robust and informative conversation about the power of data and relationship intelligence for marketing and business development.
Shout outs to Ricco Mashatt, The Late Show with Stephen Colbert, Tom Hanks, Denzel Washington, John Kerry, WandaVision, Firefly Lane, Agatha All Along, Dearborn Public Library, and more. Thank you, as always, Rob Kates, Kates Media: Video Production, Jessica Aries, By Aries, for putting up with me!
The Tree Anthology – featuring Susie Duncan Sexton – is now available for purchase on Amazon for $16 per copy here.
“We are ordering a limited number of copies to sell at our library branches for $10 per copy (we had to charge more for online orders). Those will likely be available in the next few weeks. Any funds raised will go towards our next Big Read in Dearborn.
“We are also going to add copies to the collection for checkout, so with a Dearborn Library card, you will be able to check out a copy for free. Please visit bigreaddearborn.org and dearbornlibrary.org for updates.
“So sorry for all the delays. We tried to publish the book in early January, but there were some issues that we had to fix. That’s why the book shows a publication date in January, but it was actually just made available.”