Midtown is a state of mind. Midtown is a movement.

A commonly asked question of The Midtown Entertainment Group is: Why the name Midtown?
The answer is simple. Midtown is more than just a location. It's a state of mind. When Managing Director Enrika Sissle and I conceived this adventure, we felt that arts and culture are most meaningful when they meet the people where they are. Finding middle ground can lead to understanding.

Tallahassee is a very segregated city. Not many will admit that in the open but it is. Some neighborhoods may give the visual of it being a melting pot. Often times it's cosmetic. Venture into  the social circles, frequent the cultural events and you will find an imbalance. That imbalance is on the stage and in the audience

As the creative team we have made it our purpose to create a new standard of culture in Tallahassee. Our goal is to embrace the best in all of us. This past Saturday The Midtown Entertainment Group hosted our first open house to celebrate the opening of The Midtown Studio, our base of operation. We watched our vision literally unfold before our very eyes. In one room, at one time sat four generations of people. Everyone  was there to experience The Midtown Movement. Our guests participated in the ancient art of Tai Chi, Middle Eastern Belly Dancing, and the funk of Hip Hop. I learned a Hip Hop Dance routine right along side my mother. Imagine that! To give them a slight taste of the dramatic, I lead this diverse group of people in an improve game of storytelling that ended with one of the main characters dying a comedic death. Different people of different ages were in one space enjoying and learning from one another.

This is why we have art. This is the purpose of sharing culture. This is The Midtown Movement.

The Redemption of Cooper Morgan...

Arthur Mitchell, dancer, choreographer , and founder of The Dance Theatre of Harlem was quoted saying that "The human body is the first instrument that God made." I have to agree. Watching The Cooper Morgan Dance Company perform is like watching humans leap to touch the heavens. Coincidently, Savery Morgan co-founder of Cooper Morgan is a former member of The Dance Theatre of Harlem. Don't quote me on this. I only over heard him say this. I could have heard wrong. If I did, as I have said in previous blogs; Don't come for me, this is merely a blog of my thoughts and feelings concerning the arts, not an article for a major news publication. The front name for this prolific group of dancers I am proud to say is my long time friend DeWitt Cooper. When I say we go "back", we go BACK. I'm talking like the "90's". Time really does fly.

DeWitt Cooper a graduate of The Case Western Reserve University is a dynamic teacher, former employee of Disney, and was a cast member of the Broadway Tour of In the Heights. I'm banking that his work with The Cooper Morgan Dance Company is among his proudest accomplishments.
For 10 years Cooper Morgan has hosted a Summer Intensive in cooperation with the Tallahassee Community College. The participants range from elementary age to collegiate.

I experienced my dear friend and his dancers in action this past Friday Evening. The concert was the finale of the week long study. As we waited in the lobby of The Fred Turner Auditorium, the young dancers danced us to our seats with a little Uptown Funk. They served us all of the flavor that hip hop is known for. The concert officially opened with a visual prayer, set to the music of Come Sunday. Act one of the concert featured the young students of the intensive. The highlight of the first act was a mini- ballet entitled "La Fiesta Negra". It was the story of a Queen who sacrificed her life for her loyal citizens. That was my interpretation at least. Amir's Solo, proved how beautifully poetic street dancing can be when given the chance. His performance was among the many memorable moments.

Act Two showed me what The Cooper Morgan Dance Company was really about. The members of this company took to the stage with choreography that was gracefully athletic. Each musical piece provided unusual colors for this visual tapestry of motion. Redemption and Choice Rights left illustrious images of movement , shape, and light for my mind to inhale. It then occurred to me that my dancer friends have some of the best taste in music. I have developed a profound appreciation and even admiration for how dancers visualize motion with sound. It gives the music you hear a visual that is equally stimulating for the mind. The experience becomes three dimensional.

Thank you DeWitt Cooper and Savery Morgan. Your breathtaking army of dancers, from the novice to the professional are The Midtown Movement.

I LOVED GLEE, but Ryan Murphy let me down.

   I became addicted to Glee, binge watching the first half of the very first season. It was like reliving my years in Mandela. This Greek word for song was the name of my high school show choir at Rickards High School in Tallahassee. Thankfully I never got Slush Facials.

I loved Glee because I knew every single person in McKinley's New Directions. They went to school with me. It was relatable in many aspects but fell short of a very crucial one: There was never a regular black, adolescent male on the show or even in the club. There weren't even any Regular black males that made guest appearances, even in the competition sequences. The one average black male that was on the show was only present for the first season, then mysteriously disappeared. There was no mention of his existence or even his whereabouts. He resurfaced for literally two seconds in the two hour season finale to only be the butt of a joke. That was IT!!!!

Yes I know that there was Wade "Unique" Adams but his story focused more on his gender identification. Honestly he became the "Park and Bark" as his preceding character Mercedes called herself. Even the character Britney referred to him as the "New" Mercedes, the big black girl with the big black voice. In season four there was "Jake", a bi-racial young man that we learn is "Puckerman's" half brother. Though his skin was somewhat brown and his hair was coarse, as a black male I didn't connect with him. Our stories as young men of color didn't mirror each other at all.

I watched the show for six seasons hoping to see a character that made me say, "That was ME high school!!! Alas, it didn't happen. I had to resume catching glimpses of myself in the other characters of the show. I could identify with Rachel/ Mercedes being one of the strong voices on my choral department. HECK Senior Year, I was president of the choir. I performed solos in show choir... often. I even performed solos during competitions my junior and senior years. Both years our group won superior ratings and was counted amongst the best in the state. I identified with the  effeminate Kurt Hummel. I never really saw myself as effeminate but apparently others did. ( it is what it is) But we both had killer style.  HMMPH. My high school life WAS the GLEE EXPERIENCE!!!

Which brings me to this question; In a show that celebrated the awesomeness of being an outcast to the mainstream, why was there no clear and vital representation on GLEE of America's biggest social outcast, the Black Male? I'm talking about that cool black kid that could just sing his face off. I was that kid at my high school. Those brothers do exist.

As I strike with my partner to build Midtown Entertainment, these kinds of observations make me realize how important our work is and will be. We have a story, an experience that deserves a platform. I'm charged even more to give the gift that was given to me

Mrs.Trudy King, my fifth-grade music teacher saw ME!! She heard my talent. She taught me how to use it and laid the foundation for my passion for music and performance. This is also true of Jenny Rollins and Daniel Gordon, my middle school and high school choral teachers. They saw ME!! They encouraged and in some cases TRICKED me into singing solos. They helped shape me up against a culture where I could have easily been written off and overlooked. With every show I've ever done, with every major music moment I have ever experienced, I owe those teachers a debt of thanks. They saw a little black boy with a voice. They encouraged him to sing. His life was given direction and purpose as a result.
According to Ryan Murphy, I'm either too boring or I don't exist. I'm so glad that he didn't write my show choir story.
That's my Midtown Movement.

I Found the Music of the Night...

 I saw The Phantom of the Opera for the first time on Broadway, December of 2008.The only
things I remember from that experience were: Patricia Phillips being the first African American female to play the role of Carlotta and the chandelier flying through the audience, crashing to the stage. I expected the chandelier. I was told about that. To this day , I could  not put my finger on  why such a brilliantly composed, technically intricate, beautifully performed, award winning piece of theater could not find its way into the corners of a usually sharp and vivid memory.

Seven years later the remarkably energetic and youthful cast of Leon High School's production of the legendary musical helped me understand why. The Phantom of the Opera, has been thrilling audiences for over 25 years.  At this point there are singers who have been built their career on Phantom alone. The performers maybe well seasoned but the enthusiasm of newness has been long since checked at the door. This uber talented, eager cast of young people ; under the direction of Naomi Rose-Mock  and Dr. Judy Arthur attacked this age old classic with such vibrancy.  Two days later I am still singing various tunes from the score.

This happy hysteria is attributed to the fact that Leon is the first organization in Florida to rise to challenge of mastering this intimidating production. Leon has a history of musical excellence and Phantom was no exception. The cast is lead by Aidan Berry who breathes a quiet confidence and amicability that many adults Masuerade to have. His leading lady for the night was the blithesome Carolyn Hall, a student from Chile's High School. Aidan's voice is passionately strong. He ascends to his high notes with the falsetto of youth, managing the transitions with ease.  Caorolyn Hall as Christine is just other worldly. The things she does with her voice exceeds many sopranos who are years her senior. Both are singers to watch.

I had the privilege of chatting with Berry, Hall and Rose-Mock during the frenzy of pre-show.

How does it feel knowing that you will have "Phantom" to add to your resume so soon in your career?

Aidan:  You want to go first Carolyn?

Carolyn: Sure,"Phantom"  was something that I'd always loved to do.  Was is a dream role for me since I was little. I can't believe I'm doing it. It's so wondeful. I'm really excited.

I can tell. I can feel it. What about you sir?

Aidan: I'm just very excited because it's the role of a lifetime for a lot people, even as a professional. You just never know when you're going to get this opportunity again. To have this opportunity so early in life is very valuable.

Aidan, I heard a rumor that in ninth grade, you told Dr. Arthur that you wanted to be an opera singer. Is that true? Describe that day for me.

Aidan: Yes it is. I think Dr. Arthur can rememer better than I do. She said that I just decided at 15 one day,  that between Broadway and  classical music, opera was the best fit for me. I made that decision and I've stuck with it.

When did you understand that music was your gift to share with the world?  At what point did you surrender to that passion?

Carolyn: I started taking voice lessons from Dr. Connors summer of my freshman year. I'd never done a lot of things where I was a soloist before; but she helps singers prepare for solo and ensemble. I did one of her little concerts and I performed alone. I performed with the beautiful voice she helped me to find. I never realized how good I could actually be. I think that was the moment that I realized I could do this.

Aidan: I never really thought of my voice as a gift to the world. I just really enjoy singing. I used to be really insecure as a person in general. Through music I developed and became extremely confident in other areas of my life. It really pushed me to be more confident and more social.

Who is that performer that just gives you LIFE? How or why do they inspire you?

Carolyn: Any performer?

Yeah.

Carolyn: Oh my gosh, there 're just so many people. I don't know. Come back to me. (she is really bubbing over)

Aidan: Let's see.That's a tough one.I guess mine would be Ramin Karimloo ( http://instagram.com/raminkarimloo ) He was the "The Phantom" in the 25th Anniversary. I loved his performance. He was so inspiring, just amazing.

Carolyn: (still bubbling) I don't know. There're so many people. The person I've seen in Tallahassee who is just beautiful is Naomi Rose- Mock. She is a wonderful performer. I absolutely enjoy watching her. I take lessons from her every now and then. She's just beautiful.

What's your favorite song to sing in the show? What song makes you say, "I AM THE PHANTOM!  I AM CHRISTINE!" ?

Carolyn: I think my favorites are "Twisted" , which is a really short song in act two. It has a lot of drama to it. I like the fact that Christine  shows that she actually has feelings, that she's not just the shy inge'nue, and "Past the Point of No Return". It's just amazing.

Aidan:  Well I guess for me, when I start singing and I'm cursing . You get to see the dark side and the light side of The Phantom  after I sing "Angel of Music" It's such a dynamic part.

What do you think will be the audience's favorite part of the show?

Carolyn: I know a lot of people come to see " Masquerade". The costumes are so wonderful. The people that made them worked so hard. I don't know. I just want them to be recognized. I also think people come to see The Finle. It's so emotional.

Who are the show stoppers, the cast standouts?

Aidan: Michael Mellow.

Carolyn: Micheal Mello is hilarious.

Aidan: Michael Mellow and Hayden Palmer are the best.

Carolyn: They make my day.They took characters that could have been one thing and made them so much more than it ever could have been. It's just perfect.

When the last note is sung and the curtain falls, what is it that you wish for the audience to take home from this Phantom experience? What do you want them to remember?

Aidan: I feel like The Phantom is judged harshly on two polar opposites. People either hate hate him and are happy that he's not with Christine, or they're all about The Phantom. I want them to feel the balance. I want them see both sides and leave feeling conflicted. I want them to ask if he was good person, because did bad things. He also has a tender side.
I want them to question their previous thoughts on who The Phantom is.

Carolyn: Man, I can't follow that. I just want them to walk away having seen something that changes them.I want them to feel they have seen something really beautiful and get goose bumps. I want everyone to have goose bumps.

Here is my chat with director  Naomi Rose-Mock.

I read that Leon High School was your favorite directing gig of the year.What keeps you returning joyfully?

Naomi: It's the kids. They are awesome. You can just feel their energy. Here is this huge undertaking and the kids attack it with no fear. That's what's energizing to me.

How has the Tallahassee Theater community grown over the years?

Naomi:  Oh my Gosh, it has exploded. You have your old venues like Theater Tallahassee, and both of the university programs along with TCC's theater program, which has grown exponentially, and now you have new companies that are just thriving.

Like Midtown Entertainment!

Naomi: Yes Midtown does come to mind, but they are thriving. I think people are ready for new and  exciting work.

As an artist do you think it's important to challenge the status quo?

Naomi:  I think it's important that we the best we can. I tell my actors we can have fun but when we're in process it's about the work. Nobody wants to be in a bad show. I try to push the actors to make sure they know the purpose of each character.

What does directing teach you about yourself as a person?

Naomi: I think I learn something from each process.Honestly I think I learn more from the cast. I love that every process is a new process. I enjoy that. I love that in theater, you can create this world from nothing.

When it's all said and done, what do you want the students to take away from this process?

Naomi: I hope they take away the fact that we did a show that hasn't been done in Florida, a show that everyone is afraid of , a big spectacle and that we did it WELL.  We did The Phantom of the Opera and we did it well.

I was allowed to sit in  on the the entire run-thru; which included costume, makeup, lighting, all the elements that make theater that magical place many of us love. It was casts first time with the full orchestra and the new element did not slow them down one bit.  I experienced the thrilling yin and yang of Berry and Hall's performance. I was fortunate to have a brief conversation with the Hayden Palmer that our leads spoke so highly of. What they didn't share with me was that the young Mr. Palmer also served as student director. During intermission I overheard him discussing light cues with the lighting director like a veteran.  I didn't even realize that he was a new high school graduate. He shared with me a few of his visual calls that he down  played. To the eyes of this experienced thespian, his calls were spot on. I was very impressed with his eye for detail.

Before I conclude, I must give  special mention to Miss Emma Finnegan in her role as the tempermental diva Carlotta. Her melodious voice and comedic timing made her the sure fire scene stealer that Carlotta must be. She handled the "Queen of Shade" as if the part were written for her.

All in all, the youthfully vibrant cast of Leon's Phantom of the Opera gave a performance that I will remember for sometime. Even now , almost  week later I find myself replaying moments from the show in my mind. I must extend my appreciation to Ms.Susan Byrnes for opening the door to such a  marvelous evening of young theater.  Thank you  Naomi Rose- Mock for trusting me with your babies at such a critical time in production. Aidan Berry,Carolyn Hall, you were infectiously gracious and fun to talk to. Thank you all for truly giving me "The Music of the Night" .   You are a part of  The Midtown Movement. Leon's Phantom of the Opera runs until the 26th of July with evening shows at 7:30pm and the final performance starting at 3:30pm. For ticket info, go to leonperformingarts.org

As a last minute side note, show Mr.Berry some love. Check out his website, www.aidanberry.com  and definitely contribute to his gofundme.

The Passion of the Praise...

ne of things that I've discovered as an artist is that creativity is a highly spiritual process.
When I am performing, I have experienced a connection to God that I can't begin to put into words. I feel complete. I feel fully and authentically me. It's as close to God as I can be sometimes. Whether I'm singing, acting, dancing, writing, or even directing (which I'm still learning) there is a well in my spirit that just opens up. That well springs forth the part of God that's in me. This is why I have never understood why the institution of church (especially in a black church) took so long to finally embrace dance and drama as a vital part of worship and ministry.

When I reflect on my journey in ministry, I realize how my insistent passion and involvement in the arts might have paved the way for those after me to express their praise through any artform. Many of which went on to win national competitions within my denomination. I am happy to have been a part of ushering in that movement in my place of worship.


I feel so much excitement when I come across pastors and spiritual leaders that not only
recognize the performing arts as a form of spiritual ministry, but insist on the arts as a vital
part of the church experience. For this reason, I highly commend Pastor Lamar Simmons and The Love and Faith Community Church Family. This past Saturday, I experienced an event called, "Dance You Out the Four Walls" under the direction of Curtis

Mr. Cooper is a former member of the highly acclaimed Famu Strikers (If I'm incorrect, don't come for me. This is just a blog of my thoughts and observations, not a major news outlet.)
I won't go into specifics about his organization because I dont have all of the information to give it full credit, but I do believe I'll do an interview (thinking out loud.) I just want to take the time to share  how my soul was moved.

"Dance You Out the Four Walls", was an expression of worship through the beauty of dance that everyone in Tallahassee should experience. My heart was filled and at times the tears flowed. Watching this arm of children and adults express their faith and love of God through dance with a passion and wreckless abandonment made the artist in me soar. It was like they were dancing for the eight year old me that wasn't allowed to dance.

It was like a liturgical ballet. The storyline centered of one piece centered around the miraculous healing power of God. The impact and inspiration this event provides the community can only be measured in the confidence gained by each pint-sized dancer, the pride of eagerly proud parents, the uplifted hands in worship and the unification of the community. My hat goes off to the Love and Faith family, Pastor Simmons, and Curtis Cooper for carrying out a vision that inspires so many and is proof that art is a highly spiritual experience. Keep up the good work. Continue the MOVEMENT.

Assumption and Underestimation...

     I grew up in a fairly conservative family. We were pentecostal, "sanctified" as called by those who
didn't understand what being pentecostal really meant. It's theological, doctrinal or something I'm sure. That's for a whole other blog for another time,  but it is germane to this particular entry.
  One thing I can say about being pentecostal is that we are taught that we are set apart from others.
We are to live free of unsavory influences. There was no singing of secular music, or as many in my family would say "The Blues". Dance was forbidden as it was a gateway to debauchery. For me this was problematic, because I loved watching Gene Kelly, Michael Jackson, Debbie Allen and the cast of Fame defy gravity with their bodies. To be able to soar through the air had to be a God given gift.  However; when I was alone I danced as often as I could and repented later.
   If I had to place my family in a "class" it would be your typical hard working "Blue Collar".
I grew up believing that theater, ballet, opera ,pretty much all of the performing arts were either for rich white people or for those that lived in New York City. They had no real place for a little black boy that came from a "Blue Collar" Family. My only exposure was thru television ( thank God for PBS), and the music programs via my public school education. I assumed my family wasn't interested. Then the unexpected happened, my senior year in high school I was cast as the LEAD in the musical.  I would have kept that secret but then I would've had to account for the number of hours I went missing with no contact and considering the kind of father I had,  if there was no explanation the only program my name would have appeared in would have been an obituary so, I told my mother thinking she would soften the blow.
    The week that my show was to play approached. Our Sunday ritual was dinner with my grandparents  after church. While in preparation my mother announced "Vonzel is going to star in the musical at school." I was mortified and happy at the same time; happy because my mom finally had something to brag on me about, mortified that my secret had been exposed. I was participating in something worldly with no conviction at all.
  My eldest aunt opened her mouth in perceived skepticism. "What show is it?" Knowing her she was probably hoping it was"Your Arms Are Too Short to Box With God" because of its obvious biblical association. "Pippin." I said. I can't recall whether it was a statement or a question.
"Pippin? Isn't that a dancing show?" she asked. I think it may have been on Broadway during her brief stint in the NYC area. The star Ben Vereen was a known protege of Bob Fosse so that pretty much told her everything about the show.

   Fastforward 20 something years, a professional tour, several performances with respectable Regional Theaters later and at the birth of my own production company I have to admit that due to my own assumption I have grossly underestimated my family. I always thought they didn't really care for live theater. The truth was it was never really presented as an option until I came along. I don't think they missed one production I performed in during my time with FAMU Essential Theatre (even my dad and that's actually saying something) If I was performing within driving distance a representative came, and according to my business partner my family was among the heaviest contributors, making it possible to occupy our new studio. They are extremely vital in the fruition of The Midtown Entertainment Group.

    I said all of that to say this, it is my observation that mainstream American Theater has noticed the lack of diversity on the stage as well as off. Often times it's assumed that the Black audience is not interested. As a little black boy that used to dream of going to the "FAME" school I submit to you that the audience is there and ready for the show. It's a matter of presenting us with productions that we can relate to and feel fairly represented in. Theater companies must add to that the conscious effort to seek out the audience. Invite them to your shows of interest in fact invite them to ALL your of shows. I can tell you, we really do like them. Create pricing that makes it affordable as well. Having a lack of financial resources doesn't denote a lack of interest in cultural development. Many of our artistic geniuses come from humble beginnings
   As Artistic Director of The Midtown Entertainment Group, it is my mission to actively pursue the audience I want. That audience reflects the multiplicity of America that I have learned does exist. If I am to tell the stories of life, those stories will include all people. Just know that I have to tell my story first and when I do, you'll see yourself in it regardless of your race or ethnicity. We live. We love. We are human. That's my Midtown Movement.

A Conversation With Artists

  "I'm troubled with the state of our country. I fear for my life and the safety of my children." My dear friend and creative partner stated without reserve. I agreed feeling the same sense of anxiety.  The faces of America's latest sacrifice to the unspoken system still burning in my heart and mind.  The victims of the  June 17th massacre at Charleston, SC:
Sen.Rev.Clementa Pinckney;41, husband, father, spiritual leader and politician,
Rev. Sharonda Singleton;45, minister, educator, and mother
Myra Thompson;59, church member, Tywanza Sanders; 26, college graduate,
Ethel Lee Lance; 70, church member, Cynthia Hurd; 54, librarian, Rev. Daniel L. Simmons; a retired pastor, Rev. DePayne Middleton-Doctor; school administrator,  and Susie Jackson;  87
  I speak their names because there lives were significant.  Seeing their faces,  reading their brief life summaries hit close to home. I looked at their faces and saw people that could very well have been friends and even family,Susie Jackson being just a few years older than my own grandmother.
  As Black Americans we all live in the same sense of terror. It's the band- aid of civil rights that was applied in 1964 ,being snatched away, exposing the infected sore of white supremacy and racism that are deeply imbedded in the foundation of America.

 "What should we do? As artists we have to do something." She insisted.  I agreed.
As artisans we are charged with the responsibility to use our gifts to uplift humanity and avoid becoming tools of propaganda at every turn. Each time we paint a portrait, create music, pen prose or poetry, photograph a moment, produce works for stage and screen, we propel a narrative and influence the world.
  I encourage and celebrate my fellow creative forces of all races.  I pray that we draw from the courage within to conceive work that incites an open dialogue on racism, terrorism, the dangers of white supremacy or any form of racial supremacy for that matter. Our gifts can spark the healing and repairing process. If all lives matter then Black lives definitely matter.