Our Voice on The Yard

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Denise continues her conversation with transgender opera singer Breanna Sinclair. A native of Baltimore, Maryland, and a graduate of CalArts, Breanna received her Masters from the San Francisco Conservatory of Music, and was the first transwoman of the opera program, under the pedagogy of Ms. Ruby Pleasure. Operatic performances include Carmen, La Calisto, The Old Maid and The Thief, The Magic Flute, L’enfant et les sortilèges, Platée, and West Side Story, as well as Meredith Monk’s Songs of Ascension at REDCAT, and Zachary Sharrin’s Time Bodies at MOCA.

Outside of opera, Sinclairé has enjoyed a variety of performance opportunities with LGBT and other nonprofit organizations throughout the nation — most recently the Gay Men’s Choruses of Washington, D.C. and San Francisco. She made her debut at the Walt Disney Concert Hall with the Los Angeles Gay Men’s Chorus. Other performances include Americans for the Arts, Washington, D.C. and Toronto Pride Festivals, SF Trans March, Fresh Meat Trans and Queer Arts Festivals, Harvey Milk LGBT Democratic Club, LinkedIn’s LGBTQ Employee Resource Group speaker series panel discussion (alongside civil rights leader Cecilia Chung), Janet Mock’s Redefining Realness book tour, and the Transgender Law Center’s SPARK! anniversary celebration.

Breanna also made her debut as a guest artist for the Gay Men’s Chorus of DC in Durufle’s Requiem performing “Pie Jesu” at Church of the Epiphany. She was among Out magazine’s 2015 “OUT100” list of LGBT heroes. She was the first transwoman to perform the National Anthem at a professional sporting event for the Oakland A’s, SF Giants, and San Francisco Deltas. She made her debut with SF Symphony on December 31, 2018 as the first trans singer to perform with the orchestra.

What You Will Hear

Feeling comfortable with your instrument/voice
Singing voice vs speaking voice
Being a transgender daughter of a pastor
Voice training

Quotes

“When people speak, you can fill in the blanks when they are really truly connected to their authentic voices.”

“So basically you are an upright basd with all these high, wonderful tones of a cello.”

Mentioned

Leontyne Price

Nathan Carter

New Shiloh Baptist Church

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In anticipation of season 2, Denise sits down with transgender opera singer Breanna Sinclair. A native of Baltimore, Maryland, and a graduate of CalArts, Breanna received her Masters from the San Francisco Conservatory of Music, and was the first transwoman of the opera program, under the pedagogy of Ms. Ruby Pleasure. Operatic performances include Carmen, La Calisto, The Old Maid and The Thief, The Magic Flute, L’enfant et les sortilèges, Platée, and West Side Story, as well as Meredith Monk’s Songs of Ascension at REDCAT, and Zachary Sharrin’s Time Bodies at MOCA.

What You Will Hear

How Denise and Breanna met
Breanna’s journey to finding her voice
How opera found Breanna
Developing her upper register
Breanna’s accomplishments and challenges in the opera world
Learning roles and staying ready
Being homeless and the help of a perfect stranger
Perseverance and upcoming performances
Breanna’s hopes for her legacy
Advice for young transgender people
How Breanna researches a character

Quotes

“My performance is a message.”

“I find that having a tribe is so essential. People that hold you accountable. Not just accountability, but they remind you of who you are because sometimes we forget.”

“When you are authentic, it come, it shows through your art.”

“Living in your truth is the most beautiful and also exciting thing because when you're living in your truth you are giving room for yourself to evolve.”

“When you, confine yourself to what other people think of you or what people view you as, it puts you in a place of insecurity, and it kind of closes the room for you to grow.”

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Continuing the conversation with Baritone, Steven Herring, Denise and Steven delve into the differences between a teacher and a coach and Steven’s love for arts education. Steven has performed the roles of Don Pizarro in Beethoven’s Fidelio, Amonasro in Verdi’s Aida, Sacristan in Puccini’s Tosca, Germont in Verdi’s La Traviata, the title role in Verdi’s Rigoletto, Sharpless in Puccini’s Madama Butterfly, Belcore in Donizetti’sL’Elisir D’amore. Mr. Herring had the distinct pleasure of performing in Jason and Alicia Moran’s WORK SONGS, for the 56th Biennale di Venezia. A recipient of an Olga Forrai Foundation Grant Mr. Herring is also the Director of School and Community Engagement for Bridge Arts Ensemble, an organization of New York-based teaching artists which brings high quality music education to over 50,000 public school students in Upstate New York. As a featured soloist, Mr. Herring’s concert repertoire includes performances of Beethoven Choral Fantasy with The Saint Louis Symphony, Fauré Requiem with Orchestra of Saint Lukes, Peter in Bach’s Saint Matthew Passion with Musica Angelica and The Saint Thomas Choir of Men and Boys, Carmina Burana at The John F. Kennedy Center with The CUA Symphony Orchestra, Messiah with The CUA Symphony Orchestra, Mozart Festival with The Juilliard Symphony.

What You Will Hear

What is the difference between a difference and a coach?
Sound quality and sound production as a singer
Steven’s love for arts education and the Living Arts Collaborative and Bridge Arts Ensemble
Juilliard and the community
Storytelling
What Steven would tell his younger self

Quotes

“Son we learn from everyone so always remain open and get the stuff that you need.”-Edward Zambara

“it really is a rite of passage to be able to perform for young, young kids.”

“ the sounds of your throat will never make you a great singer It's what you do below counts.” “Todd Duncan

“Singers must be great poets.”-Todd Duncan

“Trust the process, life continues moving forward.”

Mentioned

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LivingArtsCollaborative.com

Instagram Facebook Twitter LinkedIn

The Duke Ellington School for the Performing Arts

LivingArtsCollaborative.com

Instagram Facebook

Jason and Alicia Hall Moran

Ed Berkely

Ed Zamabara

Marlena Malice

Steven Smith

Micheal Kahn

Marian Seldes

Jason and Alicia Hall Moran

Ed Berkely

Ed Zamabara

Marlena Malice

Steven Smith

Micheal Kahn

Marian Seldes

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Denise sits down with Baritone, Steven Herring who has performed the roles of Don Pizarro in Beethoven’s Fidelio, Amonasro in Verdi’s Aida, Sacristan in Puccini’s Tosca, Germont in Verdi’s La Traviata, the title role in Verdi’s Rigoletto, Sharpless in Puccini’s Madama Butterfly, Belcore in Donizetti’sL’Elisir D’amore. Mr. Herring had the distinct pleasure of performing in Jason and Alicia Moran’s WORK SONGS, for the 56th Biennale di Venezia. A recipient of an Olga Forrai Foundation Grant Mr. Herring is also the Director of School and Community Engagement for Bridge Arts Ensemble, an organization of New York based teaching artists which brings high quality music education to over 50,000 public school students in Upstate New York. As a featured soloist, Mr. Herring’s concert repertoire includes performances of Beethoven Choral Fantasy with The Saint Louis Symphony, Fauré Requiem with Orchestra of Saint Lukes, Peter in Bach’s Saint Matthew Passion with Musica Angelica and The Saint Thomas Choir of Men and Boys, Carmina Burana at The John F. Kennedy Center with The CUA Symphony Orchestra, Messiah with The CUA Symphony Orchestra, Mozart Festival with The Juilliard Symphony.

What You Will Hear

What attracted Steven to opera
What makes opera grand and classic and what is different about singing other genres
Work Songs
Wanting to play Othello and controversy in the opera world about blackface.
Going to the Juilliard School
Life after Juilliard

Quotes

“You always have to find a way to tap into the emotion of the piece….the emotions color the sound.”

“If the voice and the emotion serve the character, may the best artist win that role.”

“I didn't have to go in search of the black experience black my experience is It's the black experience.”

Mentioned

The Duke Ellington School for the Performing Arts

LivingArtsCollaborative.com

Instagram Facebook Twitter LinkedIn

Jason and Alicia Hall Moran

Ed Berkely

Ed Zamabara

Marlena Malice

Steven Smith

Micheal Kahn

Marian Seldes

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Denise continues her conversation with world renowned opera singer Kevin Thompson to discuss his career and Juilliard experience.. Originally from Washington D.C. Mr. Thompson is an alumnus of The Juilliard School in New York, San Francisco Opera’s prestigious Merola Program, and the Santa Fe Opera Program. Mr. Thompson has performed in opera houses and concert venues throughout the world, under the baton of many esteemed conductors, including Austria, Bulgaria, China, France, Germany, Italy, Poland, Russia, Spain, South America, Switzerland, and the United States. Thompson has made debuts with New York City Opera, Santa Fe Opera, New Orleans Opera, Tulsa Opera, Opera Carolina, Bard Opera, National Philharmonic, The Florida Symphony, Opera Santa Barbara, Odyssey Opera, Hannover Staatsoper, Fundación Teatro Nacional Sucre in Ecuador, Teatro Verdi Trieste, Hong Kong Opera, Teatro Regio Parma, Ruse State Opera, Theater Kiel, the Gasteig in Munich, and the Wexford Opera.

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Denise sits down with world renowned opera singer Kevin Thompson to discuss his career and Juilliard experience.. Originally from Washington D.C. Mr. Thompson is an alumnus of The Juilliard School in New York, San Francisco Opera’s prestigious Merola Program, and the Santa Fe Opera Program. Mr. Thompson has performed in opera houses and concert venues throughout the world, under the baton of many an esteemed conductor, including Austria, Bulgaria, China, France, Germany, Italy, Poland, Russia, Spain, South America, Switzerland, and the United States. Thompson has made debuts with New York City Opera, Santa Fe Opera, New Orleans Opera, Tulsa Opera, Opera Carolina, Bard Opera, National Philharmonic, The Florida Symphony, Opera Santa Barbara, Odyssey Opera, Hannover Staatsoper, Fundación Teatro Nacional Sucre in Ecuador, Teatro Verdi Trieste, Hong Kong Opera, Teatro Regio Parma, Ruse State Opera, Theater Kiel, the Gasteig in Munich, and the Wexford Opera.

What You Will Hear

Thompson coming into fruition of his vocal career
Reminiscing on Thompson’s freshman year of Julliard
The performance aspect at Julliard
Thompson’s top 5 characters to voice
Utilizing Thompson’s humor alongside his vocal talent
Working alongside Jesse Norman
Seizing the moment to sing for Grace Bumbry
Thompson’s taking agency in current career aspects
Learning the ups and downs of being your own business manager
Thompson’s extensive passion for Arts Education
Hidden talents of being a Chef

Quotes

“I knew that my talent was my ticket to get me into college.”
“Stand tall. Stand tall. Stand in your presence.”
“If you’re playing a villain, the actual character doesn’t think they’re a villain. You find the other elements of the character that are less villainous, because there're so many elements in the human condition and human character. It’s up to us as storytellers to find those nuances in the character.”
“You have to seize moments in life. They’re not going to be there forever. There are moments that you have to step into your purpose.”
“The gift is what we have to offer. It is your gift to give to the people and to use it.”
“Fight for your dreams, because a lot of people will try to talk you out of your dreams.”
“If we wake up another day, there is a purpose for us to be here.”
“Faith and fear cannot exist in the same paradigm.”
“It doesn’t make a difference if it takes you three minutes to learn this role, or if it takes you three to six months, as long as you know the role when you arrive, that’s all that matters.”
“Fight for your dreams, because the dream was given to you, not another person. They were given to you to manifest them and to give them birth. It’s your job.”

Mentioned

KevinThompsonBass.com
Myra Merit - Metropolitan Opera
Michael Santana
Suitland High School Center of the Arts
NAACP Axo Competition
Paul Ropeson
Jesse Norman
Grace Bumbry
Ames Gros Program in Austria/ American Institution of Musical Studies
Belmont Glass
Dr. Carter - Morgan (HBCU)

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Denise continues her discussion with Malik Williams. Hear more about how Malike started dancing, the support of his family and the experience of not feeling valued at Juilliard. Learn about Mark’s journey and how his Juilliard experience motivated him to excel. Malik is a native of Pittsburgh, Pennsylvania, and was awarded the Lynn Swann Scholarship to attend the Pittsburgh Ballet Theatre during the 2006-2007 season. He graduated from the Alexander W. Dreyfoos School of the Arts in West Palm Beach, Florida, as a dance major in 2013, where he worked with Troy Powell, Christopher L. Huggins, Billy Bell, and Margo Sappington. He then went on to The Juilliard School, where he graduated with a B.F.A. in 2017 under the direction of Lawrence Rhodes. At Juilliard, he worked with the choreographers Takehiro Ueyama, Loni Landon, Zvi Gotheiner, Matthew Neenan, and Gentian Doda. He has performed works by Martha Graham, Paul Taylor, and Nacho Duato. Since graduating, Williams has danced with the Limón Dance Company, National Dance Company of Wales, and Lydia Johnson Dance. During this time, he has performed works by José Limón, Caroline Finn, Yin Yue, Caitlin Javech, and Lydia Johnson, among many others. He joined the Mark Morris Dance Group (MMDG) as an apprentice in 2020 and became a company member in 2021.

What You Will Hear

Malik’s epiphany to embrace himself in his artform
Processing how to build yourself back up
Gaining Black alumni mentors for guidance
Transitioning from Juilliard to Mark Morris Dance Company
Malik’s apprenticeship with the Límon Dance Company
Working for Radio City Christmas Spectacular with the Rockettes

Quotes

“I will never be any other person but myself.”
“You are enough. You have always been enough. And you always will be enough.”
“As long as your doing your best, that’s all you can ask for. If they’re asking for more, that’s their problem, not yours.”
“We are still having this conversation and we will have it until we level the playing field, until you can see our bodies and our voices and embrace them with love and respect in an effort to decolonize art and the Eurocentric paradigm of what art is.”
“When you hear our stories, when you hear our pain and our triumphs, you can’t help but applaud the efforts of the folks that came before you.”
“These conversations are so constructive because we have to have these uncomfortable conversations so that we can deconstruct it and reconstruct it.”
“If you hang in there, find a community, go to your family, find your tribe that can support you during hard times.”
“Your career doesn’t have to be this straight line or a narrow path. It’s only as small as you make it, so why not make it as big as you can?”
“You don’t have permission to say that the way I tell my story is wrong. Don’t tell me that the way I tell my story or my interpretation of your story is wrong.”
“Nothing beats a failure but a try.”
“The universe and God has all of these wonderful ways of structuring our lives if we just get out of the way.”
“You are enough. You always have been. You will continue to be enough and no one can take that away from you.If someone says that you’re not enough, that has more to say about them than it actually does about you.”

Mentioned

Alicia Graf Mack
Misty Copeland
Límón Dance Company
Jose Límón

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In this episode Denise sits down with dancer Malik Q. Williams. They discuss how he started dancing, the support of his family and the experience of not feeling valued at Juilliard. Learn about Mark’s journey and how his Juilliard experience motivated him to excel. Malik is a native of Pittsburgh, Pennsylvania, and was awarded the Lynn Swann Scholarship to attend the Pittsburgh Ballet Theatre during the 2006-2007 season. He graduated from the Alexander W. Dreyfoos School of the Arts in West Palm Beach, Florida, as a dance major in 2013, where he worked with Troy Powell, Christopher L. Huggins, Billy Bell, and Margo Sappington. He then went on to The Juilliard School, where he graduated with a B.F.A. in 2017 under the direction of Lawrence Rhodes. At Juilliard, he worked with the choreographers Takehiro Ueyama, Loni Landon, Zvi Gotheiner, Matthew Neenan, and Gentian Doda. He has performed works by Martha Graham, Paul Taylor, and Nacho Duato. Since graduating, Williams has danced with the Limón Dance Company, National Dance Company of Wales, and Lydia Johnson Dance. During this time, he has performed works by José Limón, Caroline Finn, Yin Yue, Caitlin Javech, and Lydia Johnson, among many others. He joined the Mark Morris Dance Group (MMDG) as an apprentice in 2020 and became a company member in 2021.

What You Will Hear

Being a member of the Mark Morris Dance Group
Malik’s motivation to study at Juilliard as a college freshman
Training the body and mind to prepare for longevity
Reflecting back on training from high school
Educational and diversity expectations of Juilliard
Unpacking institutional racism in a technical constitution
Coping with systemic racism post-graduation

Quotes

“You only fail if you don’t try.”
“This has to mean something. Me getting into this school has to mean something.”
“You should take a chance. You should go into the unknown.”
“I didn’t realize that being a black dancer changed my experience so much until it was too late and it already changed.”
“I had something to prove and live up to.”
“There’s these external pressures because of my environment, because of the people around me. It’s almost as if I have to take on the burden because I’m Black.”
“The manifestation of the toxicity that started to brew within myself came as an accumulation of the things that were said to me throughout all four years.”

Mentioned

Mark Morris Dance Group
Alvin Ailey Dance Company

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Denise continues her conversation with dancer, choreographer, actor and singer Neisha Folkes. Listen in as they dive deep into the truth of the black experience not only at Juilliard in the real world as artists at the top of their game.

What You Will Hear

Reflecting on touring with the Alvin Ailey Dance Company
Neisha’s segway into acting career
Combining acting and dancing skillsets
Neisha’s art and entertainment fulfilled daughters
Looking back at Hollywood obstacles
Giving helpful advice to younger Neisha
The milestone of moving to Los Angeles
Casted as a Fly Girl on In Living Color
Neisha’s regret to not pursue singing talents
Implementing business with the arts
Building a company based on Neisha’s daughters
Next steps in life and career at Harvard Westlake

Quotes

“I would tell 13 year old Neisha to just relax a little more.”

“Singing has this vulnerability that’s beyond acting, beyond dancing. It’s showing yourself, revealing yourself on these open vowel sounds.”

“The real world is no different. Whatever (reason) you’re leaving to go someplace else, you’re going to find that very same and get good.”

“Take the meat and throw away the bones.”

“If everyone around you was doing 100, you gotta do 110.”

“You don’t have to go for perfection, but you have to go for progress.”

“It’s so wonderful to come to the table with someone that you absolutely love.”

Mentioned

Meisner Technique
Marian Seldes
Triple Talent
Harvard Westlake

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Today we dive deep into the dance world with my dear friend from high school, Neisha Folkes. The incredible Neisha has choreographed for well renowned movies. A triple-threat one might say; actor, singer, and dancer. A notable accomplishment was that she was a member of the Alvin Ailey Dance Company company for several years.

What You Will Hear

Neisha's remarkable acting and dancing career
Artistic motivation that stemmed from The Bronx
Reflecting on Folk’s acceptance into Julliard
Witnessing diversity challenges amongst Julliard
Previous audition opportunities for Broadway
Balancing the decision between graduation and Broadway career
Audition process into Alvin Ailey Dance Company
Love and respect for Alvin Ailey himself
Dance coach for Denzel Washington in Malcolm X
Debbie Allen’s FAME origin story
Choosing between Alvin Ailey and FAME television series

Quotes

“I didn’t only just catch up, I surpassed”
“I am not going to be the master of a bunch. I’m going to be the master of one and I’m going to make it work.”
“We don’t do this because of a side of the tinge of racism, and for some people, it was more than a tinge. It was very blatant and covert. For some, it was less than that, but there was always a sense of elitism.”
“I went on and got my Master’s years later, because I really felt uneducated. I really felt that I didn’t have the necessary education that I needed to be in conversation with people.”
“We always want to get to the destination. We always want to skip a couple steps. Just enjoy the process. Complete it first, and then be fully invested to then bring yourself to the next space.”

Mentioned

Helen Tamiris Award
Alvin Ailey
Denzel Washington in Malcolm X
Frankie Manning
Otis Sallid
Lindy Hop dance style
Debbie Allen’s Fame

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In this episode I continue my conversation with violis Lisa Whitfield, who went to Juilliard in the 90s and was one of the first students I met who was not in the drama division. We bonded on so many levels because of our insecurities as artists, as women, as black women in that space. She was also the first person that I felt comfortable enough to talk to, not as a faculty member, but as a sister. It could be because she was a graduate student and she was older than the students I taught, but I really got close to this woman and you'll see that. I get emotional because she is so vulnerable in this interview and she brought that out in me. I think you're gonna get another slice of what it is to be black, to be female, to be exceptional in a classical space. She’ll talk about institutional racism, she’ll talk about sexism. she’ll talk about classism, she’ll talk about not having the support of her family, which was unusual because everyone has the support of their family, especially when they get into Juilliard, but not for Lisa. This woman had to fight for everything and she not only fought, but she landed on her feet.

What You Will Hear

Freelancing while teaching at Juilliard. Conflicts and truths
Racism, sexism and misogyny at Juilliard
Parenthood
Long lasting connections
Drinking and drug culture
Advice for a young Lisa
Clean and sober
Lisa’s one regret

Quotes

“I'll say what I have to say, but I don't feel like I need to shout now.”

“I was the first African-American faculty in the drama department and I never felt that my voice really mattered.” - DW

“Juilliard name that you talked about….everybody knows that name It's an institution that is steeped in elitism, classism, racism and so breaking down those walls it's a lot.” - DW

“I may have been born at night, but I wasn't born last night.”

“You don't like me, you don't wanna sit with me, you go sit somewhere else. I earned this chair and I'm gonna sit my black ass in it.”

“Artists are the first ones to feel a recession coming.”

“I am a creative person by nature. It is what I am.”

“That was hilarious to me that in all of my struggles, I had managed to create a child who saw Juilliard as just another place.”

“if you can survive being a black woman at Julliard in the early nineties, there's very little in the world you can't do.”

“I graduated from Juilliard in 1979. I did not step foot back in there until 1992, I couldn't.” - DW

“ I think that part of who I am was always going to give a voice to people of color in any community, no matter what community that was.”

“I had to fight for myself , as a little kid of color playing the violin.”

“I wasn't the first black woman to go to Juilliard to play , a stringed instrument. I know I'm not, because once I graduated, there was this whole community of people who had gone. To major conservator. Some of them Julliard, who knew who I was before I knew they existed and they're the ones that carried me into a new realm musically and professionally, and started to hire me for things.”

“The black community embraced me at Juilliard and continued to embrace me.”

“Juilliard was definitely a huge factor in the amount I drank. It became that, that social lubricant that helped me get past those anxieties and feelings of not belonging…..it also allowed me to just behave badly and have an excuse, and that is a sad thing that I felt I needed to do that.”

“It's a blessing to know that somebody hears you. that somebody sees you, that somebody believes you when you have been through so many experiences that people today just go,”that doesn't happen. stop complaining, shut up and write, shut up and play your instrument, shut up and dribble.”

“It's important that we be seen and heard.”

“I just want respect. I've been on a journey. Don't tell me I haven't been on it and respect me.”

“That's success to me, that I get to live in my joy, that is success to me.”

Mentioned

Ralph Farris

Tim Monich

Mahler 4

Avery Fisher Hall

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Lisa Whitfield, a viola player that went to Julliard in the nineties was one of the first students I met who was not in the drama division, and we bonded on so many levels because of our insecurities as artists, as women, as black women in that space. She was also the first person that I felt comfortable enough to talk to, not as a faculty member, but as a sister. It could be because she was a graduate student and she was older than the students I taught, but I really got close to this woman and you'll see that. I get emotional because she is so vulnerable in this interview and she brought that out in me. I think you're gonna get another slice of what it is to be black, to be female, to be exceptional in a classical space. She’ll talk about institutional racism. she’ll talk about sexism. she’ll talk about classism, she’ll talk about not having the support of her family, which was unusual because everyone has the support of their family, especially when they get into Juilliard, but not for Lisa. This woman had to fight for everything and she not only fought, but she landed on her feet.

What You Will Hear

How the viola found Lisa
Getting to Juilliard
Coming into her own as a musician and supportive teachers
Lisa’s parents and imposter syndrome
Being invited back to Juilliard as faculty
Racism and how Lisa got around its consistency
Challenges, long-lasting trauma from racist events, and finding her tribe
Becoming a teaching fellow and the Music Advancement Program
Settlement Schools and its impact on Lisa’s trajectory
Juilliard Pre-College
Teaching at Juilliard

Quotes

“It was really important to me to make sure my family was proud of me, to make sure that felt like I carried the burden of dashed expectations.”

“Violists can be married to each other, violinists not so much, but violists can actually be married to each other. “

“Juilliard was never on my radar. It was never something I expected, It was never, it was never something I thought would be part of my story. “

“Everybody knows the name (Juilliard) throughout the entire world, so it's definitely hard for me because I'm not a person who likes to brag like that.”

“I was used to being one of the only women of color, I was used to that that wasn't a problem. What I was not used to was being doubted. I was not used to somebody looking at me and doubting that I could be the thing I presented myself as….I played a string instrument and I played a string instrument well enough to get me into Juilliard. And that did not compute with a lot of people.”

“It was very difficult. I had to work several jobs to support myself because my parents cut me off when they found out I was going to Juilliard.”

“I was a black girl from a working class background who did not have financial access to the things that they did and I felt very isolated and alone. It was difficult.”

“At Juilliard I was the black girl with no money. At Oberlin I was the black girl everybody assumed had money, and that was hilarious because my financial situation did not change between those two things but the perception of me changed.”

Mentioned

Karen Tuttle

Robin Willams

Joe Webster

Audra McDonald

Chris McKinney

Edward Lawrence

Lori Carter (Associate President of Juilliard)

Mary Anthony Cox

Music Advancement Program

Music Settlement School

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Denise continues her conversation with Richard Alston. A native of East Orange, New Jersey, Richard Alston received his first lessons from the late Dorothy Early at the tender age of eight. He was playing organ and piano for the first Baptist church of Vauxhall, New Jersey. He continued his studies with Sylvia Ravenoff in New York and received his bachelor of music degree from the Juilliard School. He later was awarded the highly prestigious Maria Guerrera ju scholarship in piano to return to Juilliard for his master's degree. Alston has drawn the attention of the musical world, educators and college and university students in recent years for bringing to like the great contributions to classical music by the composers of African descent. Alston not only performs exquisite words of these composers that remain to this day, relatively unknown to the larger public, but he also delights audiences with lectures and master classes on the colors of music, classically black composers of African descent, Under his direction as associate professor of music and the coordinator of performing arts Sten crafted a degree program in the music department at Essex county college that has flourished into a full fledged performing arts department of music, dance and drama. Alston has also served as a faculty advisor for Westminster College Choir, Education Opportunity Program, and formerly a member of the Juilliard school's music advancement program faculty. In the Metropolitan Opera’s revival of Porgy and Bess Alston brought an unforgettable sense of well researched authenticity to the role of jazz Bo Brown, the man after whom jazz genre is believed to be named. He repeated his portrayal of Jazz Bo Brown in the historic production presented by the New Jersey State Opera at Symphony Hall in Newark, New Jersey. As a special guest artist with the New Jersey Symphony Alston performed in a special concert in commemoration of the birth of William Grant Still. Alston also enjoys performing chamber music as a guest artist with the Harlem Chamber Players, Alston performs in two separate concerts. Richard Alston's video Troubled Waters by Margaret Bonds was selected as the alumni video of the month in January 2015. Professor Alston, now retired professor Alston is the minister of music at St.Mark's Episcopal church in Plainfield, New Jersey.

What You Will Hear

What Richard would tell his younger self
The White Peacock, early teachings and artistic styling and musicality
How Richards roots affect his artistry
Troubled Waters by Margaret Bonds
Mentors
Richard’s connection to other artist at Juilliard
Composers of African descent
Porgy and Bess, Jazz Bo Brown
Working with actors and singers

Quotes

“As pianists, we should make the piano sing like a singer.”

“I always look beyond the black and white on the page.”

Mentioned

Alstonpianist.com

Youtube

Margaret Bonds

Chevalier de Saint-George

Billy Strayhorn

William Grant Still

Carmen de Lavallade

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Denise sits down with concert pianist Richard Alston who was, perhaps, the most extraordinary pianist that Denise knew at Juilliard because he hung out with the actors. A deep connection to the black church was a conversation, thread and a thru line for the interdisciplinary connection of the black students at Juilliard. Connecting the dots and the lineage, this interview is fun, revealing and extremely intimate. Richard Alston is a masterful pianist, having appeared as a soloist and in recitals with orchestras throughout the United States and Europe. After earning both his Bachelor’s and Master’s degrees from the Juilliard School of Music, Richard was poised for a career in both classical piano performance as well as performing arts education. His performance credits range from recitals, guest soloist with orchestras, live opera to radio and television broadcasts as well as CD recordings.

What You Will Hear

Dorothy Early and Daisy Johnson, Richard’s first teachers
What motivated and confirmed Richard’s pursuit of a career in music
The Juilliard audition process
Extraordinary experiences, relationships and love
Richard’s mother
The church and Richards music ministry
Classically Black
Family tree and musical lineage

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Denise is joined by Tony nominated and OB award-wining actor Stephen McKinley Henderson and up and coming star Elijah Jones. So we see an actor who we all know and an actor who we're just getting ready to know share the same space and it's extraordinary. Most people know Stephen from the multi Oscar nominated film Dune. Did you know that he has also appeared in five other Oscar nominated films? Extremely Loud and Incredibly Close 2011, Lincoln 2012, Fences 2016, Manchester By the Sea 2016 and Ladybird 2017. He's the recipient of a Drama Desk award and Obie award and an AUDELCO award. He really is best known for his August Wilson work in the century cycle of plays. It's been said that audiences who watch August Wilson plays have grown first accustomed to, and then pendant on Stephen McKinley Henderson. He's also been deemed one of the 32 greatest character actors working today. I wonder where they came up with that number 32, but I am sure glad that Stephen McKinley Henderson made the list because he is an exceptional character actor. Stephen says, “It's not about getting it right. It's about getting it true”. Elijah Jones was elected by the Juilliard drama division faculty to receive a prize for outstanding achievement and exceptional professional promise. He's the MFA Class of 2021. He recently starred in Dominique Morisseau’s Confederates at the Signature Theater in New York. Elijah says, “What sets me apart is me.”.

Sit back and enjoy this extraordinarily exceptional interview.

What You Will Hear

How Stephen learned about Juilliard and what informed his decision to enroll
Stephen’s audition in 1968 and his first experience with the KKK
Elijah’s journey to Juilliard
The Juilliard experience during Martin Luther King Jr and George Floyd assassinations
Kent State and Jackson State killings
Cut system and policy. James Houghton
The inception and struggles of drama divisions early years
Politics
Representation and opportunity

Quotes

“The initial incarnation of the drama division, The Julliard School did not see drama as a fine art they did not see it as, as a performance art form….It began as a music school…..the drama division was hard won. It couldn’t be an american theatrical traditions say like The Actors Studio or something like that, it had to be the classical training.”

“Another thing about our people, you know, we can read between the lines, we can see the look that you don't think we see.”

“We had to talk about the politics. You remember, we had to discuss whether having a black man playing Richard the Second, and whether doing Shakespeare at all was really addressing this thing? Are we still lifting another culture by giving our strengths to it?”

“That's where I'd like to take this conversation, just how we represent ourselves in that classical space. How do we bring our tones in richness and rhythms, vocal rhythms, and physical rhythms into the classical space and be proud of it.”

Mentioned

James Moody

Wendell B. Franklin

Steve Broadnax

Stori Ayers

Jim Wise

Actors Theater of Louisville

Moni Yakeem

Liz Smith

Amiri Baraka

Dutchman

The Great Goodness of Life

Blood Knot

Kevin Kline

Patt Lupone

Mary Lou Rosato

Jared Sakren

Ketih David

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Denise is joined by Tony nominated and OB award-wining actor Stephen McKinley Henderson and rising star Elijah Jones. We see an actor who we all know and an actor who we're just getting ready to know share the same space and it's extraordinary. Most people know Stephen from the multi Oscar nominated film Dune. Did you know that he has also appeared in five other Oscar nominated films? Extremely Loud and Incredibly Close 2011, Lincoln 2012, Fences 2016, Manchester By the Sea 2016 and Ladybird 2017. He's the recipient of a Drama Desk award and Obie award and an AUDELCO award. He really is best known for his August Wilson work in the century cycle of plays. It's been said that audiences who watch August Wilson plays have grown first accustomed to, and then pendant on Stephen McKinley Henderson. He's also been deemed one of the 32 greatest character actors working today. I wonder where they came up with that number 32, but I am sure glad that Stephen McKinley Henderson made the list because he is an exceptional character actor. Stephen says, “It's not about getting it right. It's about getting it true”. Elijah Jones was elected by the Juilliard drama division faculty to receive a prize for outstanding achievement and exceptional professional promise. He's the MFA Class of 2021. He recently starred in Dominique Morisseau’s Confederates at the Signature Theater in New York. Elijah says, “What sets me apart is me.”.

Sit back and enjoy this extraordinarily exceptional interview.

What You Will Hear

How Stephen learned about Juilliard and what informed his decision to enroll
Stephen’s audition in 1968 and his first experience with the KKK
Elijah’s journey to Juilliard
The Juilliard experience during Martin Luther King Jr and George Floyd assassinations
Kent State and Jackson State killings
Cut system and policy. James Houghton
The inception and struggles of drama divisions early years
Politics
Representation and opportunity

Quotes

“Another thing about our people, you know, we can read between the lines, we can see the look that you don't think we see.”

Mentioned

James Moody

Wendell B. Franklin

Steve Broadnax

Stori Ayers

Jim Wise

Actors Theater of Louisville

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Denise continues her intimate conversation with actress, director and producer Lisa Gay Hamilton. A graduate of the Juilliard School’s 18th class Lisa Gay Hamilton is known for her film about the life and work of Beah Richards, Beah: A Black Woman Speaks as well as her role as attorney Rebecca Washington on the ABC legal drama The Practice, and for her critically acclaimed performance as young Sethe in Jonathan Demme's film adaptation of Toni Morrison's Beloved. Her theater credits include Measure for Measure (Isabella), Henry IV Parts I & II (Lady Hotspur), Athol Fugard’s, Valley Song and The Ohio State Murders. Hamilton was also an original cast member in the Broadway productions of August Wilson’s, The Piano Lesson and Gem of the Ocean.

What You Will Hear

Lisa’s connection with Beah Richards
Choosing projects and setting limits
Aaron Sorkin
Depth, truth and meter in script
Beah Richards
Beah: A Black Woman Speaks
What Beah wanted for young people
Being a student at Juilliard

Quotes

“This connection you have with people sometimes, it's because of your age, it's because of your journey and it's because of the experience that you've had. It's also how you see the world and what you want from the world and what you want as an artist and how you want to tell that story and what stories you don't want to tell and what stories you do want to tell.

“Deep investigation, that is so necessary because iambic pentameter and poetry is just fluff and words if you don't start from that place.”

“I think it's so important to have a sense of the world and to have an opinion about it and

not be afraid of it.”

“Speak it into existence” - Beah Richards

“Giving voice to the truth is all that we have and it's the most powerful thing we have as artists.”

“Our greatest political being in the theater community, the film community next to Harry Belafonte is Danny Glover”.

Mentioned

LisaGayHamilton.com

Beah Richards

Marie Louise and William Patterson

Paul Robeson

Alice Childress

Francis Williams

Watch Beah: A Black Woman Speaks

Harry Belafonte

Danny Glover

Robert Williams

Edith Skinner

Liz Smith

Tim Monick

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Lisa Gay Hamilton is that soul, that spirit that when she walks in a room, she changes the energy of the room. She's so authentic, so committed to excellence, so committed to cultural viability and cultural awareness. Lisa Gay produced and directed a wonderful documentary about a soldier, Hollywood theater Beah Richards. Lisa Gay was group 18, of 55 at Juilliard and in the time that we've known each other every single time we see each other, we just connect. We go in, we open up, we tell each other, not just how we're doing, but how our families are doing, what our families are doing, the significance of what it's like being a working mom in Hollywood. We go very deeply and that is very special and highly appreciated in a town where people are transient because you work with people, you become a family, and then the next job comes and you get a new family and the next job comes and you get a new family,but every time I see Lisa Gay Hamilton, she is that cousin, that sister, that friend who will always be family, so enjoy.

What You Will Hear

Experiences and opportunities attending and graduating from Juilliard
Being the only black student in her graduating class
Working with Lloyd Richards and moments of awe inspiring artistry
Evolution of arts
Athol Fugard and LisaGay’s first OBI
Beah Richards

Quotes

“I've always based my work on emotion.”

“What is it to be?” - Beah Richards

"I don't care if you play a prostitute, I don't care if you play a maid. Whatever the role is you must bring the truth to that." - Beah Richards

Mentioned

Juilliard

NYU

Yale

The Public Theater

12th Night

Lloyd Richards

August Wilson

The Piano Lesson

Kennedy Center

Eugene O’Neill

Audra McDonald

Manhattan Theater Club

Lady Hotspur

Joseph Papp

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Our Voices on the Yard - Introduction

Denise Woods

Our Voice on The Yard: Recent Episodes

Denise Woods