THE BOOK OF JOSEPH - Q & A WITH RICHARD HOLLANDER

The Book of Joseph, by Karen Hartman based on the life of Joseph A. Hollander and his family, is directed by Chicago Shakespeare Theater’s Artistic Director Barbara Gaines. The world premiere event currently playing in Chicago through March 5th features a superb ensemble cast led by Sean Fortunato as Joseph Hollander, Francis Guinan as Richard Hollander and Adam Wesley Brown as Craig Hollander. The story centers on the discovery of one of the most complete archives of family correspondence during the Nazi occupation of Poland and is a window into how the family existed in the ghetto in Krakow. It is the journey of one man who attempts to change the course of his family history and reveals the importance of telling your story before it is too late.

Richard Hollander, who discovered the archive of his family letters in a suitcase following the death of his father, published the letters  in Every Day Lasts a Year(Cambridge University Press 2007). Mr. Hollander is president of Millbrook Communications, a marketing/advertising firm in Baltimore, Maryland and previously worked as a news reporter for two daily papers and for WBAL-TV in Baltimore.

We asked Mr. Hollander four questions following the opening weekend of the play:

CWET - The discovery of your family letters is a powerful turning point in your life story and must have been an equally powerful moment for you personally to relive in the staged play. It is through these events that we understand the importance of searching for truth and understanding. Tell us how the moment unfolded for you when you realized that a theater audience was now becoming part of, and witness to, your family’s story?

RH - There was a confluence of emotions. The experience was wrenching and exhilarating; humbling and joyous. I felt both vulnerable and proud. Obviously, it is an unimaginable experience to see one’s parent portrayed on stage as a hero. I am rather private and inherently uneasy about exposing myself and the family to the public. That said, there are several powerful themes in The Book of Joseph. Sharing them is a mission rather than a burden. Almost without exception, people who have read Every Day Lasts a Year or seen The Book of Joseph come up to me with their story – metaphorically speaking – their briefcase. That bond with the reader and audience is most gratifying.

CWET – Can you give us an overview of the process and interaction between you, your family and the playwright in putting this piece together?

RH- The creative process is very different given the fact that The Book of Joseph is based on real people, actual events, and the very words of the characters.  For want of a better phrase, the play could be called a docu-drama. Playwright Karen Hartman conducted extensive interviews with me; my wife, Ellen; my son, Craig; and Arnold Spitzman and his family. I am sure she researched Krakow, Poland and the Holocaust. The immigration story came out of court records and transcripts of hearings. While writing a play is challenging under any circumstance, this was far more difficult. Karen had to create art from reality. 

CWET – Your “role” as storyteller is essential to the arc of the play. What areas in its telling were particularly important to you? 

RH - By training (grad school locally at Northwestern) and trade, I am a storyteller. Much of my career was as a print and TV journalist. So, in reality that “role” comes easily to me. I see my character in the play having two distinct roles. One is the personal journey of literally and figuratively opening the briefcase. The second role is leading the audience on its own journey as they relate to what unfolds on stage. I believe it is most important that the storyteller does not make the value judgments for the audience. For example, as a journalist, I am much more comfortable presenting the facts, as in the immigration story, and give each person in the theater his or her freedom to determine whether it relates to contemporary America.

CWET - A key element of The Book of Joseph is understanding the relationship of generations of family members, their stories and how they are told. How you collaborated with your son and found common ground is also a major theme in story. What do you say to people who ask for advice in bringing their family members together to tell their own story?

RH - The obvious answer is don’t wait until one can no longer ask the questions. The Book of Joseph is about family secrets – with a different twist. No one was hiding an ugly family secret. Joseph and Richard were trying to protect each other out of an abundance of love. They created a boundary so that neither would inflict emotional pain on the other. My guess is many, if not most, families erect boundaries. To me, one of the enduring themes is family legacy, which is depicted in the father/son; Richard/Craig relationship. We give our children and grandchildren our memories and our values. Ultimately, Richard and Craig share a legacy. 

THE BOOK OF JOSEPH
Chicago Shakespeare Theater
Navy Pier
Now playing through March 5th
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ANGELA INGERSOLL - BEYOND THE RAINBOW

If you have been fortunate to see Angela Ingersoll recently on stage or in concert, you already know what the big buzz is about. She is smart, sassy, sexy, and above all, a natural born talent.

Ingersoll’s critically acclaimed performance as Judy Garland in the recent Porchlight Music Theatre production of End of the Rainbow channeled every ounce of her powerhouse talent to elevate our imagination and richly stir our compassion for the fragile and falling star. It was all there – electrifying stage performances, manic vitality, childlike enthusiasm and reckless abandon – all seeming to unfold effortlessly in the moment in Ingersoll’s unforgettable performance.

Her theatre resume is impressive spanning dozens of stage appearances with Marriott Theatre, Indiana Repertory Theatre, Chicago Shakespeare Theater, Drury Lane, Madison Rep, Playhouse on the Square and others. She has appeared with Second City Hollywood and on television in Chicago PD. No stranger to the Garland songbook, Ingersoll continues to perform concert versions of her one-woman Judy Garland show with the Artists Lounge Live concert series produced by her actor/singer husband, Michael Ingersoll.

Angela joined the conversation on February 1st to discuss the run with Judy, what’s happening next for her live concert career and how she met and fell for the special ‘Jersey Boy’ in her life.

On which Judy Garland song brings her most joy … “It’s an impossible question … Of course, ‘Rainbow’. It’s arguably one of the best pop songs ever written.  It so perfectly captures the human experience both musically and lyrically ….  ‘Man Who Got Away’ is the most comfortable … feels like home … it sits right in my body and I have worn the grooves of that record on my throat the longest. I love singing ‘Stormy Weather’ … it really is very important to me … my favorite moment of Carnegie hall … one I have recently taken on is ‘Rock-a-Bye Your Baby’ . I stayed away from it for a few years because I was intimidated … it was maybe her favorite … it is so sexy!”

On her relationship with Judy Garland … “I like being old Judy, I’m not a young Judy. I’m an old Judy. … I never really put her on the shelf or put her away. She has been a part of my life my entire life and continues to be. It is just more public now.”

On sharing the human experience in Artists Lounge Live shows …“We find an artist who is so influenced by an icon that they seem to be the torchbearer for that person’s legacy going forward and there is a real intimacy in the storytelling. It is about the storytelling … the very human aspects of the person’s life.”

Connecting with Judy beyond the music … “One of the most important parallels is she had a very strained relationship with her mother and I have had a complicated relationship emotionally with my mother … So many of her emotional scars were handed down to me … not by her own fault … Inheriting a lot of her pain has informed me a lot … It is my window into the kind of pain with which Judy lived.”

What’s ahead … “Judy’s centennial is coming up in 2022. In 2021, we will have the 60th anniversary of Carnegie Hall. I am working toward having relationships with orchestras … so I can be the foremost person doing this in the world, quite honestly. I know that is a lofty thing to say but ‘we gotta dream somewhere’ and I am trying not to censor myself.”

PODCAST
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WATCH PERFORMANCES OF ANGELA INGERSOLL
Over The Rainbow
Come Rain Or Come Shine
The Man That Got Away

Angela Ingersoll Performance Photo Credit: Amy Boyle Photography
Materials Courtesy: Artists Lounge Live

ROBERT SIMS - PASSING THE TORCH

ROBERT SIMS, the classically trained lyric baritone who has performed for decades in prestigious venues around the world, evokes the passion and presence of Paul Robeson, Roland Hayes and others before him with every song he sings. His music, which comes from a rich and soulful place that most of us can only imagine, and the spiritual concerts that are his trademark, are keeping the archive of African American spirituals alive for future generations. 

Sims has performed at Carnegie Hall and Lincoln Center, in concert with the Mormon Tabernacle Choir and the Gilbrator Philarmonic, among many others, and has had a long and distinguished operatic career.  He toured nationally in the ensemble Three Generations, a celebration of American spirituals and folk songs with George Shirley, the late William Warfield and Benjamin Matthews.

High in demand as a performer and vocal coach, Sims has recorded numerous CD’s and collaborated on the recent biography Roland Hayes: The Legacy of an American Tenor with Christopher A. Brooks.

Robert Sims joined the conversation on January 27th following a concert appearance in Detroit to talk about how his career was influenced by Robeson and Hayes and the challenges they faced breaking down barriers. 

Robert on the legacy of “Ol’ Man River” …

“It was considered Paul Robeson’s song and Bill Warfield’s song … and I’ll tell you how I started singing it. We were giving a concert in Philadelphia. On the morning of the concert Warfield had a heart attack … Three Generations went on as a duo (with Matthews) … and I sang ‘Ol’ Man River’ from William Warfield’s score from the movie. Then I started singing ‘Ol’ Man River.’  It means something different every time … [Bill] said he remembered singing it after Martin Luther King Jr. was assassinated … and the meaning then was like the river, we are going to keep flowing and keep fighting for civil rights ... Paul Robeson turned the song into a song of protest … Sometimes I think of it the way Paul Robeson thought of it … sometimes it is a song about the river flowing … how life continues to flow.”

On celebrating the history of spirituals …

“We do not tend to celebrate it in that … Out of this ugly experience came a music that has influenced the world. If I was in Japan right now, I would hear R&B, rock ‘n’ roll, jazz … all of that came from our contributions to music. There are some African Americans who are ashamed ... ‘We have new music!’ ... there is nothing new … they didn’t invent this.”

On the power of music …  
 
“This is a very, very interesting time, but music heals. It stirs something up in the soul … And I think it is something that is needed now more so than ever … I am sure there will be some recycled folk songs, freedom songs, and civil rights songs that will come out of this time. Probably some songs about love and unity ... It is going to be very interesting to look back at this time in America and see what came out of this experience.”

On inspiring future generations … 

“The voice is something so interesting because it is an instrument that is not outside of ourselves … One has to feel good about themselves … one has to feel that they can get up in front of people and present and that they are worth it … one has to feel that they have something to say … I am finding more than anything there is healing I have to do … to tell my students that they can do this. Then, when I get past that, I can say, ‘Now do it with joy.’”

CONVERSATION PODCAST
ROBERT SIMS  WEBSITE 
VIDEO PERFORMANCE  Ol' Man River

ROBERT SIMS FEATURE PERFORMANCES (AUDIO)
Lit'l Boy
Wait 'Til I Put On My Crown

CONVERSATIONS ARCHIVE

THE NICHOLAS BROTHERS "TAKE WINGS" AT BLACK ENSEMBLE THEATER

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You probably know what “Break a Leg!” means to an actor, but what do you say to a dancer? If you are Rueben D. Echoles and Rashawn Thompson, who are portraying the legendary Nicholas Brothers on stage in Chicago next month, it’s “Take Wings!”.

They are headlining the highly-anticipated opening production of Jackie Taylor's Black Ensemble Theater’s 41st Season with My Brothers Keeper - The Story of The Nicholas Brothers. Written, directed, choreographed and starring Echoles as the younger Harold Nicholas with Thompson as Fayard Nicholas, the production has BE’s cultural center jump jivin’ night and day with a cast of 16 and the Black Ensemble Orchestra under the direction of Robert Reddrick.

They have been called the greatest tap dancers who ever lived and the most beloved dance team in the history of entertainment. Born seven years apart into a performing family, the brothers had front row seats to the talents of the great black Vaudeville acts of the day. A ground-breaking appearance at the Cotton Club in 1932, when the brothers were only teenagers, led to Hollywood a few years later and then to Broadway in the 1936 Ziegfield Follies. They would go on to headline in venues all over the world, in films and on television for over six decades.

During a break from rehearsals, we joined Rueben Echoles and Rashawn Thompson to talk about the creation and development of the show and what it is like to fill the shoes of these legendary entertainers.

Reuben on advancing the Black Ensemble Theater’s mission …
"We will eradicate racism by letting us all know that we have common things that bring us together, music is one of those things … And we are celebrating the greatness of who we are. When we are proud of who we are, other people can look at us and say the same and respect who we are.”

Reuben on the Nicholas Brothers dance style …
“In terms of choreography no one can duplicate what the Nicholas Brothers did. So, what I do is I watch carefully and then I use accents of the things that will remind people of the videos. We do a lot of tricks that they did but not as many. If they jump down ten stairs, we will jump down four because no one has been able to duplicate what they have done since then. And I just don’t think I want to risk it.”

Rashawn on the importance of the Black Ensemble Theater’s Education Program …
"I had a tough life growing up. When I came to the theatre it gave me a chance to speak my mind. It gave me a chance to talk and be heard because I felt I was not heard a lot as a child. In the theater, I was able to be as big as I want to be and everybody’s listening … I know that with me being a mentor … there’s a lot of kids like me … how I was … and I see it and pay attention to them. I understand how to work them through it … try to make it a little easier than it was for me.”

“Break a Leg!” or ...
Reuben: “We say “Take Wings!” because we literally need to fly on that stage.”
 

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CONVERSATIONS WITH MEDAL OF HONOR RECIPIENT TOM HUDNER

TOM HUDNER received the Medal of Honor for his actions in an attempt to save the life of his African American wingman Jesse Brown who had crash landed his plane on a desolate mountaintop during the Korean War.

I am posting, for the first time, a transcript of a taped interview about Tom Hudner's reflections on the action and Jesse Brown. The interview took place in Denver in 2007. As an introduction, I have included a brief overview of a conversation we had on the phone a few years ago.

A truly remarkable man.

TOM HUDNER

On March 29, 2014, I called and spoke to Tom Hudner. It was not a formal interview as we had had many of those in years past. He was, as always, soft-spoken, upbeat and engaging. Among the topics discussed was the Medal of Honor Society sponsored Leadership Development Program which has been expanding to schools across the country. Tom was particularly proud of the initiative that brings recipients of the Medal of Honor into schools through personal visits and internet programs.

Tom Hudner, a Korean War veteran, was the first recipient, by date, to receive the MOH after World War II. He remembers at an early inauguration, a duty officer only allowed him one ticket because his guest was not his wife. He said that only happened once and, thereafter, all recipients were invited to the Presidential Inauguration, but had to pay their own way.  (The number of living recipients then was perhaps five times greater than the current number of 76 living recipients.)

According to Tom, times have changed significantly. The recipients have been treated with extraordinary respect as they move from city to city for their annual conventions. The last major convention in Chicago was held in 2009 and attended by over 50 heroes.

Tom talked about serving on the policy development committees in the early days of the Medal of Honor Society which was formed in 1958. He has high regard for recent recipients like Sal Giunta, who he had a kinship with since, the oldest recipients he knew at the time had fought in World War I.

2007 CONVERSATION with Medal of Honor Recipient Tom Hudner– Denver, Colorado (This transcript has been edited for length and clarity.)

TOM HUDNER ON JESSE BROWN
FIRST IMPRESSIONS

Ed Tracy: Tell me about your first impressions of Jesse Brown… when you met. Describe who he was, what he was and some of the aspects of what he faced… the struggles he faced and the challenges he overcame.

Tom Hudner: I got my wings in August of 1949 and my first orders were to the Naval Air Station on Long Island. Shortly after I got there, the squadron I joined was decommissioned and I went to another squadron at the same station. It was only when I got my orders to this other squadron did I even hear of Jesse Brown. He had gotten his wings a year before I did but I didn’t know that there were any black naval aviators. When I arrived in the squadron, nothing was said even at that time that Jesse was in the squadron. So, it was a day or two after I got there when I was in the locker room getting ready for a flight when Jesse came in. I wasn’t startled, but I was a little bit surprised. He was very quiet. He just introduced himself. “I’m Jess Brown.”  Very low key. We had a few words that I really don’t remember and then I went out to the flight.

Of course, as in squadron life, we’d see each other on a daily basis. It was obvious from the very beginning that he was very well liked by everybody, but there was no deference in any way. He was just one of the guys. No thought whatsoever that he was black.

ET: Would you describe him?

TH: Well, as I remember he was probably about five ten or five eleven. Slender fellow. He was a track man so he looked like a sprinter. With a ready smile. He had a great sense of humor. He was the butt of a lot of jokes, and he joked about a lot of other people, too. I wouldn’t say that he was anybody special in the squadron except that not everybody was proud of the fact that he was there. Frankly, what made it better was he was a helluva good guy.

He was an ensign. He’d been an ensign for… I don’t think he’d been an ensign for a full year, so he was one of the lowest seniority guys in the squadron.  He was given the responsibilities of a young officer in his position… as the Navy emphasized, you did small jobs to increasing responsibility as time and rank goes on. He didn’t get his work done on a number of times, no more than anybody else, so the squadron CO would have to kick his butt to get his paperwork done and things like that. But he didn’t experience anything that the rest of us didn’t experience.

DATING AND MARRIAGE

TH: How long he was dating his future wife, Daisy, I don’t know, but apparently they had been dating quite a bit. So, when he got into the flight program, he got in as a non-officer and the Navy would not take married non-officers. As an officer, you could go through the program married. But, as a non-officer, you couldn’t.

He ran into the typical problems that blacks faced at the time. Being down there in the south, especially Pensacola, no matter where he turned, he was given a hard time by people. The fact that he was a Naval aviation cadet didn’t deter a lot of these people from saying anything. He experienced harassment a number of times while in uniform by shore patrol and others. 

The flight program was demanding. He started in 1947, got his wings in 1948. There was a lot of pressure on students at that time.

I don’t think his girlfriend, who came from Hattiesburg, could afford to come and see him at all. Whenever he had leave and did have a chance he drove back from Penscaola to Hattiesburg to see her. I don’t know how long a drive that would be but not too much effort.

He was under so much pressure. He finally married Daisy while he was in the training program, which was very definitely against regulations. But she, of course, gave him much comfort and solace. I’m sure that he attributed being with her as an anchor.

Jesse and I were not very close. He was an Ensign and I was a LTJG. At that time, there was a big difference between an Ensign and everybody else. He had very good friends who were my rank and were true friends. The difference, though considered minor, was a big one at the time.

Also, I was Naval Academy and had several Naval Academy friends before coming in there and these other fellows, they were our friends too, but I gravitated toward those I knew before. So, that is why I didn’t see Jesse more than I did. Plus, the fact that I was a bachelor and a couple of these friends were bachelors, too. We just didn’t mix at all.

ON THE MOUNTAIN

ET: Take us through Jesse’s crash and what you saw from above.

TH: In those days, for all takeoffs and landings your canopy was open. The canopy would slide back and forth on rails. When it was open, there was a little latch that would flip over onto the track. So, if you made a sudden stop, it would keep the canopy from going forward.

When he landed and the canopy was open, I presumed he had latched it open… it latches open automatically. But he hit with such force, that the canopy shut. So, we couldn’t see him in the cockpit. As soon as this happened, the flight commander left us to climb to a higher altitude, because this is a mountainous terrain… and to call for assistance presumably from the Marines because they were known to have helicopters in the area. So, several of us… three or four, so some other aircraft from other flights, came over for curiosity or however they could help.

Then someone said, “He’s waving at us.” Jess had managed to open the canopy… and we could see him. He was waving at us to let us know that he was alive. The flight commander came back on our frequency and said that helicopters were on the way. I don’t know when it was said, but it would be as long as a half an hour before they could be there. In the meantime, smoke was coming out of the cowling back along the fuselage. That’s when I thought by the time he gets here the smoke could turn into flames.

Our flight leader was still not on our channel, so I don’t think I even called for permission to go in. I just… when the time came, I just said “I’m going in.”

ET: He wouldn’t have given you permission to go in anyway…

TH: No.

ET: Was there any buzz on the radio after you made the decision to go in?

TH: I don’t remember any comments on the radio. There may have been some, but I don’t remember any. It was not at all negative on the frequency. I don’t know how many were on at the time, but no one said “Don’t do it.”  So, I’ve always said, no one told me not to.

AT THE CRASH SITE

ET: So Jesse is out of his gloves and parachute. He has been trying to get out of the cockpit on his own. His hands are frozen. What are the conditions?

TH: There is about twenty inches of snow on the ground. Not constant, but it was knee high. The weather was clear. I don’t remember there being much wind at all but it was cold.

I had a blue knit cap that sailors wear. They call them Watch caps. I used to carry one of those in my flight suit in case I got stuck. He had taken his helmet off and that was on the floor of the cockpit. So, I pulled the watch cap over his head and I had a white Navy scarf and wrapped that around his hands but it didn’t do much good since his hands were so frozen.

The fire subsided. Hydraulic fluid or possible oil dripped on the hot pipes and plumbing that went up through into that part of the airplane. It diminished as time went on. There was almost no wind, but what wind there was blowing the smoke back up the fuselage but not into the cockpit. I was waiting for the helicopter. Frankly, for lack of anything better to do, I was throwing snow on the fuselage, under the cowling, which did almost no good.

ET: Do you recall Jesse saying anything about Daisy at this time?

TH: One of the few things he said to me… he just said, “If anything happens to me, just tell Daisy how much I love her.” There was no time for small talk, so we didn’t talk.

ET: How soon did the helicopter come?

TH: It was about a half an hour. The helicopter pilot got the word that there was a plane down. The helicopter was an Sikorsky H03. There are pictures of them. One of the smallest. Not a bubble canopy, but spheroid. A lot of glass or plastic in the front of it. Maximum capacity was 3: pilot, copilot and crewman. The pilot took off with a crewman to help get Jesse out of the cockpit. When he heard afterwards that there were two of us on the ground, he had to turn around and go back and let the crewmen off. He was going in there all by himself. He didn’t know what the circumstances were. The planes went down is about all he knew.

ET: So, that trip back took even more time for him to get there.

TH: Oh yes. That had to add at least fifteen minutes to it. I don’t know if I told you this, but when we left Norfolk, VA on the way over to Korea, the day we got underway, we went up on deck, there are six helicopters there with a Marine detachment , so there were 10 pilots and supportive enlisted personnel. We took them all to Korea from there which was the better part of two weeks.  We left the first of September and didn’t have our first flight until the 10th of October.

These Marines were riders. They couldn’t fly well and ward room. When you go through several time zones no one can sleep. We still had our work to do but these guys didn’t… what I’m leading up to is that after being on the ship for the better part of a month, the rescue pilot came and saw the only black face in naval aviation in the cockpit. I don’t recall if he said anything to Jesse. Jesse was comatose at the time. In and out of consciousness. He was very calm, but we think that he was in shock. I sometimes wonder how he could have been talking at all.

ET: Was he saying anything that made sense?

TH: I don’t remember that he did. There was so little conversation between the two of us. I didn’t spend much time in the cockpit. It was difficult. Very hard to get up there. I went back to my plane to give a status report. My radio was still working. Some said I shouldn’t have turned it off but I conserved the batteries so the radio would work longer.

ET: Were there enemy patrols in the area?

TH: I am told by some who were flying in the area that there were, but they were not close and I saw no evidence except a single set of footprints… tracks in the snow. The snow and getting up a couple of times to check on Jessie is all that I did. I was just trying to encourage him to stay long enough to help Jessie. Jessie said virtually nothing while Charlie and I were trying to figure out what to do… in the back of our minds, I think, knowing there is nothing we can do.

ET: Once the axe comes out… you can’t chop steel with an axe.

TH: Charlie was naïve just asking for an axe.

ET: So, at one point Charlie looks at you and says, “Tom it’s getting dark.”

TH: Charlie turns to me and says, “Tom, it’s getting dark and I can’t fly… I don’t have the instruments to fly at night. I’m going. It’s up to you what you want to do, but I’ve got to get outta here.” It wasn’t a matter of being chicken or anything… it was just the reality. Frankly, Jesse may have been dead at the time he said it. I said we don’t have the equipment to get you out of here. We’re going back to get something. I don’t know… he didn’t say anything but I don’t know if he even heard what I said to him. My only hope is that…looking back on it, that he knew he wasn’t alone at the time he passed. No matter what the circumstances, we don’t want to be alone at that time.

ET: I know how difficult this is to bring back. I cannot tell you how much I appreciate the time you’ve spent today talking about this.

TH: Jess got his wings just about the time that President Truman issued the executive order to desegregate the Armed Services. The Navy had the reputation of being the most segregated due to the particular nature of the Navy. The posts aboard ship. Not being able to get away. He came into the Navy on active duty as an officer into a recently desegregated Navy. Just because of the proclamation, the Executive Order, didn’t mean that anybody felt any differently about it  It isn’t that he ran around the ship and said “…because of this executive order you have to treat me differently.” He wasn’t that way at all.

Jesse was somebody that showed right from the day we met his reticence to force himself… or break anybody’s personal zone. He didn’t even offer to shake hands at first.  He didn’t want anybody to say that they didn’t want to shake hands with him. He was very respectful. He didn’t have any attitude, hauntiness, subservience. He was just one of the guys. Just from his attitude again, everybody did truly like him.

I ran into people years later who were in the squadron before I got there who spoke very admiringly of Jesse. It was pretty obvious that if he had stayed in the Navy, which I do not believe were his intentions, he’d have been a leader. Whether he would have been the first black Admiral, I don’t know.

He was a decent person. He could have been a son-of-a-bitch to the stewards and the others, but he wasn’t. The stewards hovered around him which is a very natural reaction. I don’t think he went out of his way… never got friendly with enlisted personnel. He was an officer.

Although Jesse was only an Ensign, because of his breaking through this big, big barrier to become a Navy aviator, he was really a role model. Everyone respected him and he was certainly headed for better things. He was accepted at Ohio State University. After he served his time, his intentions were to become an engineer or maybe even an architect. Whatever, he’d have done, he would have been fine.  

ET: When you returned, what was the mood back on the ship knowing that Jess was gone?

TH: There was a big void. He wasn’t just one of the guys who happened to fit in. He’s the type of guy, not to dramatize it, but lights would shine when Jesse came in. He was not a back slapper either. He’d come in unobtrusively. He’d play acey deucey with a lot of the guys. He was well liked.

Before we deployed, he had a hard time as a new Naval aviator with a new wife. He couldn’t find any housing. I’m guessing that he looked up to fifteen miles away for a house or room to rent and everyone said just missed it or too late. There was a black enlisted man pay officer who somewhat befriended him. He found a place for him near Providence. So, it was not just a few miles off the base. He had to go that far up. In the non- segregated New England. Think about what it would have been anywhere in the South.

But he was philosophical about it. A lot of the new squadron mates were helpful to him, but there was a limit to what they could do, too.

I was always a little disappointed that the Navy didn’t make more of Jesse Brown. There was such an emphasis on bringing blacks in. If Jesse had been just an ordinary guy who got caught in something, but he was a guy at a very low level rank wise who was an inspiration, not only to the other blacks but everyone who knew about him. But, they didn’t do more about it.

Throughout my career, I always heard about the Tuskegee Airmen, but I learned that there were more than one Tuskegee Airmen and Jesse was just one guy.  As I met some of them, they had never heard of Jesse Brown.

I think the word is getting around. Part of the heritage of the naval aviators is the story of Jesse Brown.

www.conversationswithedtracy.com

WOMEN IN SONG

This week we feature CONVERSATIONS with four women who are bringing people together on stage and in the studio - Jeannie Tanner, Cynthia Clarey, Colleen Raye and Sophie Grimm. Lots of great entertainment to look forward to in the weeks ahead in Chicago.

JEANNIE TANNER “WORDS AND MUSIC” - ALBUM RELEASE SHOW - FEBRUARY 27th

Award-winning vocalist, composer and trumpeter Jeannie Tanner performs and records original music with her band the Jeannie Tanner Quartet, plays at Chicago’s top jazz clubs and has been deemed a “triple-threat” who “probably couldn’t play or write an unmusical phrase if she wanted to,” by Chicago Tribune’s longtime columnist and jazz critic Howard Reich.

Jeannie debuts her latest album next month; a songbook collection of American style music featuring 12 of Chicago’s finest vocalists. “Words and Music,” showcases Jeannie’s breadth of talents as a songwriter and musician and the unique styles of each of the collaborating vocalists. Jeannie joined the CONVERSATION to talk about her latest project and what to expect from the release party.

This is your ninth album. What makes this one stand out from all the others?

This new album stands out from my other records because it focuses on my songwriting, not my singing. Each song is one of my original compositions and the two-disc album features 12 of Chicago’s finest vocalists singing my words and music: Alyssa Allgood, Rose Colella, Elaine Dame, Kimberly Gordon, Paul Marinaro, Tammy McCann, Jeff Meegan, Typhanie Monique, Andy Pratt, Abigail Riccards, Michele Thomas, Amy Yassinger. “Words and Music” is the first album I’ve recorded that I’m not singing on any of the tracks, and there are nineteen songs on two discs. As a composer, it is a dream come true.

How would you classify the style of music on the album?

This new album is a collection of my original songs and the music is an eclectic mix. It ranges from the Great American Songbook to New Orleans-style jazz; bossa nova and retro 1960s Rat Pack Swing to percussive Afro Cuban rhythms, gospel and soulful ballads, to shades of adult contemporary pop.

 Was it difficult to coordinate all of the various artists?

Actually, no. Everyone was super excited to be a part of this project, and really made themselves available for phone calls, prep meetings, recording sessions and now, performing live, in concert, at the upcoming album release. The whole process has been, and continues to be, totally collaborative and really reflective of the supportive nature of Chicago musicians.

 Do you have an “Ah Ha” moment you can share?

I have several “Ah Ha moments”… The first was when Abigail Riccards recorded a rubato version of the song I wrote for her, “Endless Joy” (the tune is about the happiness of having children). It was unrehearsed, and she and Dan Murphy, who played piano on the album, just nailed it in one take. We were all holding our breath as they were recording… and at the end, I was speechless… we all were… because it was so beautiful. So when they were finished, Abby looks at us and says, “Was that okay?” (Like, do we need to do it again?) And we all said, “Uh, no - that was perfect!”

The second was with Typhanie Monique’s tune, “Be Strong.” I wrote it for her, specifically for this album. She mentioned that she had been listening to a lot of early Etta James, and Little Jimmy Scott. So I wrote the tune keeping those artists in mind, and in passing said to Dan Murphy (Music Director, arranger and co-producer on the album - as well as playing piano), “Can you write a string arrangement sort of reminiscent of ‘At Last?’” Just this past week, I listened to the two songs for the first time, back to back and was astounded that we had captured the whole vibe of “At Last.” And, with Typhanie’s amazing vocal performance on “Be Strong,” it really was an “Ah ha” moment of, “Wow, we did it!”

How did the collaboration with these established artists influence the final performances?

By allowing every artist to have the freedom to interpret my music in their own unique style, the heart and soul of every performer can be felt on this album. The songs reflect the true spirit of this project - creative, collaborative energy with a lot of love.

What can the audience expect on February 27th?

The audience can expect to have a great time! February 27th is going to be an exciting evening of entertainment, featuring 12 of Chicago’s finest vocalists, on stage - for one night only. They will be singing my original music, accompanied by a full band with a horn section and a string quartet. It will be a multi-media concert experience, to be enjoyed at one of Chicago’s finest music venues, the City Winery.

JEANNIE TANNER “WORDS AND MUSIC” - ALBUM RELEASE SHOW
Monday, February 27th
City Winery Chicago
1200 W Randolph St.
Chicago, IL 60607
Doors Open: 6:30 pm
Show: 7:30 pm

More Information: HERE
Tickets: HERE 
Jeannie Tanner's Website: HERE 

COLLEEN RAYE and SOPHIE GRIMM – THE BEST IS YET TO COME - JANUARY 27th

Seasoned entertainers, vocalists and mother daughter duo Colleen Raye and Sophie Grimm take to the stage at Skokie Theatre to salute the First Ladies of Song in the upcoming show, The Best is Yet to Come. Raye and Grimm will be exploring the trail blazing female songwriters from Tin Pan Alley and The Great American Songbook including classics from Ann Ronell (Willow Weep For Me), Billie Holiday (God Bless The Child) and Betty Comden/Green (Just In Time, The Party’s Over, Never Never Land). We caught up with Sophie to hear more about the show and her musical influences.

Sophie joined the CONVERSATION to give us a preview of their upcoming show. 

Music has obviously played a big role in both of your lives. What influence has your mom had on your career?

My mother inspires me every day with her love of life and incredible work ethic. She has a producer's mind with the creative ability to write entire shows that really connect with an audience through laughter and musical magic. You know that magic that happens when you as an audience member feels completely in the present and satisfied with it just by smiling and tapping a toe to someone singing or playing a song FOR YOU? She helps me every day with her presence in my life, whether physical or in her vibrant spirit. As for my career, I love to say that my family is in business with one another (show business) because I find it special and fulfilling, knowing my sister and brothers are living the dream in every day reality (a creative and striving one) - makes me feel they are achieving creativity (and professionally, on top of that!) and that makes me feel they are happy, making me happy.

Has your musical focus always been on Tin Pan Alley and the Great American Songbook?

I have loved the American Songbook my entire life because the art of jazz music meeting story and sung lyrics is something I love to listen to and create myself. Growing up in a musical family, however, has led me to love all music and live entertainment for that matter. The more we can get more people in a room to have a great time with music or live entertainment, the better in my eye.

Who’s the comedian?

I get so much of my humor from my family, but although I believe my mother would definitely say her strength is in the torch song, she can swap jokes with the best of them. If you're talking about who's the clown, now, I can definitely take that title.

COLLEEN RAYE and SOPHIE GRIMM – THE BEST IS YET TO COME

Friday, January 27th
Skokie Theatre
7924 Lincoln Ave
Skokie, IL 60077
8 pm

More information: HERE
Tickets: HERE
Sophie Grimm's Website: HERE
Colleen Raye's Website: HERE

CYNTHIA CLAREY IN PORCHLIGHT MUSIC THEATRE’S
THE SCOTTSBORO BOYS OPEN FEBRUARY 3rd

Acclaimed opera singer Cynthia Clarey makes her Chicago theater debut at Porchlight Music Theatre in The Scottsboro Boys. Although not singing in this production, her character plays a pivotal role in the true-life story of nine African American teenagers accused and put on trial in Memphis for a crime they did not commit. Cynthia has traveled the world as an opera singer working with such notables as Peter Brook, Trevor Nunn and Sir Simon Rattle while also performing as a Chicago Cabaret Professional at many notable venues including Davenport’s Piano Bar and Monday Night Live at Petterino’s with Denise McGowan Tracy and Beckie Menzie. 

Tell us about your character and how she fits into the story?

I play The Lady in The Scottsboro Boys. There is no real description of who she is, but she plays a significant role in the civil rights message of the piece.

How does preparing for The Scottsboro Boys differ from your other professional pursuits?

Over the years, I have seen several Porchlight shows and have been very impressed by the professionalism of the company. Since joining the cast for Scottsboro Boys, I realize how much goes into their productions and how wonderfully they schedule and handle the cast, which is a very talented group of actors and singers. The rehearsal period is very compressed for a challenging show like this, so, we are putting a lot into a short amount of time.

How is it all coming together?

I am very excited to be part of this production, particularly right now with what is going on. I grew up in the South, and this piece is a revelation for me. I am really looking forward to the run.

PORCHLIGHT MUSIC THEATRE
PRESENTS
THE SCOTTSBORO BOYS
February 3rd – March 12th, 2017
Stage 773
1225 W. Belmont
Chicago, IL 60657

More Information: HERE  
Tickets: HERE 

Check out The Scottsboro Boys First Rehearsal Video: HERE

WILD BEN HOLLIS

As it turns out, BEN HOLLIS has been having an on-going conversation with all of us for almost four decades.

He is the co-producer and original host of WTTW's WILD CHICAGO, and many other Emmy Award-winning programs, that feature his engaging interview style and zany humor, all mixed with unbridled excitement. A consummate storyteller, his focus is squarely on people and places, which is ultimately the point of his shows: to appreciate and learn a little bit more about ourselves and everything around us.

His near-legendary persona – that of the ever-vigilant explorer in pith helmet and khaki shorts with run and gun reporter microphone in hand – places him in a class all by himself.  Hollis is smart, well read, spiritual, worldly and yes, hysterically funny, both on and off camera, about whatever topic he’s talking about … including his real-life experiences, which are front and center in his next project.

We caught up with Ben on January 9th as he was making final preparations for his upcoming solo show “How the Beatles Nearly Ruined My Life and How David Bowie Saved It” debuting later this month at the Skokie Theatre. The new live stage venture is a long time in coming, unexpectedly interrupted a year ago with, well … brain surgery!

As you will hear on this episode of CONVERSATIONS, Ben’s life took a dramatic turn last January when he was diagnosed with arteriovenous malformation (AVM), a rare and life-threatening condition if left untreated. That medical journey, and the road to the new show, are among the many topics covered in our conversation.

As his ever positive and optimistic attitude will attest, we have only begun to scratch the surface of the many talents that Ben Hollis brings to the stage... and we are truly blessed that he is still here to tell the tale.

Ben Hollis on brain surgery ...

“I was the happiest brain surgery candidate I think anybody’s ever seen. I’m sure that those doctors and nurses and orderlies thought I was out of my gourd. Folks, imagine watching me with my pith helmet on the gurney being wheeled in there going ‘Woo hoo! This is the wildest journey I’d been on!’”

The gift of laughter …

“I’ve been given gifts. We’ve all been given gifts and talents … let me bring them fully to bear and trust that it’s the right thing to do … and that somehow it’s going to help other people too. Even if helping other people is only making you laugh and smile for an hour and a half, that’s not nothing.”   

Jack Brickhouse’s influence on his career …

“Jack Brickhouse, Cubs announcer for many years on WGN, always used to say early in the broadcast ‘Put down your worries. Put your feet up and just be with us for a couple hours. You don’t have to worry about anything else’ ... As a kid, you hear that and you go ‘what a bunch of malarkey’ … [But] Jack was so right … that’s exactly what we get from a movie or watching a ball game. The older we get maybe the more we pile up in our brains. If I can lighten anyone’s load, I am there to serve.”

What to expect in his upcoming show at the Skokie Theatre …

“A lot of what people are going to take away is joy in remembering their own life story. It’s going to appeal to a lot of Boomers in particular … it’s really the story about how music saved my life ...  The Beatles nearly ruined it. Bowie saved it by giving me another chance.”

HOW THE BEATLES NEARLY RUINED MY LIFE AND HOW DAVID BOWIE SAVED IT

TWO SHOWS:
January 21   8 pm    January 22  2 pm

Skokie Theatre
7924 Lincoln Ave
Skokie, IL 60077
Tickets: $22 Online or Call: 847-677-7761

Ben Hollis Links
WEBSITE: Video Production
BUY: Rent-a-Friend