Before an actor steps on stage to become a character in a play, a great deal of time has been spent preparing for that role. Joy Jones, now appearing in Arena Stage’s A Raisin in the Sun, began her advance work by watching an archival recording of the 2014 Broadway revival of Lorraine Hansberry’s play which starred Denzel Washington as Walter Lee Younger and Anika Noni Rose as Walter’s sister, Beneatha, the role Jones is now playing. Jones’ research, however, was just beginning.
“I analyzed my script: first writing down anything that Beneatha says about herself, then writing down anything all the other characters say describing her, and then going back to Beneatha’s lines and noting any vocal habits or repetitions,” Jones explains. “For example, Beneatha says `gee’ and `oh’ frequently, which told me she was an expressive person.”
Jones also reviewed the packet of background information the play’s dramaturg, Georgetown University Professor Soyica Colbert, gave to the cast and creative team. “It contained details of Lorraine Hansberry’s own life and details about Chicago and the broader society [in the early 1960s],” she says. “My next step was watching films and documentaries of the time, especially those featuring African-Americans and other people of African descent.” Jones found the standouts were: Carmen Jones, an adaptation of Bizet’s opera Carmen for an African-American cast; Black Orpheus, which brought the ancient Greek myth of Orpheus and Eurydice to the twentieth-century madness of Carnival in Rio; and Take a Giant Leap, a coming of age film about a black teenager growing up in a predominantly white environment.
And all that before memorizing one line!
Arena’s Artistic Director Molly Smith seems to be a woman on a mission. This season’s lineup of plays – Roe, Watch on the Rhine, Intelligence, and Smart People – provoke discussion at a time when those conversations are desperately needed. A Raisin in the Sun fits that pattern. Hansberry’s play, which first debuted on Broadway in 1959, centers on an an African-American family living in Chicago, struggling to improve their lives. The family patriarch has died, leaving his widow, Lena (Lizan Mitchell) with a life insurance payment of $10,000. How that money will be spent creates tension within the family. Lena’s son, Walter Lee (Will Cobbs), who works as a chauffeur, wants to open a liquor store. Beneatha has set her sights on becoming a doctor, yet she is still defining herself, illustrated in the play by the two very different men she is dating.
“I could relate to Beneatha,” says Jones. “I remember being in college at 20 and being very sure about some things – who I thought I was, who I wanted to be. And I also remember there being many, many things that I was unsure and even ignorant about. I knew that I was in a state of becoming. So my portrayal of Beneatha definitely goes back and forth between being sure and unsure.”
Despite her ambitions to further her education, Beneatha seems less concerned than her brother with the money that their mother will be receiving. “I think Beneatha’s response is three-fold,” explains Jones. “One is a sense of rightness about the money being her mother’s as next of kin. Two, is her certainty as the younger – somewhat spoiled – sibling that she’ll be taken care of like always. And third is the optimism of youth. That all contrasts with frustration and desperation that Walter Lee has as a husband and father in his mid thirties.”
While the play never shows Beneatha actually studying, she expresses her ambitions through the play’s dialogue. “In her very first scene, she mentions a recent biology class,” Jones says. In a scene with one of her suitors, Joseph Asagai, played by Bueka Uwemedimo, Beneatha “marvels at the power of medicine to heal a young playmate, and says that she wants to cure people.”
Asagai, who is from Nigeria, teaches Beneatha about her African roots, while George Murchison (Keith L. Royal Smith) takes her to cultural events. “Each young man offers her a different set of possibilities,” says Jones. “Her time with George exposes her to high culture: theatre performances and `nice places’, and a world of wealth and material comfort. In contrast, Asagai offers her entrée into a world beyond Chicago: a world of political transformation and ancient culture. And both men are beautiful!” Which one would she choose? “Several women I’ve spoken to after performances tell me what they thought Beneatha did after the play ended. Some think Beneatha goes to Nigeria with Asagai, and others are equally certain that she leaves them both behind for a career in medicine!”
The issue of abortion is brought up in the play, a topic that continues to be debated. “At our opening night, Joi Gresham, the trustee of the Lorraine Hansberry Literary Trust said `that we are all catching up to Lorraine,’” says Jones. “She meant that so many of the issues Lorraine Hansberry discusses are still with us, including abortion. I believe it’s included to show a context where a woman could consider abortion as the best or rational choice to preserve her relationship with her partner and the financial well being of her entire family.”
Bueka Uwemedimo as Joseph Asagai and Joy Jones as Beneatha Younger
Racial equality, however, is the overall theme of the play. The Civil Rights movement was in its infancy. When Lena uses some of the money to put a down payment on a house in an all white community, the reaction is swift and hurtful. A representative of the neighborhood attempts to buy back the house from Lena. “There are several versions of the play which include scenes and even characters that are not in this production,” says Jones. “One such scene is with a neighbor, Mrs. Johnson. She tries to draw the family into conversation about the expected check and eventually berates them – especially Beneatha – for their proud ways. It’s an insightful scene because it shows that in this working class community the Younger family is perceived as strivers, who may or may not have ‘airs’. Therefore, inside and outside of the family it is not a great surprise. They not only work hard but dream big.”
The title of the play comes from a Langston Hughes poem Harlem: “What happens to a dream deferred? Does it dry up like a raisin in the sun?” “When I heard about the genesis of the title I thought that it was a powerful call back to the poem,” says Jones. “The title could’ve been Dream Deferred, but instead Lorraine Hansberry shows the poetic image. The choice – like much of the play’s dialogue – shows that Lorraine Hansberry herself had a sense of lyrical language.”
More than 50 years later, Hansberry’s play still resonates, particularly in our nation’s capital. “The play is important now because we always need stories that remind us about all the humanity in all the other people around us,” says Jones. “And as the city grows and changes, and the nation discusses security and immigration, it’s timely to think about our perception of insiders and outsiders. I would hope that audiences are reminded of the nobility and imperfection of regular people who want to live good, principled lives and make the world better for themselves and the children.”
Photos by C. Stanley Photography
Top: Lizan Mitchell as Lena Younger and Joy Jones as Beneatha Younger
A Raisin in the Sun
1101 Sixth Street SW
Alive On The Inside
Written and Performed by Richard Eagan
Eight year-old Richard Eagan tore out of the subway, running as only an eight year-old can towards hurdy-gurdy music, colored lights, the smell of salt, “popcorn, axel grease, and sweet something.” His straw-boatered grandfather, Montague Sidney Chamberlain Renshaw, aka the Colonel, had declared, “It is high time for me and for you to make a tour of General Coney’s Island.”
Things were different then. Coney Island was holding, white-knuckled, to its nationwide reputation as an affordable beach resort with rides, games, and entertainment. Steeplechase Park stood as 12 fenced-in acres of amusements, a giant mechanical garden accented by statuary. The Colonel seemed to know everyone by name. He bought Richard a ‘combination ticket’ which could be punched all around “until your ticket’s empty and you can’t see straight” and regaled him with stories. The boy took in everything around him like a sponge, longing with all his heart to be a part of it.
Then life happened. The family moved, he attended several schools, became an actor, began therapy, and took up fine carpentry, “a favorite occupation for white boys in the 1970s.” When they sold Steeplechase Park and demolished most of the rides, Richard wasn’t paying attention. Not even when The Colonel died did he emerge from a morass of self involvement. Still, the place called to him.
With some urgency, he returned. “All that was left was a gaping hole and an aching heart in the greatest place in the world.” Resolving to do what he could, Richard founded The Coney Island Hysterical Society whose first effort was painting a large mural of the place’s former glory. From a 20’ scaffold, listening to the music of 70 something year-old Freddie Moran’s wind-up victrola in the house below The Cyclone (roller-coaster), he watched the members of Coney Island’s Polar Bear Club (founded 1903) plunge into icy, winter waters, past and present unwittingly side by side.
This is the story of Richard Egan’s love affair with Coney Island; of cigar chomping, uber-luxury-car driving, Ronnie D. who sized up the young man’s dreams and successively seduced him into running a ‘plate pitch’ (toss a quarter onto a plate) – when a kid won an expensive teddy bear, Ronnie D. would buy it back at a profit and return the prize to his tent; The Florida Shark Show- with short, dumpy, sweat-suited Miss Atlantis and three sleepy, baby sharks- “Ah, but wait til ya see the show;” and what was left of the Funhouse-after Richard dealt with rubbish, rust, and shot hydraulics. (This does not end well.)
Dramatis personae also includes Leo who recommends the acquisition of a number of High Strikers (the strength game wherein one attempts to ring a high bell with a heavy mallet) and explains how a high ticket booth helps one rip off the rubes and local fixture Jake Fine whose Basketball Toss becomes a practical second to stock recommendations.
Richard Eagan shares colorful character emulations with pitch-perfect accents, the art of the bally (outside come-on), and old timers’ tricks of the trade. Details are so specific and rich, you feel like you were there. Beautifully written and performed, Alive on the Inside is part Ray Bradbury and part Dylan Thomas (A Child’s Christmas in Wales.) It aches for another time, only briefly referring to the short-sighted wheeler dealers who eschewed refurbishing for commercializing. The piece is vivid, amusing and extremely touching. This is storytelling. One can only hope it has a future.
Though well chosen, Chris Tsakis’ sound effects were too loud, too long and too abrupt.
Harlem Blooms in Spring – Impressions of Langston Hughes
Written and Performed by Jersten Seraile
Directed by Zishan Ugurlu
I would venture to guess that no one enjoys being yelled at for over half an hour of a 50 minute show, especially in an intimate theater. The earnest actor/author and his director might easily have embodied frustration, anger, passion without sustained volume.
Langston Hughes’s House Un-American Activities Committee subpoena- ostensibly because of social activism and a trip to Russia, attempts to give this piece form. It’s a good choice, but ricocheting back and forth from childhood (the latter, a well written and acted segment) and discussions of the musical inspiration of his poetry to a perpetually ringing phone is disjointed. The intrusive noise makes its point after twice breaking up monologue, yet continues. Additionally, atmospheric background music is repeatedly too loud all but burying speech.
It’s clear Jersten Seraile is invested here, but the show could use a clearer narrative line and intensity without shouting.
All Photos courtesy of the productions
410 West 42nd Street
In its 7th season, United Solo is the world’s largest solo theater festival. Performers from 18 countries, 23 states, and six continents will present their unique works between September 15 and November 20, 2016.
Tickets: Telecharge (or 212-239-6200) and at the Theatre Row Box Office (410 West 42nd Street, NYC).
For the full calendar of performances, please click to visit the United Solo website.
Louis Rosen, composer/songwriter/librettist/musician/author/educator is a Jewish white man for whom black experience profoundly resonates. He’s also a musician with an affinity for serious poetry. My first impression of the artist reflected neither of these attributes. Comfortably ensconced on a stool at New York’s Birdland, he sang his own songs, playing acoustic guitar. They were, as I said in my review, literate, sincere, folksy… a graceful advocate of understatement. It felt like the 1970s.
The second part of the program consisted of selections from Dream Suite, music by Rosen, words by Langston Hughes. I wrote, Songs arrive full blooded and black, hybrid American opera-without libretto… roots lay in gospel, R & B, boogie woogie, blues… Like George Gershwin, here was an artist who effectively burrowed under the skin of black culture. Rosen, however, had no need for theatrical thru-line. Each lyric could be married to music specific unto its sentiments.
A little research unearthed the prolific composer’s Twelve Songs on poems by Maya Angelou, One Ounce of Truth-The Nikki Giovanni Songs (with Dream Suite, these comprise The Black Loom Trilogy) and The Ache of Possibility utilizing more Giovanni. What, I wondered was the source of such fellow feeling? What was his journey?
Rosen was raised on Chicago’s far South Side in a mile square enclave of middle class, Jewish white folks who built the community just after World War II. It was “A good place to buy a home, raise children, build a synagogue, and enjoy the fruits of family life.”
Starting when he was 10, and escalating to “white flight panic mode” after the Martin Luther King assassination, something uncomfortable happened to his secure, picturesque neighborhood. Despite avowed lack of prejudice, as black people traded up and moved in, Rosen’s white buddies and their families moved out. The Jewish Community Center and then the Temple shut down. “People succumbed to the fear their homes wouldn’t be worth anything after awhile.” There’s regret in his response and a tinge of former confusion. “It was happening all over the country.”
The boy and his contemporaries were in the eye of the storm. There had always been blacks and Latinos in school “you assumed the price for entering the Men’s Room (in high school) was a quarter,” but never like the incoming wave. Still Rosen was physically assaulted only once and then by two Chicago policeman because he had long hair. They threw him against the patrol car, “did a mildly rough search, no doubt looking for drugs, and found none. It wasn’t serious, but it taught me what it is to be targeted based on appearance.”
His family stayed another five years, then moved a few miles away. Mrs. Rosen, like many others, suffered the loss of her dream house and hopes of growing old within the community that had nurtured her marriage. It wasn’t until age 40, when he interviewed past residents in an effort to fully understand the phenomenon, the artist found empathy for what occurred.
Shakespeare to Sondheim
Though his family played an American Songbook version of “Name That Tune” around the dinner table, young Louie Rosen was into R & B. He joined a garage band performing – before closure – at The Jewish Community Center and bar mitzvahs. By 16, he’d dispensed with drums teaching himself piano and guitar. He also began to write, albeit without knowledge of notation. Singer/songwriters made him want to be a musician. When neighborhood street sounds changed, the teenager heard so much soul music, it annoyed, rather than intrigued him. “If I have any regret, it’s that I never went down to the blues clubs in Chicago.” I glance at the porkpie hat.
After an ambivalent Gap Year, Rosen buckled down to college and then The Chicago Conservatory. He might, he conjectures with implicit shrug, have been a basketball coach or history teacher were it not for this chapter. Extremely broad programs included jazz orchestration and a class on Stravinsky.
Rosen kind of fell into theater. The last year at school, he shared a house with his playwright brother; thespians converged. At 22 and wet behind the ears, he was hired to compose a score for Romeo and Juliet and six songs for an Aristophanes play. It was the first time he coupled music with verse. Supporting himself by teaching, he went on to score Macbeth and Winter’s Tale inadvertently becoming the city’s go-to Shakespeare guy.
“I had no experience with black culture; classical music doesn’t expose you to African American musicians.” A self proclaimed serious artist, the only theater composers he liked were Gershwin, Weil, Bernstein, and Sondheim. Exceptions might be made for those musicals attacking important subjects like Rodgers and Hammerstein’s South Pacific.
In 1981, NYU inaugurated a pilot graduate program for theater writing. As a prologue, eight musicians were invited to spend three weeks in workshop with Stephen Sondheim and Hal Prince. Rosen came to New York. “At this point, Sondheim had just written Sweeney Todd. The 1970s made us think you could do serious, experimental theater.” His voice takes on energy in recollection.
The group met in a loft on Crosby Street. Rosen describes it as looking like “a heroin den.” He loved that uptown guys would come down for this. “The first thing I had to do as a young man was get over the fact that I was in the room with Sondheim and he was treating me like I had a right to be there. Once I did that, I had to listen very closely. He was unpretentious, but terse, with laser like precision zeroing in on problems…” The student especially learned form, lyric writing for character, and the significance of musical gestures that make take one from dialogue into song. They still occasionally communicate.
“I really liked Hal too. He criticized one of my songs in a way that to this day is the best put down I’ve ever had: `I feel the music is gratuitous’ and he was right, it was generic.” Up go the eyebrows.
That December, Rosen returned to New York (and stayed) entering NYU’s MFA program. A two week intensive with Leonard Bernstein was held on 47th Street, upstairs, next to The Gaiety Deli in a space donated by The Shuberts. “He was a showman. When he walked in, he stopped in the doorway and looked around until all eyes turned.” The Maestro wore a cape.
The first session was scheduled for three hours. When time was up, a loquacious Bernstein suggested if someone would get him dinner, he’d stay until he had to be at the theater. “They bring this greasy chicken. He’s eating and speaking with tremendous insight about Mark Blitzstein. There are these movie posters up on the wall. In the middle of a sentence, he takes a drumstick bone and says, `Let me see if I can hit Lana Turner in the tits,’ throws it, and goes on without missing a beat.” Rosen grins.
When a couple of students brought in a song with what they thought was a Greek feel, Bernstein sat at the piano and offered 20 folk music motifs on which they might’ve built. “He said, steal from the real and make it your own, don’t give me faux Greek…He enjoyed astonishing us.”
Avoiding what he felt was the language of popular music, Rosen wrote instead for Brecht’s Galileo and Shakespeare’s The Tempest at Chicago’s Goodman Theatre. “It’s like an actor getting a classical role. No one can do the definitive version.” He authored a successfully produced musical with Tom Bishop called Book of the Night and a song cycle entitled “A Child’s Garden of Verses” that blossomed into a second musical illuminating the life of Robert Louis Stephenson.
“I was really writing about my own childhood, the facts of his life in tandem with my emotional and musical crisis.” The piece is set on the last day of summer. An older Stephenson looks back working through a writer’s block. “It was interesting the degree to which I could communicate personally with someone else’s words.” The song cycle, what we called “concept albums” in the 1960s and 1970s, is an ideal form for Rosen. “Stories can be told, an emotional journey created, characters portrayed, but unlike musical theater, all the dots don’t need to be connected.”
The South Side
Rosen was now in therapy. It was time to face the past. Awarded the first NEA Grant given to an individual, he intended to create a musical theater piece based on growing up on the South Side. Six of the evocative songs he included with his grant application ended up on the CD South Side Stories. For perhaps the first time, an underbelly of jazz and blues, what he calls “the blue note” can be discerned in his music. “It metaphorically means the integration of everything I’d grown up with.”
…It was bungalows all in a row/Where a family dream could grow/And only Democrats knew where the bodies were buried/On the South Side…(“The South Side”)
I asked myself Why?/I asked myself, Who?/I answered some just don’t like barbecue on the/ South Side…Are we leavin’, are we stayin’?…Was the question, What to do?/Or was the question, What excuse do we use?… (“The South Side Blues”)
In the process, he realized not only that he didn’t understand what happened any better at 40 than he did at 13, but that his experience was not uncommon. “So I put aside music and started writing the book.” The South Side – The Racial Transformation of an American Neighborhood 1998
Tracking down and interviewing former black and white neighbors, Rosen created fifteen composite characters who “speak” rather like those in Our Town (Thornton Wilder) or Under Milkwood (Dylan Thomas). “I went in thinking racism was the only issue and came out understanding that fears were based on past history and the tribal nature of humankind.” A reference, in part, to the persecution of the Jewish people? Its author thinks of the edifying (nonfiction) volume as a spoken cantata. It was also something of an exorcism.
Miscommunication came up again and again:
“…knowing that blacks and Jews shared some similar experiences – you know, slavery, discrimination; we’d been partners in the civil rights struggle -I thought we had an awful lot in common. I was really surprised when certain things happened…that showed a gap between the two groups…” from a white woman
“So we felt. “Enough is enough. Fifty-fifty we don’t mind-living in an integrated community. But after that, forget it…It’s just like Tevye-you can’t look back.” …from a white man (Tevye is the protagonist in Fiddler on the Roof)
“I think I subconsciously felt we weren’t a wanted race, that it didn’t matter what you looked like, how you sounded, whether you were intelligent or educated – you just weren’t wanted, collectively….So when the Jewish people were leaving the neighborhood, I wasn’t surprised…” from a black woman
By the time Rosen started his next effort – Dream Suite, Songs in Jazz and Blues on poems by Langston Hughes – he’d read more books than he could count about the Antebellum South and a serious amount of African American poetry, from Harlem’s Renaissance to the 20th Century. “Hughes was the best… his work breaks through racial boundaries to touch the soul of humanity – racial, political, and personal….it says something worth saying.” Immersing himself in the author, Rosen devoured both autobiographies and a book of short stories. He identified with Hughes’ introspective nature.
“Most important for a composer, his poetry sings with natural ease and grace…the language is rich in imagery…yet always rooted in the American vernacular and soulfully direct in emotional expression…” The idea was to eschew art songs for settings within the broad reach of popular material.
“So called art songs by Schubert, Barber, Rorem live side by side with those of Paul Simon, Bob Dylan, Joni Mitchell, Antonio Carlos Jobim…It’s all one to me. If my musical voice is distinctive, its originality comes in the manner of synthesis…`Harlem Night Song’ (for example), starts with shades of Aaron Copeland and moves into shades of Jimmy Webb, though you don’t hear them explicitly.”
Rosen has been surprisingly successful with this approach. Much of what was written arrives so like songs it’s as if he collaborated with the lyricist. The CD of Dream Suite was inspired and recorded by Alton Fitzgerald White “we have a deep musical connection” who had been in the workshop of Book of Night and, upon recommendation, Capathia Jenkins, who became Rosen’s Muse, recording and performing with him ever since. “She and I come from completely different worlds, but the worlds become one with the work.”
“When Louie said I think I’d like to write for you, I didn’t take him seriously, but true to who he is, he called about a month after recording to tell me he started to sketch some of Maya Angelou’s poems. (one of her favorite poets)… It’s a tightrope to walk if you’re a white person trying to reflect the black experience. He gets it,” Jenkins says. Rosen’s settings are a challenge the vocalist relishes. If she doesn’t feel he’s written in her voice, that a song doesn’t speak to her, she tells him straight out. If the composer wants something “juiced” or “finessed” he speaks up. They describe Nikki Giovanni with the exact same phrases. It’s a symbiotic relationship, “an honor,” she adds.
Dream Suite was the first of the three song cycles that evolved into The Black Loom Trilogy. “If you take African American elements out of American music, you don’t have American music…That collision of cultures had a huge impact on my generation… it’s probably the most fundamental driving force in my life.”
Maya Angelou depicted the down and out with an edge Rosen found “sassy, political, and slightly angry.” He was attracted to the pride and dignity of her women. The composer also chose Angelou because the writing was a fit for Jenkins, “both her voice and being…these days I’m either writing for myself or Capathia.” Already familiar with Nikki Giovanni, he discovered over time her voice had mellowed becoming more positive. With gravity, there was new playfulness in the author’s poetry and prose. Giovanni has performed with Rosen and Jenkins. Jenkins calls her “salt of the earth.”
Louis Rosen and Nikki Giovanni
“At this point, the music was flowing at a pace that went beyond what I, as a lyricist, could keep up with. So every work for which I’d write music and lyrics would be matched by one or two where I set poetry to music… The journey of the three pieces is one towards light. I could personally express what I wanted to say through the content. It sang to me.” Rosen feels he’s currently finished with the black experience.
I ask how it is that religion hasn’t found its way into Rosen’s oeuvre. He’s addressed culture and history, but fixed on no Jewish writers for inspiration or raw material despite similarities in the black and Jewish experience and the environment in which he grew up. There’s a long silence. He responds by pointing to a song in South Side Stories about the relationship of a light skinned girl and dark skinned boy to which the girl’s parents object. “The original lyric was about a Jewish boy and a Gentile girl. I just wanted Capathia to sing the song, so I changed it slightly.” Except for a couple of isolated lines in two others, there are no additional references.
“I’ve struggled for years with the role of Judaism in my life. We went to synagogue, I had a bar mitzvah. By the time I was 15, Judaism had disappeared from the hood…I’ve never really felt a part of it. There are lots of things I’ve never felt a part of-like my generation…” Rosen thinks of himself as spiritual, not religious.
“My Third Act”
When James Lapine asked the composer (in 2014) to write music for his Lincoln Center production of Act One based on Moss Hart’s autobiography of the same title, Rosen hadn’t written for theater since the 2004 production of Moliere’s School for Husbands at the Westport Country Playhouse. Nor had he missed it. This is not to say Rosen hadn’t been busy. The artist almost always has several projects besides teaching Music Appreciation and Theory – everything from Bach to The Beatles – at 92Y School of Music over 30 years. He loves it. “It keeps me learning. When I learn something new I want to share it. The wow factor of discovery hasn’t gotten old for me.”
Lately, the multifaceted Rosen writes both music and lyrics in a chapter he calls more confessional than professional. “I think I was awakened to that distinction from an interview I read 30 years ago with Bob Dylan”; songs to get old by dealing with this moment in life. There are ballads, wry comments, and storysongs.
My son’s 529 Plan’s going M.I.A./My pulse rate is the opposite of A.O.K./I see rows and rows of red ink/Where there once was black/Stare into the abyss too long-/It’s gonna stare back… “The Middle Class (Used-To-Be) Blues”
“I still work a lot and I still want my work to be heard, but the desire now is driven less by large dreams than by the passion and joy of creating, then offering the work through performance and recording…The importance of being present with my wife and son, or spending a day wandering or reading in Prospect Park can’t be overstated. Social Security is visible on the horizon and as I said in `My Third Act’, eventually… I’ll be workin’ on my memoir while I’m workin’ on my tan.”
Louis Rosen’s body of work is far more extensive than that which I selected to call out.
It can be found on her website.
CDs can be purchased from the store on his website and on CD Baby.
Click to read about Rosen’s Fascinating Classes at the 92nd St. Y
In December Rosen will perform his own music at The Duplex in collaboration with the formidable Karen Mason, whom he’s known since Chicago. A new CD, Dust to Dust Blues, will be released in 2017, the artist hopes to record both a 15 song cycle provisionally called “I Don’t Know Anything,” and, with Darius de Haas, A Child’s Garden Song Suite, inspired by the musical theater piece. Whew.
All Photos Courtesy of Louis Rosen
Programs Courtesy of The Goodman Theatre
Photos of Louis Rosen and Capathia Jenkins at Birdland by Kevin Alvey