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FOUNDER'S CORNER - COLORSTRUCK
Last winter,
I had the honor of meeting and sharing the stage with Donald Lacy in Sacramento Theatre Company’s production of August Wilson’s, “GEM
OF THE OCEAN.” Getting to know Donald and watching the evolution of his character, “Solly Two
Kings” allowed me to become familiar with the comedic aspects of his personality. In addition, I
began to understand that we share more than just a last name. We share a kindred spirit for I recognized
Donald to be intense, and intelligent, and much like myself, highly passionate about the arts and social justice, in addition
to having a strong sense of concern for our youth and the direction that they are headed. Shortly after “GEM” closed, I had the opportunity
to see COLORSTRUCK and like Donald, his one-man show reflected those aspects that I had come to know as him: comedy,
intensity, intelligence, passion, and a sense of caring. And being the consummate performer that he is,
without hesitation, he brought all of those personal qualities to the stage. As I sat
in the audience, listening to the laughter and recognizing the knowledge and truth that was being imparted, I knew that I
wanted to share this show with Sacramento. COLORSTRUCK unapologetically tackles the most pervasive and divisive
topics in America…the topics of race and racism. And it tackles it up close and personal.
Donald uses a comedic, cultural, and historical context to take us on a journey through his life, which spans the time
period when change for Blacks via the Civil Rights and Black Power Movements was at its height. He combines
theater arts, and stand-up comedy with activism and education to bring home the point that stereotypes that are rooted in
racism don’t only exist outside the African-American culture but within, as well. For example, whether we recognize
it or not, using terms like “good hair” are rooted in racist ideology and only serve to perpetuate racist connotations
and keep them alive. He reminds us that regardless of ethnicity that we need to laugh at ourselves.
And,
he holds us spellbound while reminding us about the dignity of our history and that being of African descent, we come from
Kings and Queens, not Niggers and Coons…and that we have a responsibility to act as such and to teach our children
about their royal heritage. COLORSTRUCK
is a 90 minute journey ending with post performance dialogue that builds coalition and a sense of community amongst all people,
in attendance. The journey lends itself to audience members feely wanting to share their own stories. Perhaps more importantly, COLORSTRUCK
reminds us that we are far more alike than we are different and that we need to learn to respect and honor diversity for if
we do not learn to stand together, we will eventually perish alone. It is my hope that the audience will laugh while taking to heart and reflecting
upon the larger message that is being imparted. My prayer is that one show and one person at a time,
we will move closer together, remembering that there really is only one race that God created and it is called HUMAN.
In closing, I
wish to thank Donald and his producer, William Hammons, or both walking with me each and every step of the way to bring COLORSTRUCK
to Sacramento. Thanks Guys! I am sure that this is the first of many, like ventures
for the three of us. Also, I wish to thank our many sponsors for believing in IMAGES THEATRE COMPANY, COLORSTRUCK,
and the need to honor diversity as well as thank you to our audiences for your continued support and patronage. And, last
but never least, I am forever indebted to the IMAGES staff and team of loyal volunteers. You know who you
are. My confidants, my friends…You know you have my heart and I thank you. Blessings, Lisa A. Lacy, Founder/Executive Director Images Theatre Company
WINGS OF FREEDOM
DIRECTOR'S
NOTE
For the past five years, Images
Theatre Company has been embraced by Sacramento communities, and stayed afloat in spite of not having a place to call home.
Like nomads, we’ve traveled from theater to theater, annually creating, producing, and directing socially and spiritually
conscious theatrical productions in an attempt to do more than "merely entertain." Following the vision of the "Blacks
Arts Movement," as an organization, we have sought to engage, enlighten, educate, and uplift the consciousness of all
lives that we have been graced to touch.
At
the end of 2007, we turned a new page when we were invited to take up permanent residence at The Guild Theater in Sacramento.
In a day and age, where drug abuse runs rampant, it seemed only fitting that for our first full run at the Guild that we revise
and bring back, "Wings of Freedom," which imparts a powerful message about the destruction caused by substance
abuse.
"Wings of
Freedom" blends dialogue, music, song, prose, poetry, and movement to create, capture, and provide a glimpse into
the more intimate details of the lives of four addicts. The play allows us to go beyond the surface and explore the hearts
and souls of these often called, "throw away" people and gain insight into their frailty and pain, while imploring
them to move beyond the demons that have captured their souls, and reclaim their God-given humanity and freedom.
In "Wings of Freedom,"
we meet Dee Dee (LaFonda Baker), a hopeless crack addict, who carries the guilt of her mother’s death and her friend,
Raymond (Michael Turner), a heroin addict who has lost his way, and all that matters to him. There is Jay (James Ellison),
an "anything addict" who uses comedic antics to starve off his own deeply seated pain, and Sherry (Neketia Brown),
an alcoholic who drinks to forget the incestuous childhood abuse that she was made to endure. The battle of good versus evil
is symbolically reflected in the opposing characters of Sister Marie (Elaine Douglas), a recovering addict, who is a social
worker and woman of the cloth, and the local drug dealer, Damon (Derrick Miller) whose desire to make money, clouds all other
judgment. In the tradition of a Greek Chorus with soul, are vocalists Sarah Von, Quintina Watts, and Nekia Anderson, whose
sultry voices add another dimension of flavor to an already engaging drama.
Ultimately, "Wings of Freedom" is about choices and internal conflicts.
It is a reminder that individually and collectively, we each must choose daily, whether to act from a place that embraces
our lower or higher selves. It is a reminder that as humans, we are charged with not only lifting our own selves/spirits into
the light, but often, we must take the hand of the one standing next to us, who may need a little help.
It is our hope that as you, the audience journeys with us that
you will reflect upon the people in your life that may suffer from addiction and perhaps, feel more compassion, the next time
you encounter them. We encourage you to laugh, cry, and cheer on these characters as they strive to become un-enslaved and
seek to soar on the "Wings of Freedom."
As always, my work is dedicated to the magnificent Creator from whom all blessings flow, and the
people whose love and encouragement gave me the strength to grow my own wings and soar, my beloved late husband,
Derek McGriff, my mother, Mary Tarrer, and my mentor & other mother, Minta Brown, Ph.D. I pray that
their spirits will continue to journey with, and watch over me, and may I continue to make them proud.
Lisa Lacy-McGriff
Executive & Artistic Director
Images Theater Company
May 2008
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Hallelujah City - Director's Notes
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Many times, it’s been said that life imitates art.
Until I began to write Hallelujah City, I did not know how much truth would spring from that phrase, personally, endearing
it to me.
During the winter of 2006, while en-route home from a performance of our show, "Evangelize,"
at Magic Circle Theater, the title "Hallelujah City" leapt into my mind. My only thought was that the play would
be about a fantasy place called Hallelujah City. Painfully, regretfully, and unbeknownst to me at the time, on June 12, 2006,
the story line for this play would begin to take shape, as my life was devastatingly struck with unparalleled tragedy, with
the sudden loss of my husband, Derek.
Thus, Hallelujah City is in part the story of my journey, since that loss,
and the elusive healing that I am still trying to grab onto. It is also about the resiliency of humans when faced with no
choice but to go on in spite of pain and grief and the bridge that faith eventually builds to lead you to the other side.
At the beginning of the play, we meet Christian Alexander (Keith Holman), a writer who has lost his way as the
result of the recent passing of his wife, Mara (Dana Pope). As his devastation and grief engulf his life, so does his anger
and loss of faith in God, and humanity. In the midst of a suicide attempt, a divine intervention occurs when three spirits,
Isadora (Lisa Lacy), Big Red (Ifamodupe Eddington), and Annie Mae (Deborah Nelson), appear and take him to Hallelujah City,
another dimension that runs parallel to the earth, "not heaven or hell, but kind of in-between."
At the gates of Hallelujah City, Christian is paired with Big Red, a spirit guide with a
whole lot of attitude, who has no desire to "baby-sit this chump." However, she has been told by Beejee’s
(Bill Miller), the leader of Hallelujah City that she must help Christian if she is to earn her way into the City. Big Red
could care less about entering the gates of Hallelujah City but plays along to accomplish her true agenda, which is to please
Bigum (Joseph Brown), her man in life and death. As Red escorts Christian through the surrounding areas of Hallelujah City,
it becomes obvious that the journey is not just about Christian’s healing but also about Big Red’s salvation,
as well.
Charles Cooper has written perhaps, his
best musical score yet. And, Cooper fans know that for him to out-do himself is no small feat. Coupled with Wanel Thomas’
choreography, and a talented ensemble, which includes such local celebrities as Bill Miller, Keith Holman, and Ifamodupe Eddington,
and many more, Hallelujah City will undoubtedly leave audience members dancing in the aisles.
I would be remiss if I did not acknowledge, and thank Bob and Rosemarie Gerould and all of
the Magic Circle Theater gang (Rick, John, Kris, Barrett & Mary Ann) for continuing to open their doors to us, and treat
us like family. Also I offer much gratitude, to Charles Cooper, my business partner, the great cast and musicians, Angela
Gill, my steady assistant, and Ceasar Davis, Images’ board member, pianist, vocal coach and all around "good guy."
I thank you all for your hard work, dedication and support, for without you, Hallelujah City would only be words on paper.
Since my husband left my side, to reside in spirit, in
my heart, there are many days that I have traveled to my own Hallelujah City to feel the nearness of his presence. And, though
I cannot physically hold him as Christian does Mara, I feel Derek cheering me on, while continuing to pour love, encouragement,
and blessings my way.
My prayer is that audience members who have experienced loss will best understand the journey,
and follow Christian into their own land of renewed faith, hope, and healing. My hope is that their loved ones will too, meet
them on the other side, in their own, Hallelujah City, and that they will reconcile with their own faith, while ever knowing
that such things as spirit and love are eternal.
For you, Bear, Bear…All my love.
Lisa Lacy-McGriff
October
2007
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