Warren Bodow, Chris Ceraso, and Brandon Jones
Race Music
A nytheatre voices cyber-interview
Warren Bodow is a playwright. This is his second full length play after a long career in radio sales and management. He was President of WQXR, a classical music radio station, until retirement and the start of this new career. Chris Ceraso is an actor who has worked in NYC and regionally. He also teaches acting at Drew University. Brandon Jones is an actor who has also worked in NYC and regionally. He has also worked quite a bit in films.
Pictured: Brandon Jones, Chris Ceraso, Warren Bodow
Race Music is a new play dealing with very interesting topics. Could each of you talk a bit about what you personally find most interesting in the play and could you, Warren, as author give us a short synopsis of the play?
Warren: Race Music deals with how people deal with race and class more than 40 years after the monumental civil rights legislation of the 1960s. The play's point of view is that race still plays a strong role in our relationships, whether personal, romantic, or in business.
Brandon: What interests me most in the play is the music and the social issues that are addressed. Before I started preparing for this role, I hadn't really listened to classical music, so it has opened up a whole new world for me.
Chris: I find the social topic of the play very interesting, especially with regard to the period in which it is set (1999) vs. today's world. It's interesting to look back a decade and realize that there was a turning point happening in this country with regard to many things: race relations and technology among them. Both of these issues feature in the world of Race Music. The racial issues are dominant in the plot of the play, but the idea that our society has changed profoundly in ten years where the internet and the general democratization of knowledge and culture is concerned. I find this very interesting. Further, I like the way that Race Music deals with issues of bigotry and classicism from a very personal standpoint—the personal histories of each of the characters have influenced their attititudes about race in a more profound way than national standards have. Finally, and very importantly, I love that the play is about music, which historically has been both a cultural signifier (and identifier) and a cultural bridge. Music has a way of both defining and blending cultures. That's important. I once heard a teenage kid on a cross-town bus explain to an older person that he'd understand the world if he just listened to the music: "it's all in the music."
Warren, what was the impetus for your writing this play and why did you, Chris and Brandon, decide you wanted to be part of this production?
Warren: One of the most talented announcers at the classical music station I ran was African American. I thought, 'what if that man were denied that job because of his race?' He would have lost a great job, the station would have lost a great announcer, and listeners would be denied his talent.' Like a lot of creative works, it all started with a 'what if.'
Chris: The issues in the play are still very "hot," even given the new social and political climate of today's America. I also find it interesting to try to get inside a character that is, in many ways, antithetiocal to my own person and way of thinking as is Harvey Kane to Chris Ceraso.
Brandon: For me, it was the character Lebron. I didn't really know much about the play before I was called in to audition but once I read the script I knew I had to do what I could to be a part of this production. It's nice to see an image of a young black male striving for success in something other than sports or making music. It's good for all people to see a character like Lebron but it is especially important for young black males to know that there are other options if you can't dribble a basketball or run up and down the football field or even rap or sing. You can have knowledge of music and art and be driven and focused and good things will happen for you.
This is, I believe, a message play. So what is the message you are trying to send to the audience and how are you trying to make this message palatable and persuasive?
Brandon: I think the message is that there is still a need for change in this country. Whether it's in the workplace or in politics things have to change because what has been done in the past isn't working anymore. There's nothing wrong with trying a new approach to skinning a cat because you might find that there is more than one way to do it!
Warren: Race Music is not so much a message play as it is a portrayal of how race still impacts our relationships. I hope that audiences will come away with a deeper appreciation that race plays a part in our everyday relationships and the issue is not just the stuff of newspaper headlines or editorials.
Chris: That racism and bigotry damages everyone, not only the victim, but the perpetrator as well. No one wins.How has the rehearsal process been going—;does Warren sit in, are changes made, how much influence do the actors have, etc?
Warren: From my point of view, the rehearsal process has been a hoot. I have learned as a writer that what looks good on a computer screen, often doesn't look so hot when you print it out and looks and sounds altogether different when it's played. As a result many changes in the script have been made, mostly a word here, a word there, and a lot of elisions where stage action can take the place of dialog. The director and actors have been extremely helpful in questioning certain passages and actions, some of which resulted in changes.
Chris: Warren watches very carefully, and is hugely helpful; especially in informing us of the details and particulars of the world of a classical radio station which he knows so intimately. He also speaks very articulately about his characters.Brandon: Rehearsals have been very productive and a wonderful environment to play and explore. Victor Lirio, the director has done a great job of letting the actors discover while guiding us and shaping what we bring to the table. We've been moving at a nice pace and having the playwright there to answer questions and give insight as to the technical aspects of the world we're creating has been extremely helpful.
What is your hope for reaction to the play and do you see it having a life after this production?
Brandon: You always hope people appreciate the work and that they can find something to take from it. I don't think that's any different here. I hope it starts a dialogue about the still existing racial issues that plague this country. If we get it right I think those things can and will happen causing the play to live on long after this production.
Chris: Diverse City produces very well and very professionally at this level. I'm sure we all hope that fine work, from play to production, will be noticed, applauded and rewarded.
Warren: The purpose of putting on an Equity Showcase is to attract the attention of producers, artistic directors and possible angels for future productions. I think the theme of the play, together with its humor and humanity, will help the play develop a life after our Showcase closing performance on September 19.
August 31, 2009
