Bipolar1Blog

What Doing Theatre Taught Me About Life

  1. For the audition: Read up on the play, know who your character is and what they do. Be positive, execute the reading or scene with emotion and flair. And then let it go, try not to obsess over your phone, checking over and over to see if there is a message. Let it go. If you don’t get this one, you’ll get another one. Be positive. Positive!
  2. In rehearsal: Be polite, professional, and pleasant. Kinda like a Stepford wife… No, I’m kidding. Just be positive, engaged, listen, interact positively with the cast and crew, and learn your lines, learn them yesterday!
  3. Read your cues: The last lines the actor who speaks before you are your cue. You’d better be on the lookout for those words and be ready, set, go, to speak your own lines as soon as the last person is done. If you miss your cue, if you don’t say your lines, the play will turn into a jumbled mess. Unless some other actor comes to the rescue…
  4. If you drop a line, let it go, and immediately go on: If you keep thinking about your dropped lines, you will miss your next cue and drop the next lines as well. Acknowledge to yourself, in the split second it takes, that yes, you dropped a line, and move on, move on, move on! Onstage is no place to dwell in the past, keep moving!
  5. Be dressed to the nines! Dress for the part, whether it is glam or old person, theatre calls for perfect wardrobe. The way you dress your character will give the audience clues to their nature, intent, future actions.
  6. Makeup and Hair are important: Very important, don’t want to look washed out in those bright spot lights. Contouring and color and false eyelashes, oh my! Don’t want teeny bopper hair for a 70 year old character, or maybe you do…
  7. When it’s your turn in the spotlight, SHINE! Shine! Find your light, the light techs are trying to find you, if they’re off a bit, if you’re off a bit, STEP into the light and own it and speak your lines with all the emotion the scene calls for! This is your moment, life has thrown it your way, own it and shine!
  8. Enjoy it as much as you can, it goes by fast: Always be positive! Just enjoy it, don’t gripe, complain, live in negativity. It really does go by in the blink of an eye, so enjoy your scenes, enjoy working with the other actors, who are craftsmen in their own right. Enjoy the comedy, the tragedy, the pathos, the sheer excellence of the play and your being in it!
  9. Enjoy time backstage with the other actors: This is your family for the next little while, enjoy their company backstage, support and give them praise. High five, high five, and more high fives. If you zip up someone’s dress, they’ll zip up your impossible to zip up dress in the 5 minutes you have to change from 65 year old to 35 year old glamor girl!
  10. Leave the negativity out of it altogether. Always be positive, it goes by fast and you’ll miss it: Yes you will miss it like the devil when it’s over. All those feel good chemical levels in your brain will crash, and you may experience a very low low. It’s scary, but just remember the brilliance of the play and know that the low will pass, this too shall pass!
  11. Mind the director, his job is to put on the play and he is thinking about all the characters, scenes, places, all at the same time. Write down everything he says so you don’t have to ask him again. The director’s job is not to be nice, it IS to put on a smashing play. So mind the director.
  12. Don’t worry too much about the critics, they have nothing better to do than pick apart a good and valiant effort and someone else’s hard work. Take it as constructive criticism as much as you can, after that, if their words are hurtful, let them go. you are not defined by someone else’s words, negative or positive.
  13. Bask in the glory of applause, and adoration the audience directs your way. The standing ovations, the sitting ovations, the comments in the greeting line of how marvelous you were, yes these feed an actor’s soul, so enjoy them. And then let them go and move on to the next show.
  14. And always break a leg!

My last play and my most favorite play is the brilliant Larry Muhammad’s “Jockey Jim” is about the great African American Jockey James Winkfield, who was written out of history, but we are bringing him back. Some links about this great man below:

http://www.huffingtonpost.com/samina-raza/jimmy-winkfiled-an-amazin_b_9825782.html

http://www.aaregistry.org/historic_events/view/jimmy-winkfield-horse-racing-legend

About Larry Muhammad, the brilliant playwright: http://insiderlouisville.com/lifestyle_culture/larry-muhammad-play-highlights-the-fascinating-story-of-black-jockey-jimmy-winkfield/

https://networks.h-net.org/node/73374/announcements/122363/not-profit-play-about-famous-kentucky-derby-jockey-jimmy

My favorite pictues of “Jockey Jim” and Lyddy, Lyddy, and more Lyddy. I miss her.

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Great Review for “Jockey Jim” by Larry Muhammad. 


Another amazing review for “Jockey Jim” a stunning play by Larry Muhammad!

Photos by Bud Dorsey. 

http://www.leoweekly.com/2016/05/jockey-jim-fascinating-saga-powerfully-told/

Backstage at “Jockey Jim”

Two videos I made live on Facebook, backstage at “Jockey Jim” at the Henry Clay.  Just for fun!

https://www.facebook.com/samina.raza/videos/10153682639542711/
https://www.facebook.com/samina.raza/videos/10153682772222711/

Jimmy Winkfield: An Amazing Jockey.

Jimmy W on Alan-a-Dale.jpg

I’m in a play called “Jockey Jim” by Larry Muhammad, and I must share Jimmy Winkfield’s extraordinary story with you. He was an extraordinary man, an African American man, born in 1882, in a family of 17 brothers and sisters, in rural Kentucky. He went from earning $8/month to commanding $1000 per race! He  became one of the greatest African American jockeys ever. He started racing in 1898. And won two straight Kentucky Derbies, in 1901 and 1902. And in the next two Derbies, he came second and third!

In the early 1900’s, he was blacklisted because he “changed his mind” about riding a horse. As well, there was intimidation by the Ku Klux Klan, violence by white jockeys, and the involvement of big money, not conditions conducive for African American jockeys to race. So he accepted an invitation to race in Russia for Czar Nicholas II and became a big star in Russia. He regularly rode winners in Russia, Poland, France, Austria, Hungary, England, Spain and Italy! But by 1917, with the Bolshevik revolution and the rise of the Communists, racing in Russia was done. 

He then led 250 top tier thoroughbreds on a 1,100 mile journey from Russia to Warsaw. He resurrected his career in France in 1922. Also marrying a Russian Baroness named Lydia de Minkiwitz. They lived in a farm near Maison Lafitte, 11 miles outside of Paris. They lived like royalty, hobnobbed with the likes of Josephine Baker, Paul Robeson, Bing Crosby, and Ernest Hemingway!

He earned $100,000, which at the time was an enormous amount of money!

After he retired from horse racing at 48 years of age, he became a celebrated horse trainer in France.

As a result of the Nazis coming into power, he and Lyddy moved back to the USA in 1941.

Back to segregation, discrimination, back to a time when blacks were called darkies, and much worse. He had to become a hired hand on a horse ranch and Lyddy had to clean people’s houses. They lived through it.

They moved back to Maison Lafitte in 1953 and they operated one of the most successful racing stables till the 1960’s.

Lyddy died in 1958, and Jimmy in 1974 at age 92.

What a dashing and debonair man, what a gifted horseman! And to what success he and his wife rose and to what depths did they sink in racist America. And then again rose up in Europe!

Jimmy  (and Lyddy) had to be an amazingly strong person to have withstood all that life threw his way and to come out of it victorious and on top. I respect this man so much, and by the end of the play, when Lyddy and Jimmy walk into the Brown Hotel, I am almost crying, even though I am playing Lyddy and am not supposed to cry, but it is such an emotional moment! And Gary Brice who plays Jimmy, plays him to the nines! Perfect in his understated acting and emotions. Understated, something I don’t do so well, garners a lot of pathos. If Jimmy Winkfield were here today, I would certainly tell him how much I admired his strength, his intelligence and his resilience. And that I am so proud to be doing this play about his life!

Jockey Jim review in Arts-Louisville

Me melodramatic?!? Never!!!

http://arts-louisville.com/2016/05/02/rediscovering-the-past/

 Rediscovering the Past

Gary Brice as JImmy Winkfield and Samina Raza as his wife Lyddy rehearsing play JOCKEY JIM. photo by Bud Dorsey

Gary Brice & Samina Raza in Jockey Jim.
Photo by Bud Dorsey.

Jockey Jim

By Larry Muhammad
Directed by William P. Bradford II

Reviewed by Keith Waits

Entire contents copyright © 2016 by Keith Waits. All rights reserved.

When the Kentucky Derby rolls around, most theatres in the Louisville area close up shop, the assumption being that audiences will be otherwise occupied with Derby Festival events. So Kentucky Black Repertory bucks the odds with a new production of Jockey Jim, a play that ties into the history of “The Greatest Two Minutes in Sports.”

Jimmy Winkfield (1882 – 1974) was one of the great jockeys in thoroughbred racing, winning two consecutive Kentucky Derbies in 1901 and 1902. It is his journey after those victories, however, that is the compelling story of Larry Muhammad’s script: a lucrative career in Russia before and during the Bolshevik Revolution; a rich life in Paris with his wife, Lydie de Minkwitz; and an ignoble return to the United States, confronting Jim Crow segregation.

The structure of the play is roughly chronological, although some nonlinear juxtaposition early on felt confusing and seemed to lack any real purpose. The real draw of Winkfield’s story is that a sharecropper’s son became such a cosmopolitan figure, hobnobbing with celebrities and living on the periphery of pivotal moments in 20th century history. It is especially intriguing that Muhammad shows Winkfield on somewhat agreeable terms with Communists and Nazis without calling into question his loyalty as an American. Much is made of the contrast in attitude toward Negroes in Europe as opposed to America, although the Nazis are openly racist, just highly pragmatic about Winkfield’s usefulness.

The scenes that play best find Winkfield struggling with the latter part of his life in the United States. As the title character, Gary Brice is a young actor playing the aging horse expert with notable grace and care. He sidesteps cliché with wisdom and observation and establishes the character’s dignity with confidence. As Lydie, Samina Raza lends the Russian heiress a melodramatic quality that pushes the envelope a bit, but it is a quality that speaks to the character’s background and how emblematic it is of the peaks in Winkfield’s life in Europe.

Ernie Adams gives Winkfield’s employer, the casually racist Beauchamp, an easy, vile authority that still allows for some small but significant shifts in the audience’s perception of his character. Marcus Orton and Joe Monroe provide scene-stealing comic energy as two of Jimmy’s buddies — ne’er-do-well knuckleheads who do little to develop the plot but inject worthwhile color into the mostly sober-minded material. Francisco Juarez does a fine job as Milo, the Hispanic jockey who rides Winkfield’s horse in the 1950s. In its inclusion and treatment of this character, Muhammad’s text is fully aware of yet another shift in opportunities for minorities in thoroughbred racing.

Winkfield’s European adventures are generally more serious in tone, with a host of supporting characters who are notably less developed. Francis Whitaker and Spencer Korcz are professional as Russian compatriots, two limited roles that never rise above narrative necessity in the text. Better impact comes from a charismatic Sidney Edwards and Tyler Madden as Josephine Baker and Paul Robeson. These characters exist only as brief thumbnails of the iconic figures from Winkfield’s Paris life, but the actors occupy that territory with the presence and glamour befitting the two famed entertainers. In the same mold, Patrick Alred is miscast as an avuncular Bing Crosby, but he does yeoman’s work in this and other small roles. Tom Pettey wisely underplays Von Oppenheim, the German officer who is Winkfield’s contact, proving it is best to not push too hard when wearing a swastika on your arm. Tom Luce, Owen Kane, and Tim Stone fill out the ensemble with skill.

Jimmy Winkfield’s story is certainly worth exploring, and Mr. Muhammad works hard to investigate its social ramifications. Winkfield’s position as a man without a country is effectively mined to investigate the subversion of African-American history in the 20th century. Jockey Jim restores Winkfield to his rightful place in history.

Jockey Jim

April 30, May 1-6, 8:00 pmTickets: $20 cash at the door

Kentucky Black Repertory
at the Henry Clay Theatre
604 South Third Street
Louisville, KY 40203
502-727-7972
KYBlackRep@gmail.com

12 Myths People With Bipolar Disorder Want to See Busted

Really liked this. You must go to the original article, there are beautiful pictures there. 

http://themighty.com/2016/01/12-myths-people-with-bipolar-disorder-want-to-see-busted/Sarah Schuster
Bipolar Disorder

If you’ve ever heard someone say, “The weather is so bipolar!” you know there’s a lot of misconception about what bipolar is, what it isn’t and what it’s like for the 3 percent of American adults who live with it each year. To clear some things up, The Mighty teamed up with the International Bipolar Foundation and asked people with bipolar disorder what myths they’d like to see busted.

Here’s what they had to say: 

Myth #1: Mania is the “good part” of bipolar disorder. 
“There’s a myth that mania just feels all happy. Actually, it’s frantic and nerve-wracking. It can cause intense anger and anxiety. It can feel like I want to jump out of my own skin. Both sides of the coin can be hell.” — Pressley Kieran Fields
Myth #2: People with bipolar disorder are just “moody.”
“Just because you had a bad day or had a high-energy day doesn’t mean you’re bipolar.” — Dana C Hutchins
Myth #3: Everyone with bipolar is violent.
“The only time you hear about bipolar disorder in the media is when someone committed a crime. Not when a person is dealing with their bipolar successfully and being productive in society. We need to all come forward.” — Heidi Long
Myth #4: If you have bipolar, you’re “crazy.”
“It’s not a synonym for ‘crazy.’ Nor is it a word to be thrown around about things that change constantly (i.e. ‘The weather is like, bipolar or something.’).” — Lacey H-l K
Myth #5: People with bipolar disorder cannot maintain healthy relationships. 
” My best friend is bipolar. With patience and understanding, it’s possible. You have to be willing to learn and ask questions as I did. When we first met I asked, ‘What can I do to better understand you? Tell me what I can do to support you.’” — Belinda Heflin
Myth #6: You can’t be a good spouse or parent with bipolar disorder.
“My husband had bipolar disorder. He was brilliant and the kindest, most unselfish man I have ever known. I was married to him for 49 happy, happy years. Sure, there were bad times because he had bipolar. But because I understood he had no choice in it, we were able to have a wonderful marriage.” — Glenda Austin Thompson
Myth #7: Every bad day is an episode.
“Having bipolar disorder doesn’t mean you can’t experience regular emotions — negative and positive; any emotional response to something isn’t always linked to your mental illness.” — Nikki Fox
Myth #8: People with bipolar disorder are weak because they can’t “control their emotions.”
“Even people who are inherently strong can have bipolar disorder. Every day can be a challenge. We can look outwardly normal, while going through immense internal struggles.” — Shilpa Ugrankar Caldeira
Myth #9: People with bipolar disorder are just being dramatic.
“‘You are overreacting. Just stop being that way.’ Um, no. We try our best to control our emotions. We cant help the way we feel sometimes. We just want support and to not be judged.” — Lauren Eubanks
Myth #10: Having bipolar disorder means you have a “split personality.” 

“I beg to differ. I feel more like two extremes of the same person.” — Jamilla Casteel
Myth #11: When you start taking medication for bipolar disorder, you’re “cured.” 

“It’s never going away. It’s the medication that makes us feel better. It helps me to live. To work. To lead an almost ‘normal’ life. And I would not have it any other way. Medication is not bad. It’s my lifeline.” — Suzie Lang
Myth #12: People with bipolar disorder can’t be successful. 
“Heck, I have bipolar 2 and I graduated as valedictorian of my high school and I graduated summa cum laude from a private university. It does not mean I haven’t been successful in life.” — Jenna Renee Gillit

Jockey Jim Almost in the Home Stretch!

Seems like all I’ve been doing is learning my lines for “Jockey Jim”or going to rehearsal at the Henry Clay. This play is written by my friend and great playwright Larry Muhammad, (https://insiderlouisville.com/lifestyle_culture/larry-muhammad-play-highlights-the-fascinating-story-of-black-jockey-jimmy-winkfield/  and https://www.power2give.org/campaigns/376) I have the female lead, Lydia de Minkiwitz, James Winkfield’s wife who was a Russian baroness, so I have my share of lines, and I have learned them, YES! And I’m saying them all with a Russian accent, ha! I have five costume changes, below is a picture of my favorite costume, haha, you guessed it, it’s glam!

(See more about the truly amazing Jimmy Winkfield here: http://www.aaregistry.org/historic_events/view/jimmy-winkfield-horse-racing-legend)

We’re in tech and dress rehearsal week, which means 5+ hour long rehearsals everyday this week. We open on Saturday. It is amazing to see how far we’ve come, from “No way. This is never going to get done!” to “Hey we’re doing it!” to “No (ok, not many) problem, we’ve got this!” This happens every time a play is put on, every time I’ve been in a play I’ve started with “Are you kidding me?! How many lines do you want me to learn? Yeah right!” and ended with “Wow, I learned ALL the lines!” And all the stage directions, and all the smiles, and hugs, tears, pouts, and champagne toasts (we’re actually doing all that in Jockey Jim.) And so it is with “Jockey Jim.”

Annoying, exhilarating, amazing, heart in your throat process, that finally yields one hell of a performance and one hell of a good play. We’re getting there, it’s all coming together. Today we had our first dress rehearsal, and from now on, they’re all dress rehearsals. Tomorrow, we add makeup and hair too. I have to wear a gray wig for the older scenes, oh well…

My character’s age goes from 30’s – 70’s. Difficult for me to do aged, struggling with that. I keep forgetting I’m supposed to be 65 years old, oops… hope I don’t give the director a conniption…

I hope all my Louisville friends come to see us, it’s going to be one fine play!

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In the dressing room, with my favorite costume, of course! 🙂