Just Ended on June 30, 2024

A World Premiere Double Bill from
Yale Prize Winning Playwright
RACHEL LYNETT

Directed by
A. LORRAINE ROBINSON

Produced by
VOICES FESTIVAL PRODUCTIONS

Founding Artistic Producing Partner
ARI ROTH

Artistic Producing Partner
A. LORRAINE ROBINSON

Staged At
UNIVERSAL NATIONAL MEMORIAL CHURCH
1810 16th Street, NW • Washington, DC

What The Critics HAD TO SAY

From DC Theatre Arts (DCTA)

A garden of racial and gender power politics in ‘Letters to Kamala’/‘Dandelion Peace’

by Teniola Ayoola

“The acting and the dialogue between the characters in these two one-act plays are superb…. Lynett’s script is exceptional in how it intertwines differing viewpoints yet reminds all Black women in positions of power that change is a collective effort built on the shoulders of those who came before us.

Charlene Mitchell, the first Black woman to run for President of the U.S., portrayed exceptionally by Fatima Quander, does not fully agree with the need for compromises in the fight for gender and racial equality for Black women. She critiques Kamala Harris’ past as a public defender who fought to keep nonviolent offenders in prison and supported The Violent Crime Control and Law Enforcement Act of 1994, as a result of which, according to the LA Times, “African Americans were hit hardest: Their incarceration rate remains more than five times their share of California’s population.” Quander not only owns her character but brings her monologue to life with pauses, vocal inflections, sarcasm, cigarette drags, and bluntness. Sporting an afro, a patterned dress, and heels, she strides onto the stage with the confidence and fearlessness of ten thousand white men.

Letters to Kamala and Dandelion Peace serve both as social and political commentary and as history that should be seen by students, teachers, lifelong learners, leaders in every sphere and sector, and Black women everywhereVoices Festival Productions, Director A. Lorraine Robinson, and Founder Ari Roth have done us all a great service by bringing this production to the stage.”

From Broadway World (BWW)

by Mary Lincer

Fiercely portrayed by Kendra Holloway, [Charlotta] Bass' importance to the Civil Rights Movement would have been better known if women in America had had equal citizenship...

Lynett has masterfully sketched the lives and thinking of three really important and powerful women of color. The three women in Lynett's second play, Dandelion Peace, may not be as important, but their situations are. Using the same excellent cast, Lynett somehow creates a microcosm that reveals why we can't all just get along…

All three are drama queens. And the play is funny, until it isn't. When Zuri escalates the garden variety conflict by taking matters into her own hands, puts on overalls and headphones, and wildly dances to an over-loud "Livin' My Life Like It's Golden," everything changes. (Anyone who's ever attended The Condo Association meeting will notice The Way of the World.) If the choreography is by Chitra Subramanian, the boogy-ing is accomplished with abandon by Quander.

Brandee Mathies' costumes perfectly suit the differing periods… [Director A. Lorraine Robinson’s work in Dandelion Peace really pops. The many shifts in pace and tone in Lynett's script call for care and necessitate difficult coordination because it looks like a play about a community garden, but it quacks like a play about how lousy people can be at living with each other in community. The two-hour production and its ample series of post-show discussions informs while it entertains.”

From The Washington Post

by Celia Wren

Director A. Lorraine Robinson’s production can admittedly be funny... inventive and compelling.

[Fatima] Quander is charismatic as this righteously exasperated figure... gesturing vigorously...

[Kendra] Holloway deftly suggests the strength and drive that course beneath a demure demeanor.

With its skeptical vision of democracy, “Dandelion Peace” fittingly complicates “Letters to Kamala’s” celebration of political legacies.

What is the distinction between civil compromise and selling out? Should a woman leader settle for the positions a sexist society reluctantly grants her? Is incremental progress more effective, in the long run, than revolution? These are all intriguing questions.”

From Washington City Paper’s City Lights

by Ian Thal

 "see the world premiere of Rachel Lynett’s latest plays… a hilarious dance of comic villainy choreographed by Chitra Subramanian"

What PEOPLE ARE STILL SAYING!

“I REALLY enjoyed the play u guys are doing at VFP right now. I think it was a really balanced production that had a lot of levels and sparked a lot of feelings and thoughts. Your actors and crew were top notch and I got lost in both acts.  They were very thought provoking. Thank you for producing it and I am so glad I hung out to see it. I am sure any modifications u did were/are only going to make it a better experience.  Have a great one and I hope lots of ppl experience it and support. Respect and love.  (-Anthony Amos)

“We were delighted to attend the opening of the Rachel Lynett double bill!  The plays were informative and entertaining and the cast and crew did a fabulous job.  Thank you so much for doing this important work! (-Evelyn and Bill Braithwaite)


SYNOPSIS

A new work from our Voices From a Changing Nation Series (2 hours and 5 minutes, which includes a 15 minute intermission)

From one of American theater’s freshest, most daring voices – Yale Prize Winning playwright Rachel Lynett – comes a World Premiere double-bill about how Women of Color rise to power, its precarity, and what we all must sacrifice for change.

First up, a political ghost story that reminds us all of the ground on which we stand.  And then a comedic look at our caustic political climate through the picayune power struggles of a DC community garden. The juxtaposition leaves us to question if we can ever truly “reach across the aisle” (or garden plot), and whether from scorched earth politics can come fertile ground?

LETTERS TO KAMALA

What Happens When Your Ancestors Ask the Hard Questions…

On the eve of the election, the spirits of three trailblazing women come to visit VP candidate Kamala Harris offering words of rough wisdom, practical caution, and sisterly support. A call to recognize powerful Women of Color throughout history, we meet Charlotta Bass, the first Black woman candidate for Vice President in the United States (played by Kendra Holloway); Charlene Mitchell, the first Black woman to run for president of the US (Fatima Quander); and Patsy Matsu Takemoto Mink, the first Woman of Color to be elected to the House of Representatives, and co-author/sponsor of the Title IX law (played by Mariele Atienza). The play offers bracing history and thought-provoking questions on group identity, the cost of breaking barriers, and the thorny work of institutional change.

DANDELION PEACE

All is Fair in Love and Gardening…

When a community garden member rips up another member’s “invasive” dandelions, all hell breaks loose and a power struggle ensues. “Dandelion Peace” is a hilarious political allegory that tells the story of three contemporary women as they attempt to balance power and personal gain with collective good.

Literal and figurative boundaries are pushed as tempers rise, as does competition for Community Garden Steering Committee President. We are left to question how we give and share power, and ask ourselves, in this present-day political culture, “Is there no safe soil?” 


Affinity Nights & Talk Backs

Discounts

  • Saturday, June 8 - 1st Preview ($25 tix)
    Post-Show Talk-Back with VFP Artistic Staff, Marvin Brown and Ari Roth

  • Sunday, June 9 - 2nd Preview ($25 tix)
    Post-Show Panel: “Theatre's Role in Civic Discourse” |Caitlin Marshall (Senior Lecturer, Theatre Scholarship and Performance Studies, University of Maryland) in conversation with Cultural Strategist Philippa Pham Hughes (CuriosityConnectsUs, Visiting Fellow at the SNF Agora Institute at Johns Hopkins, and Visiting Artist For Art & Civic Engagement at the University of Michigan Museum of Art), Moderated by VFP Dramaturg, Khalid Y. Long (Howard University)

  • Wednesday, June 12 - Theater Industry Night (Pay What You Can Final Preview)
    Post-Show Talk-Back with the Cast! | Moderated by VFP’s Marvin Brown

  • Thursday, June 13 - Opening Night/Press Night & Post-Show Reception
    (LIMITED TICKETS AVAILABLE)

  • Saturday, June 15  - HBCU Affinity Night 1
    Post-Show Conversation with Playwright Rachel Lynett & Dramaturg Khalid Y. Long

  • Sunday, June 16 - HBCU Affinity Night 2
    Post-Show Conversation with Playwright Rachel Lynett & Director
    A. Lorraine Robinson

  • Thursday, June 20 - WNDC/Women in Power Night
    Post-Show Conversation with DEI Consultant Timea Webster (Associate Director of Alumni Engagement, Howard University) & Rosalyn L. Coates (President, Women’s National Democratic Club), Moderated by Khalid Y Long

  • Friday, June 21 - Organizers & Activists Night
    Post-Show talk-back facilitated by VFP Dramaturg Khalid Y. Long

  • Thursday, June 27 - “Impact and Importance of Community Gardens”/Community Gardener Night
    Conversation with Joya Wade (Executive Director of Common Good City Farm) and Christopher Bradshaw (Founder & Executive Director of Dreaming Out Loud), Moderated by Khalid Y. Long

  • Saturday, June 29 - Final Cast Talk-Back
    Co-Moderated by VFP’s A. Lorraine Robinson and Ari Roth

  • Sunday, June 30 - Black Sorority Affinity Matinee
    With Kamala Harris’ sorority, Alpha Kappa Alpha and Delta Sigma Theta in the house!

Affinity Group Discounts: $15 off - Contact VFP for group code
Regular Performance Discount for VFP Friends: $10 Off with code TENOFF
Artist Discount
: 50% Off with code ARTIST50 (proof of artistic credit at box office)

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MEET THE CAST

FATIMA QUANDER* (CHARLENE MITCHELL/ZURI)’s (AEA/SAG-AFTRA) credits include: FRESHH Inc. Theatre Company, DC Hip Hop Theatre Festival, Rep Stage, Everyman Theatre, Baltimore Center Stage Education, Theater of the First Amendment, Folger Elizabethan Theatre, Imagination Stage, and Discovery Theater; she has also performed in house and on tour with The John F. Kennedy Center for the Performing Arts. Fatima is on the theatre faculty at The University of Maryland, College Park and works as a teaching artist with a number of programs throughout the DC area. A native Washingtonian, she received her MFA from Actors Studio Drama School in NYC and her BA from Beloit College in Wisconsin.   

*Appearance courtesy of Actors’ Equity Association

KENDRA HOLLOWAY* (CHARLOTTA BASS/ANITA) is an actor, writer, and podcaster, and is grateful to share the stage with the talented cast and crew of Letters to Kamala & Dandelion Peace! Theater credits include Before It Hits Home (Billie Holiday Theatre), Stick Fly (Meadow Brook Theatre), and Salt Pepper Ketchup (InterAct Theatre/Passage Theatre). Notable television and movie credits include "The Best Man: The Final Chapters" (Peacock), "FBI" (CBS), "East New York" (CBS), "For Life" (ABC), and Definitely Divorcing (TVOne). Kendra is the recipient of the 2019 Andes Award for Favorite Female Performer in a Drama for her work at Meadow Brook Theatre. She holds a BA in Mass Media Arts from Clark Atlanta University. Holloway is also the creator and co-host of The Melanated Archives Podcast, which examines the lives and contributions of iconic black actors throughout history, available now on all podcast platforms. 

*Appearance courtesy of Actors’ Equity Association

MARIELE ATIENZA* (PATSY MATSU TAKEMOTO MINK/MOIRA) is thrilled to be making her professional theater debut with Letters to Kamala/Dandelion Peace and is honored to play Patsy Takemoto Mink to help color Rachel Lynett’s timely words.  Other theatrical credits include:  Five Faces Oil on Canvas (Fishwive Productions & The Larking House Theatre), American Beauty (Bridge Production Showcase), UCB Improv (Upright Citizens Brigade),  Angels in America (UCLA Theatre), and The Nutcracker (Placer Community Theatre). Mariele will be appearing in “Movie Star” which will be premiering at the Cannes Short Film Festival later this year. Further film credits include “Knowing You” (Lead/Short film), “In, On, At” (Lead/Indie Feature), “Super Mephitic” (Lead/Short); “Lion Eater” (Supporting/Short); “Swim Free” (Supporting, CSUN Film) and Saint Vegas (Support/Short). A special acknowledgement goes to her family and friends who provided not only emotional support on her creative journey but a couch to crash on. Mariele also extends her deepest love and gratitude to her parents, Dee & Gina. 

*Appearance courtesy of Actors’ Equity Association.

KENDALL ARIN CLAXTON (SWING - Charlene/Zuri/Charlotta/Anita) Hailing from Detroit, MI, Kendall Arin Claxton is an Alumna of the Duke Ellington School of the Arts and has received her BFA from Point Park University’s Conservatory of Performing Arts. Her earlier credits include The Bluest Eye (as Claudia), Uncle Tom’s Cabin as Topsy, and I Know Why the Caged Bird Sings as Young Maya (Prime Stage). In her career as a DC artist she has appeared in Season of Lights (Discovery Theatre), Page to Stage reading of the Velveteen Rabbit (Doctor) at the Kennedy Center, FRESHH Inc’s Next to Kin Festival, Crowns (as Yolanda) at the Creative Cauldron, Anacostia Playhouse’s Black Nativity, and Discovery Theater’s Lions of Adventure (Madame CJ Walker). Her proudest work is the self-produced one-woman show Epiphany: A Journey to Yes. Some film credits include BET’s “Angrily Ever After” (Bartender) & “Hear Me Say My Name” produced by Kelly Gardner. She expresses great gratitude to Voices Festival Productions for the opportunity to share such a significant and life changing story of black women who shook history! Her faith in Christ and love for people compels her approach to art, with community in mind, she always reminds herself – it’s an US thing! (2 Corinthians 5:21).

HELEN CHENG MAO (SWING - Patsy/Moira) is delighted to be working with Voice Festival Productions for the first time. She was last seen onstage as Monkey in Little Theatre of Alexandra’s reading of Frances Charlie Chan Jr.’s Exotic Oriental Murder Mystery. Other theater credits include Macbeth (The Rude Mechanicals); Banana Brains; Yes, Virginia, There is a Santa Claus; and A Black & White Cookie (all at Silver Spring Stage); The Emergency Room (Bowie Center for the Performing Arts); Young Frankenstein (Carroll County Community College); The Nutcracker (Olney Theatre Center); and Rated S Sketch Comedy (StageCoach Theater). Helen is also a playwright whose plays and monologues have been produced (in person and virtually) by theaters across the US and in the UK. Some can be seen on her YouTube channel. In addition to working as a freelance writer, proofreader, and editor, Helen instructs clinical skills to healthcare professionals as a standardized patient and physical exam teaching assistant. She can be reached at www.linkedin.com/in/helencmao. Much love and thanks to David, Alexandra, Elizabeth, family and friends!

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MEET THE CREATIVE TEAM

RACHEL LYNETT (PLAYWRIGHT) (she/they) is a queer Afro-Latine playwright, producer, and teaching artist. Their plays have been featured at  San Diego Rep, Magic Theatre, Mirrorbox Theatre, Laboratory Theatre of Florida, Barrington Stage Company, Theatre Lab, Theatre Prometheus, Florida Studio Theatre, Laughing Pig Theatre Company, Capital Repertory Theatre, Teatro Espejo, the Kennedy Center Page to Stage festival, Theatresquared, Equity Library Theatre, Chicago, Talk Back Theatre, American Stage Theatre Company, Indiana University at Bloomington, Edgewood College, and Orlando Shakespeare Theatre.  Rachel Lynett is also the 2021 recipient of the Yale Drama Prize for their play, Apologies to Lorraine Hansberry (You Too August Wilson). Lynett was  2021 recipient of the National Latinx Playwriting award and the runner-up for the 2022 Miranda Family Voces Latinx Playwriting Competition for their play, Black Mexican. Their play, White People by the Lake was also a 2022 Blue Ink Award finalist. Lynett was recently a staff writer for The Winchesters and is working on an upcoming feature.

A. LORRAINE ROBINSON (DIRECTOR) & VFP’s Artistic Producing Partner (she/her) is an award-winning theatre director, dramaturg, and community arts educator. She was Artistic Producing Director of MuseFire Productions, a (501c3) not-for-profit theatre & film company dedicated to multimedia and stylistically challenging work (especially voices of women & individuals of color). Recent Projects include: Director - #Charlottesville and Apologies to Lorraine Hansberry (You Too, August Wilson) [VFP]; The Piano Lesson & Raisin in the Sun [Sitar Arts Center]; Let Me Down Easy and Baltimore [St. Mary’s College of MD], Pott Odds and You Were Mine (Transformation Theatre], Three Strangers Sitting Around a Backyard Firepit at Two in the Morning Listening to Bruce Springsteen's NEBRASKA [Bob Barlett site-specific production]. Dramaturg - TopDog/Underdog [Avant Bard]. She received the Central Ohio Theatre Critics Circle Award: Best Director and Best Production for The Laramie Project (Contemporary American Theatre Company.) In 2017, 2018 and 2019 she received Tony Award: Excellence in Theatre Education Honorable Mention Awards. Memberships: BTN & SDC (associate). Lorraine is also a Board Member & Associated Artist with Transformation Theatre Company. Her full bio
can be found on our Producing Partners page.

DAVID ELIAS* (PRODUCTION STAGE MANAGER) has also been SM for VFP's Home?, #Charlottesville, and a half-dozen readings the theater has done over the past year. He recently played Weller Martin in The Gin Game at Compass Rose Theater in Annapolis. David, who is based in the DC area, has been acting and stage managing for 30 years, working with Theater J, Wayside Theatre, Metrostage, Transformation Theatre, Spooky Action Theater, Totem Pole Theater, Edge of the Universe Theater, Theater of the 1st Amendment, Bay Theater, and many more. For over 20 years he has been teaching Voice, Acting, and Script Analysis at the National Conservatory of Dramatic Arts. He has thought about retiring, but as he would continue working in theater as a hobby, sees absolutely no reason to do so.

*Member of Actors’ Equity Association

KHALID Y. LONG (DRAMATURG), PhD, is an Associate Professor of Theatre at Howard University. A scholar, dramaturg, and director, he specializes in African American/Black diasporic theatre, performance, and literature through the lenses of Black feminist/womanist thought, queer studies, and performance studies. Accordingly, his work addresses the intersections of race, class, gender, and sexuality within marginalized and oppressed communities. He is a co-editor of Contemporary Black Theatre and Performance: Acts of Rebellion, Activism, and Solidarity and has published in several journals and edited collections, including The Cambridge Companion to African American Theatre (2nd edition) and The Routledge Companion to African American Theatre and Performance. Khalid is a freelance dramaturg and his credits include Relentless by Tyla Abercrumbie, Two Trains Running by August Wilson, Kill Move Paradise by James Ijames, Sunset Baby by Dominique Morisseau, and Sweat by Lynn Nottage.

SUNSHINE DE CASTRO (LIGHTING DESIGNER) is a lighting designer and electrician from Batangas, Philippines with a Californian upbringing. For her, light is an essential storytelling vehicle. It is one of the first things we experience when we are born. She hopes to continue in the innately human tradition of storytelling; playing, exploring, and exemplifying it through light. Sunshine is committed to emphasizing equity and diversity in her work. Her undergraduate thesis “Lighting Design for All Skin Tones” was most recently presented at the Juilliard School in collaboration with their Office of EDIB. Recent design/technical credits include Lighting Design Fellow (Hell’s Kitchen, Broadway), Assistant Head Electrician at the Juilliard School (Importance of Being Earnest, Later the Same Evening), Lighting Supervisor at the Santa Fe Opera (Apprentice Scenes), Lighting Designer at the Madera Theatre Project (Anna in the Tropics), Lighting Designer at Fresno State (The Pillowman, Electricidad). sunnydoeslighting.com

VENUS GULBRANSON (CO-LIGHTING DESIGNER) is a proud Filipino lighting designer based in Brooklyn. Most recent notable works include Broadway’s New York, New York with legendary Ken Billington, Susan Stroman, and John Kander; and Woolly Mammoth Theatre’s production of My Mama and the Full-Scale Invasion in collaboration with Wilma Theatre where she received her second Helen Hayes Nomination and featured on Live Design Magazine’s Plot of the Week. Venus's work has been seen at Arena Stage, Signature Theatre, The Public, Ford’s Theatre, The Kennedy Center, La Jolla Playhouse, Santa Fe Opera, and more. She is a member of United Scenic Artists 829 and is an advocate for underrepresented artists in the industry. Current goals include learning to be an average tennis player, and becoming a dog-parent with partner, Kiera.  venusgulbranson.com

CHITRA SUBRAMANIAN (CHOREOGRAPHER) is an Indian American dancer, choreographer, and educator residing in Washington, DC. A Pittsburgh native and originally from South India, Chitra currently teaches, choreographs, and performs with a collective of artists called chitra.MOVES.

Her aesthetic draws from Hip Hop and Bharathanatyam foundations to tell stories, elevate artists, and meaningfully engage unseen and new audiences.  Chitra's life-long love for Hip Hop culture and community work was forged through nonstop club gatherings of music, dance, and fellowship.  Heavily influenced by her immigrant roots and her love for Hip Hop, Chitra has cultivated a depth of experience in youth work, teaching, choreography, performance, and learning.

Most recently, Chitra created/performed an evening-length work, “TEMPLE,” which sold-out three shows. Chitra currently curates and teaches for the Rooting the Dance Hip Hop Dance Class Series. It spotlights the diverse stories and talents of women and femmes in the DC street dance scene and offers a consistent, high-quality training ground.

Chitra’s dance work has also been presented at the John F. Kennedy Center for the Performing Arts, Ladies of Hip-Hop Festival, Joe’s Movement Emporium, Dance Place, The Kelly Strayhorn Theater, and Three Rivers Arts Festival.

BRANDEE MATHIES (COSTUME DESIGNER) has been Studio’s Costume Shop Manager since 1994. He is a Helen Hayes nominated costume designer for Nollywood Dreams at Round House Theatre & MountainTop. He has also costume designed Passover, Mother StruckThis Is Our YouthThe Year of Magical ThinkingStoop StoriesRimers of EldritchA NumberThe Syringa Tree, and Comic Briefs for Studio Theatre, as well as MothContractionsA Beautiful ViewCrestfall, and Polaroid Stories for Studio 2ndStage. Other DC area credits include Costume designed: One in Two, Birds of North America, Satchmo at the Waldorf, Hooded for Dummies, Blood Knot, Eureka Day, Shame, Vicuna, Inhered the Windbag at Mosaic Theater (Costume Design); Pankr’ac 45 at Atlas Theatre (Costume Designer) This Girl Laugh, Black Nativity, This Bitter Earth at Theater Alliance.  (Costume Design) Sonnets and Soul, Anything Goes and & Black Nativity at Howard University; (Assistant Designer) The Wiz at Duke Ellington School of the Arts. Blues for an Alabama Sky and Sunday in the Park with George (Firsthand) at Arena Stage; and Black Nativity (Assistant Designer) at The Kennedy Center. Costume design Government movie (The AD-X2 Controversy).

HEIDI CASTLE-SMITH (SET DESIGNER) has worked as both a set designer and scenic artist in and around the Washington DC area.  Currently she is the Visiting Assistant Professor of Scenography at St. Mary's College of Md where she teaches and designs their main stage productions.  She is also the Co-Founder and Co-Artistic director of Transformation Theatre Company. Other design credits include, Tender (Transformation Theatre Company and best of Fringe 2023 by DC Metro Theatre arts) These Shining Lives for The Arts Collective @ HCC (made the "Best Of" list for DC Metro Theatre Arts in the category of Set Designer), Spring Awakening, A Year with Frog and Toad, Peter Pan, and Dogfight (Red Branch Theatre Company), Assassins, Mother Courage and Lear’s daughters (Black Box Student Theatre at University of MD), and multiple summer seasons as a company member for the Chesapeake Shakespeare Company.

TYRA BELL (PROPS DESIGNER/ASSISTANT SET DESIGNER-SCENIC CHARGE) is a Scorpio and native Washingtonian who loves roller skating. She currently works as a prop shop supervisor at the Clarice Smith Performing Arts Center at the University of Maryland and has been working in theater the past 5 years. Occasionally, she also works at Anthropologie as an unofficial assistant display artist, building unique, whimsical installations throughout the store. She has spent many years at Sitar Arts Center on both the mural and musical team and has become a skilled painter and resourceful craftsman. Recently, she became an active member in the Local 22 IATSE stagehand union, and occasionally helps to prepare for concerts or Broadway shows. Tyra has a degree from Rhode Island School of Design in furniture design. Someday she hopes to have her own practice as a sculptor in the DMV, but currently loves the fast paced, high-energy atmosphere in theater. In quiet hours you can find Tyra wearing overalls and crocs or under a blanket watching episodes of 90210.

David Lamont Wilson (SOUND DESIGNER) is thrilled to be making his debut with Voices Festival Productions. He is especially thrilled to be working with Ari, Lorraine and this fantastic cast and crew.  Wilson’s most recent sound designs include this season’s critically acclaimed production of Confederates at Mosaic Theater,  Chicken & Biscuits at the Virginia Repertory Theatre and the off Broadway production of ”Queens Girl In The World” for Abingdon Theatre Company and "School Girls, Or The African Mean Girls Play for Hangar Theatre Company.  Favorite sound designs include the Atlanta Alliance Theatre production of "The C.A. Lyons Project" (Suzi Bass Award nominated),  “Wig Out” at Studio Theatre, The Welder's "Not Enuf Lifetimes," Charter Theatre’s production of “Am I Black Enough Yet?,” “Dead Man Walking” at American University,  and “Titus” for the Washington Shakespeare Theatre.  His resume also includes designs at the Kennedy Center, Signature Theatre, Arena Stage, Imagination Stage, the National Conservatory of Dramatic Arts, Catholic University, and Georgetown University to name a few. 

GRACE O. GYAMFI (ASM) (She/Her) is a Ghanaian-American actress and multidisciplined artist excited to join VFP for the first time. Grace has previously worked at the Arena Stage at the Mead Center for American Theater, first as a Supplemental Extra in “The High Ground”, and secondly as a Production Script Assistant in “Tempestuous Elements.” Grace has a minor in Drama from the University of Virginia and has completed courses at The American Academy of Dramatic Arts. For her, artistry is thought-provoking and a reflection of greater society. For that reason, Grace has found herself in several different behind-the-scenes roles. Grace also enjoys singing, modeling, writing, and dabbling in video content creation.

ETHAN HART (ASST. DRAMATURG) is a junior BFA Musical Theatre student at Howard University and is thrilled to be the Assistant Dramaturg for this production. His previous dramaturgical work includes the program note for Howard University’s production of Black Nativity. Professional Theatre: NextStop Theatre’s Ride The Cyclone. Howard University: Sonnets and Soul, The 25th Annual Putnam County Spelling Bee, Heathers The Musical. Ethan is grateful for his family, friends, and professors who have helped him grow as an artist and a person. He thanks everyone for coming to the show and hopes they enjoy. @eethanharttt

DARYL EISENBERG (CASTING DIRECTOR) (she/her) is Owner of Eisenberg Casting - an Artios-nominated full-service casting office. Eisenberg Casting is a fast-paced, bi-coastal casting office with extensive experience casting for Film, TV, Broadway, Theater, Commercials, Voiceover, and New Media. Daryl Eisenberg creates a comfortable space for actors to take risks and re-imagine their potential as artists in a progressing industry. Eisenberg Casting connects talent to clients with thoughtfulness and vision while maintaining an efficient and enjoyable process for the artists on both sides of the table. Daryl has covered nearly all the major and minor markets coast-to-coast and her films have played major festivals such as Sundance, Venice, Tribeca, TIFF, SXSW, San Diego, Cleveland, Atlanta, Soho, and have also received distribution theatrically and streaming. In addition to film and television, Eisenberg Casting is also represented strongly in the theater industry, having cast stage productions for Broadway, off-Broadway, National Tours, and major regional theater houses. Daryl is the chair of the Somerset County Film Commission and is a former Watchung Borough Councilmember. She was awarded the 2021 Eleanor Roosevelt Volunteer Service Award by the Somerset County Federation of Democratic Women. Daryl was listed in the Insider 100: Millennial Power List and is a recipient of the Somerset County Business Partnership Top 40 Under 40 Award. Daryl has taught at schools and institutions around the country. She holds a BFA from Tisch School of The Arts/New York University and Playwrights Horizons Theater School. Member of Casting Society of America. @EBCastingCo. www.ebcastingco.com

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MEET THE CREATIVE TEAM

RACHEL LYNETT (PLAYWRIGHT) (she/they) is a queer Afro-Latine playwright, producer, and teaching artist. Their plays have been featured at  San Diego Rep, Magic Theatre, Mirrorbox Theatre, Laboratory Theatre of Florida, Barrington Stage Company, Theatre Lab, Theatre Prometheus, Florida Studio Theatre, Laughing Pig Theatre Company, Capital Repertory Theatre, Teatro Espejo, the Kennedy Center Page to Stage festival, Theatresquared, Equity Library Theatre, Chicago, Talk Back Theatre, American Stage Theatre Company, Indiana University at Bloomington, Edgewood College, and Orlando Shakespeare Theatre.  Rachel Lynett is also the 2021 recipient of the Yale Drama Prize for their play, Apologies to Lorraine Hansberry (You Too August Wilson). Lynett was  2021 recipient of the National Latinx Playwriting award and the runner-up for the 2022 Miranda Family Voces Latinx Playwriting Competition for their play, Black Mexican. Their play, White People by the Lake was also a 2022 Blue Ink Award finalist. Lynett was recently a staff writer for The Winchesters and is working on an upcoming feature.

A. LORRAINE ROBINSON (DIRECTOR) & VFP’s Artistic Producing Partner (she/her) is an award-winning theatre director, dramaturg, and community arts educator. She was Artistic Producing Director of MuseFire Productions, a (501c3) not-for-profit theatre & film company dedicated to multimedia and stylistically challenging work (especially voices of women & individuals of color). Recent Projects include: Director - #Charlottesville and Apologies to Lorraine Hansberry (You Too, August Wilson) [VFP]; The Piano Lesson & Raisin in the Sun [Sitar Arts Center]; Let Me Down Easy and Baltimore [St. Mary’s College of MD], Pott Odds and You Were Mine (Transformation Theatre], Three Strangers Sitting Around a Backyard Firepit at Two in the Morning Listening to Bruce Springsteen's NEBRASKA [Bob Barlett site-specific production]. Dramaturg - TopDog/Underdog [Avant Bard]. She received the Central Ohio Theatre Critics Circle Award: Best Director and Best Production for The Laramie Project (Contemporary American Theatre Company.) In 2017, 2018 and 2019 she received Tony Award: Excellence in Theatre Education Honorable Mention Awards. Memberships: BTN & SDC (associate). Lorraine is also a Board Member & Associated Artist with Transformation Theatre Company. Her full bio
can be found on our Producing Partners page.

DAVID ELIAS* (PRODUCTION STAGE MANAGER) has also been SM for VFP's Home?, #Charlottesville, and a half-dozen readings the theater has done over the past year. He recently played Weller Martin in The Gin Game at Compass Rose Theater in Annapolis. David, who is based in the DC area, has been acting and stage managing for 30 years, working with Theater J, Wayside Theatre, Metrostage, Transformation Theatre, Spooky Action Theater, Totem Pole Theater, Edge of the Universe Theater, Theater of the 1st Amendment, Bay Theater, and many more. For over 20 years he has been teaching Voice, Acting, and Script Analysis at the National Conservatory of Dramatic Arts. He has thought about retiring, but as he would continue working in theater as a hobby, sees absolutely no reason to do so.

*Member of Actors’ Equity Association

KHALID Y. LONG (DRAMATURG), PhD, is an Associate Professor of Theatre at Howard University. A scholar, dramaturg, and director, he specializes in African American/Black diasporic theatre, performance, and literature through the lenses of Black feminist/womanist thought, queer studies, and performance studies. Accordingly, his work addresses the intersections of race, class, gender, and sexuality within marginalized and oppressed communities. He is a co-editor of Contemporary Black Theatre and Performance: Acts of Rebellion, Activism, and Solidarity and has published in several journals and edited collections, including The Cambridge Companion to African American Theatre (2nd edition) and The Routledge Companion to African American Theatre and Performance. Khalid is a freelance dramaturg and his credits include Relentless by Tyla Abercrumbie, Two Trains Running by August Wilson, Kill Move Paradise by James Ijames, Sunset Baby by Dominique Morisseau, and Sweat by Lynn Nottage.

SUNSHINE DE CASTRO (LIGHTING DESIGNER) is a lighting designer and electrician from Batangas, Philippines with a Californian upbringing. For her, light is an essential storytelling vehicle. It is one of the first things we experience when we are born. She hopes to continue in the innately human tradition of storytelling; playing, exploring, and exemplifying it through light. Sunshine is committed to emphasizing equity and diversity in her work. Her undergraduate thesis “Lighting Design for All Skin Tones” was most recently presented at the Juilliard School in collaboration with their Office of EDIB. Recent design/technical credits include Lighting Design Fellow (Hell’s Kitchen, Broadway), Assistant Head Electrician at the Juilliard School (Importance of Being Earnest, Later the Same Evening), Lighting Supervisor at the Santa Fe Opera (Apprentice Scenes), Lighting Designer at the Madera Theatre Project (Anna in the Tropics), Lighting Designer at Fresno State (The Pillowman, Electricidad). sunnydoeslighting.com

VENUS GULBRANSON (CO-LIGHTING DESIGNER) is a proud Filipino lighting designer based in Brooklyn. Most recent notable works include Broadway’s New York, New York with legendary Ken Billington, Susan Stroman, and John Kander; and Woolly Mammoth Theatre’s production of My Mama and the Full-Scale Invasion in collaboration with Wilma Theatre where she received her second Helen Hayes Nomination and featured on Live Design Magazine’s Plot of the Week. Venus's work has been seen at Arena Stage, Signature Theatre, The Public, Ford’s Theatre, The Kennedy Center, La Jolla Playhouse, Santa Fe Opera, and more. She is a member of United Scenic Artists 829 and is an advocate for underrepresented artists in the industry. Current goals include learning to be an average tennis player, and becoming a dog-parent with partner, Kiera.  venusgulbranson.com

CHITRA SUBRAMANIAN (CHOREOGRAPHER) is an Indian American dancer, choreographer, and educator residing in Washington, DC. A Pittsburgh native and originally from South India, Chitra currently teaches, choreographs, and performs with a collective of artists called chitra.MOVES.

Her aesthetic draws from Hip Hop and Bharathanatyam foundations to tell stories, elevate artists, and meaningfully engage unseen and new audiences.  Chitra's life-long love for Hip Hop culture and community work was forged through nonstop club gatherings of music, dance, and fellowship.  Heavily influenced by her immigrant roots and her love for Hip Hop, Chitra has cultivated a depth of experience in youth work, teaching, choreography, performance, and learning.

Most recently, Chitra created/performed an evening-length work, “TEMPLE,” which sold-out three shows. Chitra currently curates and teaches for the Rooting the Dance Hip Hop Dance Class Series. It spotlights the diverse stories and talents of women and femmes in the DC street dance scene and offers a consistent, high-quality training ground.

Chitra’s dance work has also been presented at the John F. Kennedy Center for the Performing Arts, Ladies of Hip-Hop Festival, Joe’s Movement Emporium, Dance Place, The Kelly Strayhorn Theater, and Three Rivers Arts Festival.

BRANDEE MATHIES (COSTUME DESIGNER) has been Studio’s Costume Shop Manager since 1994. He is a Helen Hayes nominated costume designer for Nollywood Dreams at Round House Theatre & MountainTop. He has also costume designed Passover, Mother StruckThis Is Our YouthThe Year of Magical ThinkingStoop StoriesRimers of EldritchA NumberThe Syringa Tree, and Comic Briefs for Studio Theatre, as well as MothContractionsA Beautiful ViewCrestfall, and Polaroid Stories for Studio 2ndStage. Other DC area credits include Costume designed: One in Two, Birds of North America, Satchmo at the Waldorf, Hooded for Dummies, Blood Knot, Eureka Day, Shame, Vicuna, Inhered the Windbag at Mosaic Theater (Costume Design); Pankr’ac 45 at Atlas Theatre (Costume Designer) This Girl Laugh, Black Nativity, This Bitter Earth at Theater Alliance.  (Costume Design) Sonnets and Soul, Anything Goes and & Black Nativity at Howard University; (Assistant Designer) The Wiz at Duke Ellington School of the Arts. Blues for an Alabama Sky and Sunday in the Park with George (Firsthand) at Arena Stage; and Black Nativity (Assistant Designer) at The Kennedy Center. Costume design Government movie (The AD-X2 Controversy).

HEIDI CASTLE-SMITH (SET DESIGNER) has worked as both a set designer and scenic artist in and around the Washington DC area.  Currently she is the Visiting Assistant Professor of Scenography at St. Mary's College of Md where she teaches and designs their main stage productions.  She is also the Co-Founder and Co-Artistic director of Transformation Theatre Company. Other design credits include, Tender (Transformation Theatre Company and best of Fringe 2023 by DC Metro Theatre arts) These Shining Lives for The Arts Collective @ HCC (made the "Best Of" list for DC Metro Theatre Arts in the category of Set Designer), Spring Awakening, A Year with Frog and Toad, Peter Pan, and Dogfight (Red Branch Theatre Company), Assassins, Mother Courage and Lear’s daughters (Black Box Student Theatre at University of MD), and multiple summer seasons as a company member for the Chesapeake Shakespeare Company.

TYRA BELL (PROPS DESIGNER/ASSISTANT SET DESIGNER-SCENIC CHARGE) is a Scorpio and native Washingtonian who loves roller skating. She currently works as a prop shop supervisor at the Clarice Smith Performing Arts Center at the University of Maryland and has been working in theater the past 5 years. Occasionally, she also works at Anthropologie as an unofficial assistant display artist, building unique, whimsical installations throughout the store. She has spent many years at Sitar Arts Center on both the mural and musical team and has become a skilled painter and resourceful craftsman. Recently, she became an active member in the Local 22 IATSE stagehand union, and occasionally helps to prepare for concerts or Broadway shows. Tyra has a degree from Rhode Island School of Design in furniture design. Someday she hopes to have her own practice as a sculptor in the DMV, but currently loves the fast paced, high-energy atmosphere in theater. In quiet hours you can find Tyra wearing overalls and crocs or under a blanket watching episodes of 90210.

David Lamont Wilson (SOUND DESIGNER) is thrilled to be making his debut with Voices Festival Productions. He is especially thrilled to be working with Ari, Lorraine and this fantastic cast and crew.  Wilson’s most recent sound designs include this season’s critically acclaimed production of Confederates at Mosaic Theater,  Chicken & Biscuits at the Virginia Repertory Theatre and the off Broadway production of ”Queens Girl In The World” for Abingdon Theatre Company and "School Girls, Or The African Mean Girls Play for Hangar Theatre Company.  Favorite sound designs include the Atlanta Alliance Theatre production of "The C.A. Lyons Project" (Suzi Bass Award nominated),  “Wig Out” at Studio Theatre, The Welder's "Not Enuf Lifetimes," Charter Theatre’s production of “Am I Black Enough Yet?,” “Dead Man Walking” at American University,  and “Titus” for the Washington Shakespeare Theatre.  His resume also includes designs at the Kennedy Center, Signature Theatre, Arena Stage, Imagination Stage, the National Conservatory of Dramatic Arts, Catholic University, and Georgetown University to name a few. 

GRACE O. GYAMFI (ASM) (She/Her) is a Ghanaian-American actress and multidisciplined artist excited to join VFP for the first time. Grace has previously worked at the Arena Stage at the Mead Center for American Theater, first as a Supplemental Extra in “The High Ground”, and secondly as a Production Script Assistant in “Tempestuous Elements.” Grace has a minor in Drama from the University of Virginia and has completed courses at The American Academy of Dramatic Arts. For her, artistry is thought-provoking and a reflection of greater society. For that reason, Grace has found herself in several different behind-the-scenes roles. Grace also enjoys singing, modeling, writing, and dabbling in video content creation.

ETHAN HART (ASST. DRAMATURG) is a junior BFA Musical Theatre student at Howard University and is thrilled to be the Assistant Dramaturg for this production. His previous dramaturgical work includes the program note for Howard University’s production of Black Nativity. Professional Theatre: NextStop Theatre’s Ride The Cyclone. Howard University: Sonnets and Soul, The 25th Annual Putnam County Spelling Bee, Heathers The Musical. Ethan is grateful for his family, friends, and professors who have helped him grow as an artist and a person. He thanks everyone for coming to the show and hopes they enjoy. @eethanharttt

DARYL EISENBERG (CASTING DIRECTOR) (she/her) is Owner of Eisenberg Casting - an Artios-nominated full-service casting office. Eisenberg Casting is a fast-paced, bi-coastal casting office with extensive experience casting for Film, TV, Broadway, Theater, Commercials, Voiceover, and New Media. Daryl Eisenberg creates a comfortable space for actors to take risks and re-imagine their potential as artists in a progressing industry. Eisenberg Casting connects talent to clients with thoughtfulness and vision while maintaining an efficient and enjoyable process for the artists on both sides of the table. Daryl has covered nearly all the major and minor markets coast-to-coast and her films have played major festivals such as Sundance, Venice, Tribeca, TIFF, SXSW, San Diego, Cleveland, Atlanta, Soho, and have also received distribution theatrically and streaming. In addition to film and television, Eisenberg Casting is also represented strongly in the theater industry, having cast stage productions for Broadway, off-Broadway, National Tours, and major regional theater houses. Daryl is the chair of the Somerset County Film Commission and is a former Watchung Borough Councilmember. She was awarded the 2021 Eleanor Roosevelt Volunteer Service Award by the Somerset County Federation of Democratic Women. Daryl was listed in the Insider 100: Millennial Power List and is a recipient of the Somerset County Business Partnership Top 40 Under 40 Award. Daryl has taught at schools and institutions around the country. She holds a BFA from Tisch School of The Arts/New York University and Playwrights Horizons Theater School. Member of Casting Society of America. @EBCastingCo. www.ebcastingco.com

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DRAMATURGY - LETTERS TO KAMALA

THE ANCESTORS IN “LETTERS TO KAMALA”

Charlotta Spears Bass (Between 1874 & 1889 –1969)

In 1952, Charlotta Spears Bass was the first Black woman to run for Vice President on the Progressive Party’s ticket alongside Vincent Hallinan. Her work as a Black leftist journalist often overshadows her efforts in American politics. It is without a doubt, however, that her political aspirations were inspired by her work as a journalist. As the owner and editor of The California Eagle, one of Los Angeles’ first Black newspapers from 1912 to 1951, Bass dedicated her news reporting to racial inequities such as racially restrictive residential covenants and racial hiring practices in Los Angeles. Reflecting on her journalism career, Bass states that she aimed to contest “The two-headed monster, Segregation and Discrimination.” In doing so, Bass helped to secure employment for African Americans at several prominent companies, including the Southern Telephone Company, Los Angeles General Hospital, and the Los Angeles Railway. Additionally, Bass used her newspaper to oppose racist representations of African Americans in films such as The Birth of a Nation (1915).

When Bass was nominated by actor and activist Paul Robeson, with a seconding of the nomination by sociologist, historian, and activist W. E. B. Du Bois, she was aware she would probably not win. During a campaign rally in Chicago, Bass stated, “This is a historic moment in American political life. Historic for myself, for my people, for all women. For the first time in the history of this nation a political party has chosen a Negro woman for the second highest office in the land.” As such, Bass’ run was to set the course for the future of politics, especially where African Americans were concerned.

Patsy Takemoto Mink (1927–2002))

In 1964, after a second seat was created in the U.S. House of Representatives, Patsy Mink took her seat, making her the first Asian-American woman and woman of color to serve in the US Congress. Throughout her lengthy career in Congress, Mink was a voice for underrepresented and marginalized groups, focusing on gender and racial equality, affordable childcare, and bilingual education. A major feat for Mink was when she became a significant supporter and a co-author of Title IX, which was renamed the Patsy T. Mink Equal Opportunity in Education Act in 2002 in honor of passing. In addition to her work in Congress, Mink was a staunch advocate for anti-war activism. For example, during the late 1960s and 1970s, Mink opposed the use of the Pacific lands, waters, and peoples as sites of military experimentation, which would subsequently expose them to nuclear and chemical testing and war games. Mink’s anti-war sentiments attracted the Oregon Democrats, who, in turn, sponsored her to run for President in 1972.

The nomination marked her as the first East Asian-American woman to seek the presidential nomination of the Democratic Party. Although Mink only received 2% of the vote, she remained steadfast in her commitment to American politics. She would continue to serve in several capacities, including forming the Congressional Asian-Pacific American Caucus.

Charlene Mitchell (1930-2022)

At the young age of 13, Charlene Mitchell became a human rights activist when she demonstrated against segregated bowling alleys and movie theatres in Chicago, IL. Joining the Communist Party of the United States (CPUSA) at the age of 16, Charlene Mitchell spent her entire life fighting for Black people locally and abroad. As one of the leading voices of the Communist Party, Mitchell had associated with other party leaders around the world, including Claudia Jones of London and Yusuf Dadoo of South Africa. On July 4th, 1968, Mitchell was nominated to run for President of the United States by the CPUSA. Accepting the nomination made Mitchell the first Black woman to run for President. Mitchell understood early on that she would not win the election; however, the campaign offered her an opportunity to broadcast the efforts and aims of the Community Part, which, today, is quite aligned with the goals of Democratic Socialism. One of Mitchell’s closest allies was Black Feminist political activist Angela Davis.

Upon Davis’ arrest in 1970, Mitchell took on the role of executive director of the National United Committee to Free Angela Davis. Mitchell’s political and activist-centered stance can be summarized in her following quote: “What we need is a revolutionary transformation … replacing white capitalism with black capitalism isn’t going to solve the problems of poverty: the problems of poverty are rooted in the nature of capitalism itself.

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Charlotta Bass photo credit: © Los Angeles Examiner—USC Libraries/Corbis/Getty Images

Patsy Mink photo credit: Courtesy of Kimberlee Bassford

Charlene Mitchell (left) and Angela Davis photo credit: Courtesy of People's World Archive