UCAN! Magazine First Quarter Issue 2018

VOLUME FIVE ISSUE ONE

UCAN! M

A

G

A

Z

I

N

JANUARY– MARCH 2018 YEAR 5 ANNIVERSARY ISSUE

E

MOVIE COVER! Satie Gossett Educating Through Art James Hunter Can’t Stop Won’t Stop Jermaine Smith Working Everyday Anne L. Thompson-Scretching Extraordinary Playwright James Hunter Can’t Stop Won’t Stop

The Season A Bit of American History

PEACE AND GREATNESS IN

AMERICA UCAN! MAGAZINE CELEBRATES THE LIFE AND LEGACY OF DR. MARTIN LUTHER KING, JR.

FROM THE EDITOR

UCAN! M

A

2018

G

A

FIRST

Z

I

QUARTER

N

E

ISSUE

VOLUME FIVE ISSUE ONE

EDITOR-IN-CHIEF

STAR DAVIS CREATIVE

DIRECTOR

RANDELL PEARSON

Five years ago on January 10, 2013 UCAN! Magazine made its debut.

This publication was created to celebrate success stories in entertainment, especially the achievements of independent artists and content creators. Our support for our creative comrades remains steadfast.

The love of art is universal, and we’ve been fortunate to feature artists from the U.S. as well as from different countries around the world. We pride ourselves on featuring artists from all backgrounds and cultures.

During our hiatus throughout 2017, story prospects were always plentiful. New films were produced. Plays were written and staged. Web series were giving lots of opportunities for actors and crew members to showcase their work with just a few mouse clicks.

With that said, this issue will commemorate current projects as well as a few highlights from this past year. They all deserve applause as their completion demonstrates the overcoming of challenges and trials.

Special thanks to Anne L. Thompson-Scretching. You took a huge chance on me to help tell your amazing story. Thank you to Daryl Denner and Toni Parker for the opportunities to act in your films. Thank you to James Hunter for your support of UCAN! Magazine. Thank you to Nader Sobhan of iFlix for giving my cousin the #DIFF tickets. And a huge THANK YOU to our readers. Your love and support of fine arts is what keeps this magazine going.

Finally, to our American readers, we hope you had a wonderful Martin Luther King Day. We know America’s best days are still ahead of us.

SOCIAL

MEDIA

MANAGER

JACQUELINE MARIE ALVARADO CONTRIBUTING

EDITORS

MORGAN ELIASON MELISSA GOLDSTEIN ARLEY SEAMUS EDITORIAL

PRODUCTION

MONICA TRAVELLINO ENTERTAINMENT

DIRECTOR

KAREN Y. BROWN RESEARCH

CENTER

DEIDRE GREGORY KEIDRA CAMERON MICHELLE DUBOIS ADVERTISING

DIRECTOR

KIMBERLY ANN RICHARDS

Let’s get it in 2018!

#ByArtistsForEveryone Twitter: @UCANMagazine Facebook: https://www.facebook.com/UCANMagazine UCAN! MAGAZINE IS PUBLISHED FOUR TIMES ANNUALLY IN ENGLISH. UCAN! @ 2015 BY PEARSON DESIGNS, BROOKLYN NY, USA. REPRO-

Cover Model: Rhunette Davis Signs of the Zodiac Cocktail Lounge, Harlem 1965

DUCTION OF ANY PARTS OF THIS PUBLICATION REQUIRES EXPRESS WRITTEN CONSENT OF THE PUBLISHER. UCAN! ACCEPTS NO RESPONSI-

Available on Amazon.com

WI NN E R

BES T

WINNER

SHO R T

FILM

LUMIN A RY

AWARD

AWAR D

O C K TO BE R

M ALI BU

F I LM

F I LM

F E S T IVA L

F E S T I VAL

SATIE GOSSETT ART

THAT

EDUCATES!

And the Best Short Film Award goes to...Satie Gossett, writer and director of the thought inciting film FORGIVENESS. It’s a wonderful work about how a young boy gains access to the president of the United States and convinces him to apologize, on TV, for America’s participation in Slavery.

The inspiration for the story came from a conversation Satie had with his son while President George W. Bush was in office. The topic was race and The Transatlantic Slave Trade. Satie’s son asked if the president had ever apologized for this country’s role in it. The subject matter is extremely serious, to say the least – even more so when the delivery has to resonate with young people.

“I wrote it very quickly. I let a few friends read it, then I just put it in a drawer because I couldn’t figure out how to make it at the time,” Satie remembers. He shot the film in late 2015 into 2016.

Coming from a bloodline of elite Hollywood talent, Satie grew up in the midst of greatness like Muhammad Ali and Sidney Poitier. With such rich life experiences, becoming a director was a natural path. He has steadily progressed in his journey by later studying Film and graduating from Syracuse University, to now with an impressive 10 productions to his credit.

“I’ve always wanted to direct in some capacity since junior high school. My friends and I would recreate current films in our backyard and have a ball,” he tells us.

FORGIVENESS can boast strong, sound acting from its entire cast. Young Roland Kilumbu solidly carries the lead role. Satie credits having worked with a casting director to find the lead actor as well as J. D. Hinton who played the president. The acting is absorbing and believable. In the past Satie has helped actor friends by giving them roles in other productions. The results were a hit or miss.

Even though professional casting was pivotal in this production, it didn’t avoid conflicts in schedule. That turned out to be one of the more challenging aspects of completing this film.

“Scheduling with the actors was a challenge. A few of the roles had to be replaced at the last minute because of scheduling conflicts. I learned a lot on this project about choosing people in key roles. Expertise is one thing, the relationship you have is another. It’s like a coach is only as good as his players,” Satie explains.

In addition to winning the Luminary Award at the Malibu Film Festival and Best Short Film Award at the Ocktober Film Festival, screenings of FORGIVENESS followed by Q&As are having profound effects. Audiences get very emotional from crying to laughing. The Q&A sessions provide opportunities for honest dialogue about the film, politics and race. One of those sessions had several representatives from regional school boards. As a result, it is a strong possibility that FORGIVENESS could be implemented in school curriculums. They also suggested that FORGIVENESS be submitted to the National Museum of African American History and Culture, as well as screened at the U.N. This film is certainly relevant given the current political climate with Donald Trump, Black Lives Matter, and the latest waves of racism. Satie had no idea of how significant his film would be. Truth is stranger than fiction.

He is enthusiastic to acknowledge people who have helped him through the making of FORGIVENESS: Sandra Evers-Manly, John Forbes, his dad Louis Gossett Jr. for his support. Zora DeHorter - casting director extraordinaire, DP Sara Garth, Editor Ambika Leigh. The awesome cast.

Satie’s words of encouragement, “Create the stories that YOU want to see. It is easier to be passionate about something that comes from your heart. Do something every day to move you forward in your craft no matter how small.”

He is now writing the feature length version of this story.

PHOTOGRAPHY: ELIZABETH MARTIN PHOTOGRAPHY

F I R S T

Q U A R T E R

2 0 1 8

5

U CAN!

M A G A Z I N E

JamesHunter CAN’T STOP WON’T STOP

James Hunter fills up theaters with sell-out crowds. Three of the six films he’s written, directed and produced: JUXED, THE BREAKING POINT and THE TURNAROUND have won awards. His newest production, THE SEASON is about to be released.

This particular film takes place in Altamonte Springs, Florida and tells the story of Bridgette during the 1950s – 60s. The main character is based on the film’s Executive Producer. “The Season,” was also a term used for migrant work during that era, where less privileged people would travel up and down the east coast tending to other people’s farms in order support their own families.

A Brooklyn, NY native, James moved to the Sunshine State in 2006 to attend music school. A less than thrilling tour of the school’s music program left him totally available for change. The film program was giving a tour at the same time. When that tour was over, James knew film was his calling. He registered for the Bachelors in film program and has never looked back.

At thirty years of age, James was shot in his back. He condition was grave. He fought hard and survived.

After recovering from his injuries, James spent the next two and a half years in a nursing home for rehabilitation. He uses the lessons he learned from that time to enrich the quality of his work to this day.

“While there, I was blessed to develop meaningful friendships with people facing a plethora of life-altering illnesses and injuries. This experience humbled me and taught me empathy,” James tells us.

His mind and determination are still laser sharp and intact. His spinal chord, however, is not. For the last fourteen years, James has finished college, as well as produced six films from start to finish. He’s done so while sitting in a wheelchair after being paralyzed from the waist down.

“Quite a few of my friends at that facility were paralyzed from the neck down,” he says as if we’re right there in the facility.

“Seeing how they never gave up on life, allowed me the ability to view my injuries with the proper perspective.” Not everyone could see having feeling only from the waist up as a blessing...James does.

James uses his circumstances in the most positive ways possible. A usual day on set can easily span 16 hours. James has to wrap his work on the set after seven. Sitting up in the chair for more than ten hours a day can cause a potentially fatal pressure sore. So, filming (and everything else) has to be steady and efficient.

C O V E R

F E A T U R E

THE SEASON

(LEFT TO RIGHT) HIS OLDER SISTER SONYA HUNTER, YOUNGER SISTER CHAMARE QUICK. JAMES IS SEATED AND HOLDING HIS NIECE SANIYA, AND CHAMARE IS HOLDING HIS OTHER NIECE NIVEAH. (BOTTOM) A SOLD OUT CROWD AT THE NYC TURNAROUND MOVIE PREMIERE.

A strong support system is crucial in James’ life. He specifically mentions family members. “My moms, my pops, my sisters, nieces and nephews, aunts and cousins on both sides of my family,” he says in a single breath.

Well wishers extend far beyond his close relatives. Coming from a hardcore street upbringing, James has been surprised to see how supportive many of his street compadres continue to be. The majority of them are still in the old neighborhood. He also mentions his directing partner Amanda, his other business partners Milton, Hisham, Derrick, Lorenzo and Wayne, and some crew members.

Discomfort is once again leading this visionary to explore options outside of his comfort zone. “I’m actually strongly considering going into the distribution side of filmmaking,” he tells us. This idea arose after James felt his first feature film didn’t get the distribution deal it deserved.

“If everything goes right I’m going to become either a distributor or sales agent by the end of 2018,” he continues.

There’s a lot coming up in the future for James Hunter. He’s returning to TANGLED WEB, a TV pilot he developed, and he’ll be working to film his feature COLORBLIND by the end of this year.

James leaves us with some parting words of wisdom. “The key to this industry is vision, patience and networking. Any up-and-coming filmmaker needs to understand that they will need to either have or practice all three of these in order to be successful.” #CantStopWontStop U CAN!

M A G A Z I N E

8

F I R S T

Q U A R T E R

2 0 1 8

Available on Amazon.com

GO I N G S ON W I N T E R 2 017 H I G H L I G H T - T R I B P R E M I E R E S C R E E N I N G I N Q U E E N S N Y

In keeping with its commitment to excellence, 15L Productions hosted a wonderful screening and reception for THE RHYTHM IN BLUE at the Museum of the Moving Image. After the screening, there was a revealing Q&A where audience members got to ask the film’s writer Crystal Senter-Brown her source of inspiration as well as questions for director Toni Parker and for the cast members. There were plenty of filling hors d’oeuvre appetizers, lots of wine and even more people who were excited and moved by the film. Since its release, TRIB has been selected for screenings at numerous film festivals, and winning awards of Best Director and Best Feature Film at two of them. See the trailer here: https: https://vimeo.com/196185975?ref=fb-share&1 I A N LY N P H O T O G R A P H Y

GO I N G S ON

W I N T E R 2 017 H I G H L I G H T - T R I B P R E M I E R E S C R E E N I N G I N Q U E E N S N Y

U CAN!

M A G A Z I N E

1 2

F I R S T

Q U A R T E R

2 0 1 8

GO I N G S ON

W I N T E R 2 017 H I G H L I G H T - T R I B P R E M I E R E S C R E E N I N G I N Q U E E N S N Y

F I R S T

Q U A R T E R

2 0 1 8

1 3

U CAN!

M A G A Z I N E

Jermaine Smith ART CAN BE VISCIOUS

Jermaine Smith is known in many circles as a playwright. We met him back in 2009 after he produced a stage play he’d written and directed. His tenacity always shone through even during the long train rides back to East New York. Whenever he had an idea, he’d write it down on whatever was available. Many scenes were written on the memo pad app in his phone.

Life trials have only enhanced his work. Jermaine has often spoken of having a mother who’d been addicted to drugs. Other life experiences and raising two sons have given him a deep well of perspective. It is from this well he draws to write his work with both authentic pain and joy. It has served him well throughout his self issued challenge of evolving from a playwright, to an author, and now a screenwriter.

His latest creation is the television show, VISH MERRICK. The title is a spin on the words “Vicious America.”

“I looked around and witnessed the patterns within our communities, the politicians who abandoned those communities and understanding the means and ways of how people interact, Jermaine explains. “And how they plot and deceive their way through life. I aim to show our core audience that one thing you can always trust is another person’s greed.”

This sounds like a dark message, but it also rings very true. The temptation for more and more can ensnare anyone to commit terrible acts. Many resist, but many do not due to all sorts of reasons and circumstances. This reflects in the show’s culturally diverse casting.

“I purposely wrote VISH MERRICK to be as diverse as possible”, says Jermaine. He did not want a show that was culturally monotone. The most important objective for him was to keep his story as authentic as possible.

Getting required actors together for a shoot was not so easy. Filming some scenes was challenging. Jermaine would sometimes have to either rewrite a scene on the spot, or write scenes based on who’s available to film them. Keeping any show consistently fun to watch is challenging even under more rigid standards. Jermaine hones his skills when these challenges arise.

In the meantime, there is the objective of accomplishing his goal. The immediate plan is to get VISH MERRICK picked up as an Original Series from a media entity/company. Jermaine says. He is now in development for Season Two. He’s also written two short films and is directing music videos.

As it is popular advice in any culture, Jermaine instills the value of a good education and learning. He lives by that advice himself.

“Study and practice your craft. To this day I remain a student,” he says.

We believe remaining open to ideas will keep them flowing consistently. We look forward to seeing a lot more from Jermaine Smith.

Catch VISH MERRICK on Amazon Prime.

“I aim to show our core audience that one thing you can always trust is another person’s greed.”

Anne L.Thompson DEDICATION

TRUST

Scretching LOVE

B Y S TA R D AV I S

PHOTOGRAPHY: LEEWEXLER/IMAGESFORINNOVATION.ORG.

OF TOUCH NOT MY HEART AT THE AMERICAN THEATRE OF ACTORS

Talking with Anne L. Thompson-Scretching is almost as educational as being cast in one of her plays. Well, not quite. But it’s a wonderful way to get to know her. She is a phenomena in the world of theater.

Her raspy voice is fills up the space with animation as she recounts the lessons she’s learned along her life’s journey. Over and over again the themes that kept coming up throughout our talk were those of DEDICATION, TRUST and an absolute LOVE for the world of theater.

Anne’s earliest memories of delightful storytelling came from her mother’s brother, her uncle Jim Howell. He was from Macon, GA and could neither read nor write.

“When I was a little girl he would tell these beautiful stories about hopping trains and making hooch and living in the open and going from state to state in these bum cars,” Anne recounts, her voice sounding like a blues singer.

Anne was first inspired to write when she saw James Earl Jones on Broadway in the 1967 play GREAT WHITE HOPE. She looked at that stage and said she knew she could affect audiences the same way. To Anne, James Earl Jones was nothing short of magnificent. She was rocked.

LOOKING FOR LOVE IN DARKNESS in 1994 was Anne’s first production of one of her writings. In the THEATER WEEK review, her play was compared to the Pulitzer-winning play at the Walter Kerr Theater that was running at the same time.

Anne’s African American roots play in big role in the stories she tells. Not just through black eyes, but through the ripple effect they have in American history as a whole.

“My writing is more than entertainment. It is to educate and to leave a history of what is going on in this country. Fifty years when I’m gone, these plays will be here telling a history of black people and what has happened with us over the years,” Anne explains.

The first part of Anne’s acclaimed trilogy, A LESSON IN BLOOD, is based on the stories her grandmother and her Uncle Jim would tell her about life in the South and what it was like living with the Klan. It was a time when white people would brazenly come up [to black people] and look them up and down like they were pieces of merchandise.

“They would say things like, ‘This is one good nigger.’ or ‘This is one hardworking nigger right here,’” she says.

Anne walks her talk when it comes to producing plays and providing opportunities for actors.

Sonia Johns, Gary DeWitt Marshall, and O. L. Duke all learned valuable lessons from working with Anne Thompson-Scretching.

In fact, Gary DeWitt Marshall walked up to Anne and flat out asked for an acting opportunity. He played Smoke in LOOKING FOR LOVE IN DARKNESS. Anne’s dedication is unmatched. Even Steven Spielberg is known to not have rehearsals and read-throughs before filming. Anne has invited actors to her home and worked with them until all hours of the morning. She’ll often let them stay the night in the spare room only to go over lines again in a few hours, for as long as the actor needs to feel ready.

U CAN!

M A G A Z I N E

1 8

F I R S T

Q U A R T E R

2 0 1 8

Another way Anne is dedicated is by the time she devotes to her gift. “Write every day. Write a paragraph every day. Just continue writing. Do not be afraid to change something. but you got to get in the habit of writing every day,” she insists.

Anne exhibits trust every time she casts and produces a play. “You are at the mercy of your actors when they go on that stage,” she says in absolute seriousness. The interesting thing is even though she feels this way, she also gives actors freedom to explore.

That is almost unheard of from a writer. Many times Anne tries to relieve actors’ pressure by letting us know that mistakes can and do happen. “Just don’t change the meaning of my play!”

Actors also learn to trust outside of our own familiar areas. Anne will oftentimes give direction for reasons which only she can see. We learn how to follow that direction despite how uncomfortable it feels.

Love comes into play in many ways when working in an Anne Thompson-Scretching production. For starters all actors absolutely love what we do. It’s hard, and it requires a lot of dedication and trust. But the love is always there. Anne gives actors the opportunity to act simply because we love to do it. We are not pressured into having to sell a certain amount of show tickets. Many nights the seats were filled even when none of us cast members had invited a soul. People throughout many communities come to see Anne’s plays simply because they know the quality of her work. Denzel Washington has come to see Anne’s plays, and anchorman Art McFarland from WABC was in the audience of Anne’s most recent production, TOUCH NOT MY HEART. Anne experiences love for the theater by continuing to write plays and produce them for actors to have opportunity. She also experiences love by watching her words come to life. Her voice only gets a little high pitched when she describes it, but you can hear the glee.

“To sit there and see an actor say what I wrote…It just blows my head. It just knocks me out, because I just can’t believe it. I think that is the most magical thing on earth. I am in awe of how you all can do that!”

Well a lot of us are in awe of how Anne Thompson-Scretching does what she does. She is a consistent playwright who comes up with new and fresh stories for actors to tell and people to see. And the stories are good. Like good enough to be published by Samuel French, good.

Working in one of her plays is going to be difficult. It was excruciatingly painful for me at times. Sometimes more than not. But the knowledge I gained from the experience was nothing short of a blessing.

I would encourage anyone to see anything Anne has written. Actors would be remiss to not seek out the opportunity of being cast in one of Anne’s productions, especially while she’s still around to give you the full-on experience.

“I don’t know what Anne’s future looks like,” she says about herself in the third person. “Other than I’ll be writing until I stop.”

F I R S T

Q U A R T E R

2 0 1 8

1 9

U CAN!

M A G A Z I N E

JUDITH BLAIR BROWN

SHOWS THE IMPORTANCE OF MALE ROLE MODELS FOR OUR CHILDREN

UCAN! got to sit down with children’s author, Judith Blair Brown. She gives us an inside view of the challenges and rewards of creating and publishing a storybook for kids. The end result may look beautiful and smooth, almost effortless in a way.

But lots and lots of thought and preparation, and sometimes life changes are required for its creation: a wonderful story of family values and respect.

UCAN! As a woman, why is it so important for you to create positive male role models for children?

JBLAIR From my perspective, the family is under attack. We see it in the media, on film, TV, books, etc. And a lot of what we see about men, particularly fathers, just doesn’t resonate - especially with those of us who have had positive role models!

I LOVE FAMILY! I love the support and encouragement that close family ties bring - most importantly when it comes to molding the minds of today’s children.

UCAN! What are some of the obstacles you faced when writing this book?

JBLAIR This being my first children’s book, my most difficult obstacle was the cost factor. While I knew I had a great story to tell, I could not neglect the business aspect, regardless of how great I thought the book might be.

We generally hear terms like, “If you believe it, you can achieve it,” and I’m a big believer in that mantra. BUT we’ve GOT to respect the business point of view - in whatever we attempt to accomplish. The reality is that most of what we dream of doing, becoming or accomplishing in this life comes with a price tag. We must be prepared for that.

Another major obstacle in completing the book was due to a major health crisis in March 2016. I was stricken suddenly with double pneumonia, and within 36 hours was intubated and placed in a medically induced coma for several days. Needless to say, once I awoke from ‘the deep sleep’ my first priority was getting back to a healthy status. With the support of more than 70 of my best friends, and the steadfast love and encouragement from my daughter and sisters (whom we refer to as “LADD - which stands for ‘Leroy and Dorothy’s Daughters’”) I was able to get into the swing of things in a matter of weeks.

UCAN! To whom is this book directed? Who is your targeted reader?

JBLAIR The book is directed to all families of all cultures! But it was written primarily as a tool for fathers to read to their children (although mothers and other family members can glean points from it, too). I believe BOTH parents need to understand the importance that a strong male figure can have on a child - whether a son or daughter.

I know the impact that my own father and grandfather have had on all NINE of us (yes, NINE - from the same parents...they were busy!). The book doesn’t negate the nurturing that mothers and grandmothers have had...just viewed from a different perspective.

(ABOVE) THREE ILLUSTRATIONS FROM J BLAIR BROWN’S FIRST CHILDREN’S BOOK. THE ILLUSTRATION AT FAR RIGHT DEPICTS HER PARENTS. (BELOW) AUTHOR J BLAIR BROWN WITH A VERY SATISFIED SUPPORTER AT THE BOOK LAUNCH.

Also, I think it’s important for separated or divorced parents to see that a failed relationship doesn’t have to mean failed parenthood. Today they call it “co-parenting,” which I absolutely don’t agree with: it’s PARENTING. Period.

I also believe that fathers today feel pressure to (1) make more money; (2) keep up with the Joneses; and all that other ‘stuff’ that can make an individual feel inadequate as a parent. But really, all a child wants is a Dad. They don’t care whether you swing the bat, or serve the hotdog in the stands. They want your presence; they seek your approval. Children are very basic creatures. They’re loyal, too, when we let them be. But it’s difficult for a child to gravitate to someone that’s not a part of their life.

This book was written to give – not just a shout-out to those fathers that are “doin’ it” but also to help strengthen the bonds with a few little tidbits to give some ideas on how to step up to that paternal plate.

And it works! I know the psyche of a child - I’ve been that child. Thankfully, through the loving examples of my own parents and grandparents, although we were raised simply, the love and affection we received shaped the adults we were to become. And contrary to popular belief: it didn’t take a lot of money for our parents to accomplish it. Our upbringing was based on love, respect and integrity. And none of these come with a price tag.

UCAN! What kind of reception has your book gotten from readers?

JBLAIR The reception has been mostly positive! I have to admit: the book has taken people aback somewhat. As you might imagine: male and female reviews vary, which I find interesting. Reviews from men have been, “Wow! Great book! Great book!” “That’s a cool read!” and “I liked it alot!” while many women have said, “I liked it...but I wanted more!” “Why did you stop there?”

I think it’s the Venus versus Mars thing.

But what EVERYONE agrees on are the illustrations! Randell Pearson of Pearson Designs (NY) really hit the nail on the head and captured my vision...all through Facebook! LOL. Seriously, we’ve never laid eyes on one another in person - which I find so intruiging. He’s an award-winning graphic designer and illustrator whom I look forward to working with again.

UCAN! What’s your next project?

JBLAIR It will be the second installment in the Leroy series. Randell Pearson will be illustrating once again. It will be titled, LEROY LEARNS TO FORGIVE. A cautionary tale for Leroy and his father as they bridge the gap between them.

U CAN!

M A G A Z I N E

2 2

F I R S T

Q U A R T E R

2 0 1 8

ACTORS

S

H

I

N

I

N

G

B

R

I

G

H

T

MAYA ALLICOCK was born in Brooklyn and raised in Washington, DC. She moved back to the city after graduating from the University of Virginia. Maya has performed on-stage as Grusha in THE CAUCASIAN CHALK CIRCLE, Rheba in YOU CAN’T TAKE IT WITH YOU and Lady in THE BEAUX’ STRATAGEM. On-camera she had appeared in several web series and short films; commercials for Zelle, Perrier, and Amazon; and online projects for BuzzFeed and Elite Daily. Maya is currently working on the short film HOMEBOY which begins filming later this month.

CHAZ MCCORMACK is a veteran stage actor who returned just three years ago from a performing hiatus.

He has since appeared on the New York Stage in: Anne Thompson-Scretching’s TOUCH NOT MY HEART at the ATA; Andrew Selig’s FIFTEEN MINUTES WITH ELLEN at the 2017 Planet Connections Theater Festival (for which he received a Best Actor Nomination); Maggie Crane’s ED & MO at Dixon Place, Claude Solnik’s VICTORIA WOODHULL at the Theater for the New City.; and Jonathan Josephson‘s GRANDPA AND THE GAY RABBI (winner at the 2016 Samuel French Short Play Festival), Other New York stage credits include THE BODY IS A LEGAL DRUG (MITF): Michael Thomas Cain’s ELIMINATED (MTR); and WHERE ART LIVES and in the New York production of Celeste Walker’s CAMP LOGAN which was nominated for six ADELCO awards Film and TV credits include, LAW & ORDER, “The Thumb Wrestler,” “Eliminated” and “Chamber Music.” (written and directed by Michael Moriarty)

!

ACTORS

S

H

I

N

I

N

G

B

R

I

G

H

T

!

CHANTIA BAILEY resides in Yonkers, NY. She is currently working on a web series, BODY JUMPERS: RESURRECTION as well as the stage play, LULA MAE MIGHT GETCHU IF YOU DON’T WATCH OUT. Her past theatrical performances also include CHURCH HURT and TOUCH NOT MY HEART. Chantia is a natural actress having attended a few acting courses with John Brantley Jr. and some classes at HB Studio.

GRANT SCHUMACHER is from Indianapolis, IN and currently resides in Brooklyn, NY. He received his B.A. in Theatre from North Central College and continues to train at HB Studio. Recent stage credits include Marty in LAST CALL, and Luke Goldman in TOUCH NOT MY HEART, both roles originated by Grant. Next, Grant can be seen as Vincent Deluca in the short film, LEFT HAND.

LAURENCE STEVEN CHAVIS is a NYC actor. Born in Queens, to a family of seven, he was always an entertainer. Laurence honed his craft at the Peoples Improv Theater. He is highly motivated, works hard and believes in showing up on time. Right now Laurence is working on another showing of the original work, WHY ME. Other productions in which Laurence has appeared are: TOUCH NOT MY HEART and THE REVOLUTION WILL NOT BE TELEVISED.

LAQUAN HAILEY is a young actor who made his stage debut in TOUCH NOT MY HEART. Despite having no acting experience, he kept audiences laughing night after night with his heartfelt portrayal of Mike, the lead character’s insecure, rebound beau. Described in a review by the New York Beacon, Hailey’s work is said to be “true to comedic form.” We look forward to seeing more of him in future productions.

GO I N G S ON FOU R T H

Q UA R TER

HIG HLIGHT – T HE

O C K TO BE R

F I LM

F E S T IVA L

For the first time, UCAN! Magazine attended the OCKTOBER FILM FESTIVAL solely from an artist’s perspective. Some of our team members were actually actors or crew members with several of the Festival selections. Right from the beginning, Festival owner Emelyn Stuart and director Carl Gilbert were on hand to meet and greet the many guests. They made themselves fully accessible to everyone. Producer Antoine Allen ran a smooth program that allowed for informative Q&As, workshops, and up close and personal networking with many filmmakers, talent and crew professionals. Host Melody Fox maintained an upbeat and lively tempo.

Directors in attendance included Tony Clomax, creator of the viral New York City romantic comedy “12 Steps to Recovery,” and his current production “Love. Date. Repeat.” Daryl Denner, director of the hit music video “Can She Stay,” and the feature film “Fists of Love.” Shirley Uyi of “S;lence,” Todd Wharton, CEO of Local Talent Connect, director, host and actor Steven Strickland, actor Erik McKay, Staxx Cordero and Lorene Kotten Kandy Martinique of the “Air It Out” radio show. “Dre’s House” radio show. Actor of STARZ network’s “Power” Tomike Ogugua, and writer Dricka Armstrong of “Driving Force” and “His Dying Wish.” Entertainment attorney Eldonie Mason shared solid information. They are just some of the industry people we know!

As artists. we were very pleased with how accessible industry professionals were. There were lots of people to make worthwhile contacts and future projects happen.

Congratulations to this year’s Festival award winners: Best Feature Film – THE RHYTHM IN BLUE; **Best Short Film and Best Director – THURMAN COMES HOME; Best Documentary STEM The Movement (Saved. Tested. Edified. Manifested); Best Web Series – KELOID; Best Young Adult Film – HALFWAY TO THE SUBURBS; Best Writer – TAISHON S. BLACK; Best Cinematographer – NICK VEGA; Best Actor – NATHANIEL RYAN in Blind Faith; Best Actress – KARSYN JARRETT in Bless Her Heart; and Best Music Video - #TAPLIFE EYES. Congratulations to Honorees: award winning producer, RON SIMONS for receiving the Ocktober Film Festival Excellence Award, and to CAMILLA HALL, the writer/director of COPWATCH for receiving the Ocktober Film Festival Visionary Award.

GO I N G S ON FOUR T H

Q UA R TER

HIG HLI GHT – T HE

O C K TO BE R

F I LM

F E S T IVA L

PHOTOGRAPHY: JEFF SMITH OF REFLECTIONS NYC

U CAN!

M A G A Z I N E

2 6

F I R S T

Q U A R T E R

2 0 1 8

GO I N G S ON FOUR T H

Q UA R TER

HIG HLIGHT – T HE

O C K TO BE R

F I LM

F E S T I VA L

PHOTOGRAPHY: JEFF SMITH OF REFLECTIONS NYC

F I R S T

Q U A R T E R

2 0 1 8

2 7

U CAN!

M A G A Z I N E

GO I N G S ON FOUR T H

U CAN!

Q UA R TER

M A G A Z I N E

HIG HLI GHT – T HE

2 8

O C K TO BE R

F I R S T

F I LM

F E S T IVA L

Q U A R T E R

2 0 1 8

— INSPIRED BY TRACEY WOOD MENDELSOHN

Our thoughts also turn to Coretta Scott King, the architect of Dr. King's legacy.

Without her devotion, MLK Day would not have become a federal holiday.

— INSPIRED BY TRACEY WOOD MENDELSOHN

PHOTO BY HULTON ARCHIVE/GETTY IMAGES

visit us at www.facebook.com/UCANMagazine and get the magazine at www.magcloud.com