WHAT’S THE DEAL?
We’re raising funds for a sequence of developmental workshops for Good Bread Alley over the next year! The goal of these workshops will be to add Afro-Cuban and Gullah music and dance – two essential elements without which Good Bread Alley cannot be told. There are places where each tradition has songs, dance and poetry that teach the great lessons that the characters have forgotten.
April is joining forces with Cuban Composer/Percussionist Enildo Rasua and Musical Director Justin Ellington who are co-composing the score of Good Bread Alley which explores both the Afro Cuban and Gullah traditional music and dance forms that have been passed down to April from her family. From traditional Rumba to Guaguanco to Ring Shouts, work songs and spirituals; these two West African-based traditions have grown richer like a thick gumbo passed through the sieve of slavery, Spanish occupation, Cuban revolution, Jim Crow and Reconstruction to create a new recipe for what it means to be African, Cuban and American.
During our upcoming workshop with New York Theatre Workshop, we’ll be adding theses major elements and streamlining the text to allow the music and dance to tell the story.
WHAT’S GOOD BREAD ALLEY?
Good Bread Alley is the second play in April Yvette Thompson’s Miami trilogy of plays – the first being the critically acclaimed New York Theatre Workshop production Liberty City (www.libertycityplay.com) about the end of the Black power movement in Miami focusing on the journey of a movement family.
Not quite a musical but rather, a play with a whole lot of music, dance, Orisha myth & magical realism, Good Bread Alley is August Wilsonian epic meets Like Water for Chocolate. A period play in the tradition of Lynn Nottage’s heroine-led stories, Good Bread Alley is a story about how families are made and the power of love. Afro-Cuban and Gullah music, dance and myth create an epic landscape that explores the most fundamental truths about a mother’s love and the struggle to become better than what was promised.
Inspired by my great-grandmother Celia’s life in a raucous Miami neighborhood named Good Bread Alley, the play takes place days before the1926 Great Hurricane. When Miami was little more than a swamp with shanty houses, Celia owned property, ran several businesses, buried three husbands and was on the verge of learning life’s most important lessons. She was a trailblazer, an autodidact and the town’s rainmaker building an oasis in the Jim Crow South.
WILL IT BE GOOD?
Um, YEAH. Good Bread Alley already has some important supporters. Beyond New York Theater Workshop, we’ve received developmental support from:
Also, take a look at our kick-ass CREATIVE TEAM to get a taste of the kind of talent on board:
OK. I'M NEW TO THIS: EXPLAIN TO ME HOW KICKSTARTER WORKS?
We set a goal -- in this case, $100,000. We set a deadline. It is May 4th. You pledge whatever your heart desires. If you contribute even as little as $1, you would be bringing us closer to our goal. Remember that the bigger the pledge you make, the greater the reward (look to the right for a list of all the rewards we offer, or keep scrolling down for some visuals).
If we reach our goal by the deadline -- your credit card is charged what you pledged (but not until then), we have enough to produce the Good Bread Alley workshop, you get your rewards, and all is right with the world.
If we don't make the goal -- your credit card is NOT charged, we do NOT get a penny, you do NOT get any amazing goodies and EVERYONE is upset, but we would probably be more upset.
HOW CAN I HELP?
We're so glad you asked! We'd love for you to BACK OUR PROJECT!
WHAT'S IN IT FOR ME?
Did we mention the sweet REWARDS? We want everyone who backs our project to come away with something that is their own. Take a look below to the right for a breakdown of all the great rewards you can receive.
Here are some of our FEATURED PRIZES:
OK, I MADE A PLEDGE. WHAT ELSE CAN I DO TO HELP?
You can SPREAD THE WORD! Tell a friend about the project via email, share it on Facebook, Tweet about it, something... anything ... you can even ... call someone on the phone and talk about it (GASP!)
Risks and challenges
There are a lot of risks and challenges to producing a play, especially one like Good Bread Alley that requires so many moving elements. An actor could get sick, for example. A musician or choreographer could miss their flight. Sometimes you have to reschedule stuff for weather. So some changes may occur throughout our journey. We will, however, be in constant contact with our backers so you know our progress every step along the way.Learn about accountability on Kickstarter
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