URBAN POSSIBILITIES & THE GEFFEN PLAYHOUSE

“CHANGING LIVES TOGETHER” APRIL, 2016

MESSAGE FROM FOUNDER’S CRAIG JOHNSON & EYVETTE JONES-JOHNSON Our thanks to our partners at the Geffen Playhouse for another great theatre experience. It shows again the beauty of the connection between our work with job seekers in LA’s Skid Row community and the Gil Cates Theater. Our students have traveled life’s toughest roads often isolated and alone through homelessness, addiction, incarceration and abuse. So many broken and close to suicide like Manuel. But our partnership stands with them much like Irene put-ting distance between the hurt and traumas of their past so they can heal and see new possibili-ties ahead. And that’s vitally important here in Los Angeles - the homeless capital of America. It also gives our students a window into someone else’s world. How they live. What moti-vates them. The consequences of the choices they make. How our common humanity con-nects us so they see that they are not alone. Our pre and post show discussions helps us take a deep dive into the work and the characters but also gives us the chance to look at the bigger empowerment questions like how we are all the authors of our own stories each day. Has your story been giving yourself away cheaply like Irene or are you stuck in the hurt of yes-terday like Manuel. Although writing is a key part of our program, we constantly reinforce that your story is not only what you put on paper, it is how you live your life. “Either write something worth reading or do something worth writing about” – Ben Franklin. We agree. And lastly, we thank you for the opportunity for us to bond as a family away from the harsh streets of Skid Row and travel to what has now become a safe space for our students – The Geffen Playhouse where our imaginations can breathe free too.

Craig Johnson & Eyvette Jones-Johnson Founders Urban Possibilities

“Our students have survived life’s worst . . . Many close to suicide like Manuel. But our partnership stands with them much like Irene.”

NORMA EATON- EXEC. ASST & UP PROGRAM GRADUATE (VOLUNTEER)

Barcelona was magnificent! The exchange began between Irene and Manuel was magnificent too. Manuel’s hate for Americans and Irene’s nervous chatter, screaming and then pouring wine over her head, was an outcry of unhappiness. It wasn’t until then that I understood why the sexual scene was intense, and the absence of the lack of passion very disturbing. Manuel was emotionless, rough, detached and tossing Irene like a rage doll. His an-ger was intense and the scene very difficult to watch, because it was apparent, the connection behind the rough, sexual scene and how Manuel, handled Irene, was the driven force of the hatred he held in his heart toward American’s. It became evi-dent why the sex scene was an important piece to the puzzle and would set the nar-rative in motion… And, for me it was an “ah hah moment” Clarity! An out of body experience. It was the light, which drew me into the emotions of the charac-ters. Because In somewhat of an awkward analogy; I recognized those two people. Irene drunk and illusive disconnected from the reality of her lack of knowledge, prejudice, self-sabotaging roller coaster of emotion. nervous chatters, outburst scream, pouring wine over her head, was not only due to intoxication, but rather frustration … Trying to convince herself why her fiancé had all the right qualifications’ He was “ A Picture Perfect Man.” Manuel and Irene two people, more alike than different. Who realized they both needed to be rescued from a chain of events that would change the course of their lives? Both were lost in grief from losing someone. Manu-el, His daughter, and Irene herself. The Universe works in mysterious ways. Their cross roads was not a mishap nor a mistake. It was a divine appointment.

Norma (L) & Denise Hamilton Premier Night at The Geffen Playhouse “Barcelona”

“Manuel and Irene two people, more alike than differ-ent. Who realized they both needed to be rescued from a chain of events that would change the course of their lives”

CARMEN DUENAS- UP ALMUNI GRADUATE I was born in Guam and remember the first time I can in contact with a friend in school that had been to America. She came back so aggressive. The way she spoke to her mother seemed disrespectful. The way she was with boys was different than how we had been taught. It was strange. As I got older and my children came to America I was scared that they would turn out that way too. I followed them here. I remember my daughter asking why do they think we are not as smart when she was top of her class. I also had to live with many assump-tions when I left the island and came here. In the play, I related to Manuel. How Irene assumed things or wouldn’t get his name right. I know how that feels.

Carmen at Pre-Show Discussion

”I also had to live with many as-sumptions when I left the island

and came here. In the play, I relat-ed to Manuel. How Irene assumed

things or wouldn’t get his name right. I know how that feels.”

JAMES INGRAM- UP ALMUNI GRADUATE

The Scene was Fantastic. The Back drop set the tone so well for the initial sex scene. Speaking of sex, it was very entertaining, and funny the act of looking for a sur-face and bouncing from one to another to finish the act. Their one night love quest turned into this political standoff of a conversation, with both of them coming to terms with who they are. Irene began to accuse him of being ISIS or some kind of terrorist among other things and continued to talk to Manuel non-stop. It was amazing how he patiently listened for a long time until he finally had to yell at Irene to “Shut Up.” The death that they both face is a powerful theme. She’s in her current state of loss and death over her pending marriage/engagement. And Manuel, over the death of his daughter of long ago. Interesting the deaths we face in our own lives and how some things have to die before you can move on.

Farrah Godrej UP Meditation Teacher & James at Pre-Show Discussion

“The death that they both face is a powerful theme she’s in her current state of loss and death of her pending marriage/engagement. And Manuel over the death of his daughter of long ago.”

ALLEN & TRESHA RUBINSTEIN - VOLUNTEERS

What was interesting is how the play confounded my expectations, namely, that I thought I was coming to see a show that put the “ugly American” in her place. That would have been emotionally satisfying, but didactic and inessential. Instead, you have two individuals who are just caught in the winds of modern life. Irene is trying to live down to her stultifying social norms that want to keep people mired in small, il-lusory worlds that are supposed to result in happiness. When challenged, she instinc-tively repeats the U.S. propaganda she’s been fed, embodying that peculiar American form of naivete where the more ignorant a person is, the more informed they believe themselves to be. She might have been the perfect foil for a politically conscious Span-iard to show how America is screwing up the world, but instead, he’s just as lost. His higher level of understanding of what’s going on in the world hasn’t served to make him either a better person (necessarily) or a happier person. Manuel is just someone who knows more of the reasons why his life has fallen apart. The ending, then has two human beings just struggling to evolve. He pushes her to honestly respond to her situation, instead of passive acquiescence. He witnesses her being very brave in taking control of her life and is partly responsible for it happening. She in turn holds herself hostage until he abandons his suicide plans. She’s coaxed him back to life by letting loose a little bit of the potential person she could be without the expectations of middle-America living and Mormon culture. It’s a rough ride for the both of them, but valuable time spent accompanying one another on their journey for one night. .

Tresha & Allen enjoying the Pre-Show Study Guide

“What was interesting is how the play con-founded my expecta-tions, namely, that I

thought I was coming to see a show that put

the “ugly American” in her place”

~ALLEN

“Barcelona did all the things a play is supposed to do. At times it made me laugh at times it made me uncomfortable, and in the end it moved me through some complicated feelings into a resolution

that was imperfect, but ultimately redeeming.” ~TRESHA

Barcelona did all the things a play is supposed to do. At times it made me laugh at times it made me uncomfortable, and in the end it moved me through some complicated feel-ings into a resolution that was imperfect, but ultimately redeeming. The main discom-fort I felt was around the character of Irene, the young woman who embodies every-thing I find disheartening about American culture. She is privileged enough to spend her bachelorette party drinking expensive (but ultimately watered down) Sangria in Spain. She wears four inch heels and has an expensive dress she bought just for this oc-casion. She has no real understanding of American government or policy, and yet gets offended by anyone criticizing her country. She has a presumably Mormon fiancé, a fi-nancially secure family, a great figure, a group of “girlfriends” and yet, she is unhappy still. She’s empty and alone and insecure and not really interested in or fulfilled by all that she has. She reminds me of people I know and dislike, my relatives who have made surprisingly ignorant comments on Facebook, the people at certain political rallies (for whom I will not identify), even some of my young and supremely privileged students.I found myself turned off by this woman, putting my head in my hands at some of the ignorant and callous things she said. But where she starts out as a caricature of ut-most superficiality and self-absorption, as the play moves forward she becomes a more complicated figure. As the outside lights come up and the wine wears off she be-comes someone deserving of sympathy, just like the more educated, more reserved, more long-suffering Spaniard who is much easier to approve of in the play. Ultimate-ly, when confronted by the reality of her situation, the reality of suffering her coun-try has caused for other people, the extent of her own suffering, the judgment against her superficiality, she points out that she is ultimately not just an emblem of Ameri-can privilege, but actually “just a person.” . . . maybe this is an easy way out, an easy way to excuse all the judgment the audience and I had been racking up against her, but it is also true. She is just a person, ignorant but not inhumane, selfish but not vi-cious, narrow, but not without compassion when she is confronted by the needs of an-other person. It is her optimism, in fact, that allows her, maybe compels her, to save our long-suffering Spaniard, an act which perhaps imperfectly but effectively offers her an opportunity for redemption in the end. It also offered me an opportunity to reconsider the latent humanity of my relatives, my students, my less-than perfectly informed friends who, likewise, are also “just people” in the end.

CHAR MEYER- DONOR & UP PARTNER /AON CORPORATION

Not only was the play a very cleverly-written black comedy, but a work of art that explores national and cultural values that have been erected over insecure (human) platforms. Does a relationship between a man and woman dissolve into ruins when their character flaws crack open to reveal the truth? How dif-ferent and yet alike we are. What we need from one another is compassion and understanding. That may not transcend all barriers, but it is a good start for the healing process to begin. Thank you for giving us the opportunity to see and enjoy a very special Urban Possibilities evening at the Geffen Theater.My best,~ Char Meyer

Char & Companion

“What we need from one an-other is compassion and under-

standing. That may not tran-scend all barrier.

But it is a good start for the healing process to begin. .”

DOROTHY RANDALL GRAY- WRITING INSTRUCTOR

The play, Barcelona, evoked a number of feelings that varied from titillation to boredom, annoyance and interest. The playwright succeeded in making the female character as annoying as she could possibly be. Irene not only played the quintessential ‘ugly American.’ but also seemed to be the kind of ignorant white woman who is all too willing to cry ‘rape’ after a sexual en-counter she regrets. Manuel’s emotional output ranges, on the other hand, from passionate to patient, then pathetic. For the most part it seemed as if he was questioning if the sex he just had was really worth it all the annoyance of the aftermath. In the dialogue there is a mixture of jabs at Europeans, a citing of terrorist actions in Spain, other aspects of world politics, and the touting of the United States as the supreme rescuer of struggling nations. Barcelona ultimately deals with the pathos of loss and the transformative power of com-passion as the shift in action and consciousness occurs not in the political arena, but in the interpersonal interactions between Irene and Manuel. In a surprising denouement the seemingly shallow woman ends up rescuing Man-uel from his intention to commit suicide as the building is demolished. In some respects I could not help but think of this as a case of the United States enacting yet another rescue of an unfortunate soul from another country. I believe one of the main stars of this Barcelona production was the incredible set, with its phenomenal lighting gradually announcing a new day.

Dorothy Randall Gray Poet (right)

“In some respects I could not help but think of this as a case of the United States enacting yet anoth-er rescue of an unfortunate soul from another country. I believe one of the main stars of this Barcelona production was the incred-ible set, with its phenom-enal lighting gradually announcing a new day. .”

AMPAIPAN TANWONG – UP ALUMNI GRADUATE

Irene is an American women and Manuel is the immigrant man whose takes Irene to his apartment for a sexual encounter. Unknow-ing, Irene was down about her fiancée. Manuel and Irene were hav-ing argument about who they are and culture differences. Manuel was smoking in the building with no electricity in his apartment; Irene had drank too much wine until she was drunk, and due to her unspoken frustration, pourer wine all over herself. Manuel gave her changing of cloths that belonged to his deceased daughter. This story was full of excitement of sex and slang words that the character used.

“This story was full of ex-citement of sex and slang words that the character

used”

Ampaipan Pre-Show Discussion

JENILE BROOKS – TELEVISION PRODUCER & UP VOLUNTEER

The first few minutes of 'Barcelona' were really hard to digest. Theatre can be such an intimate experience, and I can't remember the last time I witnessed a sex scene on stage. Now knowing the rest of the story, I have to imagine it was purposeful to begin in a way that immediately calls attention to your dis-comfort. The entire rest of the play - and the clash between a narrowly-viewed American girls with a father who blames the US for the loss of his daughter during terrorist’s attacks - is entirely uncomfortable. But it’s by pushing past what's hard to face that we truly change as people. 'Barcelona' was a great example of how confronting what's uncomfortable is a precursor for per-sonal evolution. It felt like we explored that as a theme in the big picture and throughout the entire exchange between the two characters: the American girl was forced to own the truth about her feelings towards her marriage and fi-ancé, while the Spanish father confronted the death of his daughter and sub-sequent hatred towards Americans. It stirred in me the idea that we probably all have our own "Barcelona"; a place that we romanticize as an escape from our normal lives, only to find that you can never really escape real life. Per-haps if we confront our deepest fears, insecurities, and anger, only then are we free to enjoy new experiences and the best parts of life -- like the Sagrada.

“It stirred in me the idea that we probably all have our own "Barce-lona"; a place that we romanticize as an escape from our normal lives, only to find that you can never really escape real life. Perhaps if we con-front our deepest fears, insecurities, and anger, only then are we free to enjoy new experiences and the best parts of life -- like the Sagrada.”

TASHONNA THOMPSON – UP ALUMNI GRADUATE

I myself thought BARCELONA was realistically done, and char-acters were subperb actors. I could totally relate to Irene’s char-acter. The sex scenes was tuff to absorb along with the trou-bling thoughts concerning “they were illustrating unprotected sex”. However, I could feel the sadness, of the Manuel due to the loss of his daughter, and Irene, having the courage to save him from taking his life. Overall the play was remarkable.

“I myself thought BARCELONA was re-

alistically done, and characters were superb

actors”

Tashonna & James – Premier Night at The Geffen Playhouse “Barcelona”

JIM NELSON – EDITOR & UP VOLUNTEER

My two takeaways from Barcelona were that it was an interesting perspective to hear a Spaniard discuss his perception of “Americans” with an American who was in no shape—nor was she qualified—to adequately defend her race, her species, and also that it was a roller coaster, the heaviness of terrorism, loss, despair, and fear, juxtaposed with the weightlessness of laughter, joy, and frivolity. What a delight.

Jim (L) and David Lee Thomason UP Graduate & Theater Coach Volunteer

“Americans” with an American who was in no shape—nor was she quali-fied—to adequately defend her “race,” her “species”…

MICHELLE NEWMAN- UP BOARD MEMBER

I was delightfully surprised by how I had no idea where the play was going and the reversal and growth of the characters beyond their initial stereotypes. I was mes-merized by the actor’s ability to show so much emotion in between the words. I found it quite telling as an ex-ample of how we ca learn from every person we meet! This was one of the “best plays I have seen at the Geffen”

“This was one of the best

plays I have seen at the

Geffen”

Michelle Newman (center) and George Matos

Senior Employment Specialist at Chrysalis

UP ALUMNIS NIGHT @THE GEFFEN PLAY HOUSE THEATER

COLLAGE OF PICTURES

“I would like to thank the Geffen Theatre for their commitmentin assisting artists. My envolvement in plays and performances

has made a major evolution in my life. I am grateful for theopportunities provided by The Geffen.”

REPORT COMPILED BY ALUMNI STUDENT-NORMA EATON

Before attending Urban Possibilities Writing Empowerment class, I was suf-focating from an overwhelming, indescribable, battle of grief, and emotional trauma; which was the aftermath from Domestic Violence, and Homelessness.Struggling with suicidal thoughts, hopelessness, and despair; onOctober of 2014, after attending Urban Possibilities, my life changed in anastronomical way. One of the many highlights of being part of the UP family, was having the opportunity to attend my first Play. Beforehand, I had never had the privilege nor given the opportunity to see a live play. “Choir Boys” at The Geffen Play House. left me in awe! And wanting more. That night was amazing! and my heart was introduced to the magi-cal world of Theater! Thank you, Urban Possibilities and The Geffen Play House; for opening my eyes to a new and exciting world of theatrical Arts!

We Believe:

There is a sea of untapped potential in underserved communities waiting to be set free in service to our communities. Thriving people build thriving communities.

Within these marginalized groups , are those who have lived through life’s toughest circumstances yet refused to give up.

That survival has built muscles in tenacity, courage, and resilience that can be chan-neled to move their lives forward, address neighborhood problems and serve as a competitive advantage in our cities.

Poverty restricts growth and drains city resources. When you don’t invest in the po-tential of the poor, it doesn’t just hurt them, it hurts us all.

Mission:

To teach practical skills that help marginalized adults unlock their potential through art, innovation and empowered thinking; and to move the community to action by experiencing what’s possible when we invest in their potential.