Here’s a few shots from the last rehearsal yesterday before I make another go of it live. Both shows tonight and tomorrow night are thankfully sold out, though there may be a few places to stand by the bar. See you there!

 

All the hits you can stand to hear!!! And the last time in an architectural treasure.

https://www.alleewillis.com/detroit/mumford-last-call.html

Before I co-wrote The Color Purple musical I had little interest in theatre. I had no desire to see people break out into song, oftentimes seemingly for no reason, and sing in that shrill kind of Broadway singing way, and leave not understanding or enjoying what I saw anyway. But I jumped at the chance to collaborate on TCP because it was such an incredible piece of literature, the most soulful on the planet.

After depriving myself of the genre for a lifetime, once I got the gig I spent a year in every regional theater, dinner theater, high school auditorium, every and any place I could bone up on musicals. Writing The Color Purple, though easily one of the hardest and most intense things I’ve ever undertaken, was also most pleasurable. And in the mere act of writing it I really understood that the theatre was not the stagnant-leftover-from-the-old-century medium I thought it was but, rather, a daredevil medium where you never know what’s going to happen as one actor coughs and it can turn the whole show.

Another thing I learned, as evidenced by the show as it’s currently being performed  at The Celebration Theatre in LA, is that this is a medium in which work can change drastically depending on who stages it. And I saw just exactly why I put up with five years of tears, laughter, compromise, bending so far over backwards I thought my body would split, epiphanies, road blocks and more, I.E. a microcosm of life stuffed into five years of  round-the-clock days, rewrites, and did I mention rewrites?

When the show opened in New York in 2005, we had a cast of 31 actors in the second largest theater on Broadway. On tour, the cast shrunk by a few actors but the stages were/are just as big, the auditoriums even bigger, and the staging was just a slightly skimmed down version from what it was on Broadway. But at the Celebration Theatre I got to see 19 actors stuffed into a 99 seat house, something I couldn’t have imagined working, but it was MINDBLOWING! Not only did everyone do their thing and then some, the intimacy of seeing the show staged for a tiny room with audiences on three sides of the stage worked so well for the piece I can’t tell you!

If you’ve never seen the musical you might think that this is a heavy, depressing couple of hours but ha ha, it’s a comedy, and an incredibly inspiring and uplifting adventure of someone who goes from less than nothing to the other end of the rainbow. If you live in LA I encourage you to see it. It’s here until the end of May.

Here are some photos from opening night at The Celebration Theatre a few weeks ago:

With my TCP collaborator, Stephen Bray:

With LaToya London, Shug Avery in the current production and Nettie in the second National Tour:

With Stephen and Michael A. Shepperd, a fiiiiine Mister indeed!

With Niketa Calame, an hysterical Squeak.

With Kelly Jenrette, a fantastic Nettie:

With Sixx Leah-Patrice Carter, Church soloist, and Lorie Moore, one of the hysterical Church Ladies:

With Harpo a.k.a. Terrance Spencer, and ensemble players Jonathan JT Thompkins and Akula Lyman.

With TCP director Michael Matthews, mo Church Ladies, and Kat Kramer.

With Na’Kia Bell Smith and Janet Washington, excellent young Nettie and Celie.

The opening was star-studded.  Here I am with my ol’ pal, Dana Delany.

I love Wendy Malick!

So excited that Robert Forster was there:

And Sharon Lawrence too!:

With Dana Delany and her Body Of Proof co-star, Nicholas Bishop

Director Michael Matthews, Artistic Director of the Celebration Theatre, JohnMichael Beck and the cast:

Go see The Color Purple and make Allee very happy!

Yes, though one might find it hard to believe after my last foray into reclaiming the stage, I’m hitting it again in my new, improved and sans-the-idiot-tech-guy show, Allee Willis’ Super Ball Bounce Back Review!  Two nights only, Tuesday and Wednesday, May 8 & 9 at King King in Hollywood. Lots of music, visual treats, stories, dance, games, all the hi-art-meets-kitsch mayhem you know me for PLUS MORE!!  And many things I’ve never attempted before. And did I mention prizes? So I hope I see you at Allee Willis’ Super Ball Bounce Back Review May 8 or 9 at King King!

BUY TICKETS NOW!

Tickets also available at kingkinghollywood.com.

 

To say that my first performance in 37 years since jumping off the stage in the middle of my own show in 1974, Allee Willis’ Soup To Nuts Party Mix at the El Portal Theater in beautiful North Hollywood on October 18, was anything like what I expected is the Katrina of understatements. Anything that could go wrong did. But as I’m an artist who plans to the extreme so that when the inevitably unexpected happens it can be swiftly and humorously dealt with, it was a supreme triumph of soul, kourage and kitsch. At past parties of mine, the precursors to my performance now, these malfunctions have been limited to those you could count on one hand. Now, the 6,437,932 technical black holes that befell Soup To Nuts only made for more laughs and make me want to preform more! Not that the mayhem is so easily detectable in these photos, but the fun, style and funk that filled the evening and the days preceding it certainly are. For an overview, start here. For specifics, press one of these lovely buttons now.

I meant to start posting my thoughts about my Soup To Nuts Party Mix show, my first live performance in 37 years at the El Portal Theater last Tuesday night, the day after the show but I could barely pick up a stylus to write let alone move my mouth in any detectible syllabic pattern because I was so tired and overwhelmed. I’m racing to get photos up, a fun yet gruesome task as there are literally thousands of them to go through. Hopefully by tomorrow I’ll have them organized enough to post. In the meantime, let me tell you about this cruise on the Love Boat that mutated into the Titanic yet somehow still ended up at Fantasy Island…

Stormy seas and all, Soup To Nuts Party Mix was about the most incredible experience that I’ve ever had. Not because it went so well, but because literally 95% of the technology it was dependent on failed. It was apparent from the second I walked on stage that I was going to have to throw out the script and effects I had worked on so furiously for four months and literally ad lib my way through the evening. All I can tell you is that despite riding a sinking technological ship, I kept people in stitches, and I mean tears rolling down their faces, screaming laughter stitches, including standing ovations in the middle of the show for things I was forced to come up with on the spot.

So despite being an utter failure as far as the show I planned, it was an unbelievably cathartic moment as a performer. Like five years worth of working the act out within the space of two hours, some time of which I spent sitting down watching brilliant and charitable friends of mine takeover and help me out.

One of  them was the stupendous comedienne Luenell, who has stepped it up at other parties of mine as well and Tuesday night helped a sista out during one of the 6,437,293 technical glitches that befell the stage.

But just as Luenell got to her punchline, something FINALLY popped up on the screen and I had to cut her off.

One of the best moments of the show, although perhaps not for Luenell, was when she then took a seat and the chair started rolling out from under her…

…until she plopped down flat as a log on the floor. When I asked if she needed a first aid kit she yelled “NO, what I need is a lawyer!”

I need the same lawyer for the guy at the controls. But from the jump four months ago I approached this whole thing as a party thrower, not a playwright, and a good party thrower is ready to field anything that goes wrong, even if of a catastrophic nature such as the tech sinkhole happening on stage left. I’m sure a phrase that will stick with my shows forever was born: “Get the foamcore!” as I sent my assistant, Dina Duarte, and set-collaborator, Mark Tomorsky, both on stage with me for the whole show, racing for a ratty piece of paper covered foam to hold over the main monitor every time the wrong photo, lyric for a sing-along or even worse, the tech guy’s desktop, appeared. Here they are hoisting it over what was supposed to be the lyrics to “Boogie Wonderland”, while my collaborator on that song, Jon Lind, kills time with his story about Maurice White, chocolate danishes and other things that happened the day we wrote it.

I doubt that Larry Dunn, founding member of Earth Wind & Fire who played keyboards on the records of “September” and “Boogie Wonderland” and accompanied me on those songs in the show, ever got cut off early before. But I had to yank him short as without lyrics sing-alongs can only be so effective.

Danny Sembello also came onstage for two songs he co-wrote with me, “Neutron Dance” and “Stir it Up”, neither of which were consistently accompanied by correct lyrics.

Chris Price played “I’ll Be There for You”, the theme from Friends and “What Have I Done To Deserve This?”, both of which I was forced to race through without their accompanying stories as by the time we reached them it was already the time I had planned to end the show, 10:15, and we were barely at the halfway point because of the malfunctions. Dina and Mark had the foamcore ready but thankfully the Friends theme is so short and has been hammered into the heads of every audience member a hundred times a day since 1994 so my tech guy could only wreak so much havoc.

And then we were supposed to play Bingo. How do you mess up Bingo??!  But if you’re spelling K-I-T-S-C-H and not B-I-N-G-O and there are no visuals to go along with “K- Dust Mop Slippers” or “T-Flowbee”, “S- Farrah Fawcett Shampoo & Conditioner” or “H – Beatles Pantyhose”, who’s going to know what you’re talking about without visual accompaniment? As soon as it was apparent that that too tanked I just turned to the audience and yelled “Fuck Bingo! The first 20 people up on stage get all the prizes!”. You would’ve thought the Gold Rush hit California again from the way this audience stampeded the stage.

Jelly room deodorizers, soccer balls that turn into magic towels when they get wet, vintage Afro picks, matzo ball kitchen timers donated by Davida (who also contributed the packs of Kosher Kurls in the gift bags), Handerpants – underpants with finger holes so graciously displayed by Daniel Franzese in a shot below and donated, as much of the gifts were, by Archie McPhee… this was one of my favorite moments of the show. To me it’s all about interaction between performer and audience and there they all were on stage like bit players and incredible friends. It truly felt like a party in my yard, which is what I had built the set to look like anyway.

Then I threw in a montage from my musical, The Color Purple, though we skipped the sing-along.

And finally, a veritable tour de force, Pigmy Will doing “The Hustle” played us out.

Just like I never learned to read, notate or write music yet have sold 50,000,000 records, or that I didn’t know you mix paint to get different colors until ten years into my art career, I’m probably the only person in theater history who ever booked the theater before they wrote the show and then performed the show before they had a rehearsal. I am, if nothing else, consistent! It’s the spontaneous event and what happens between performer, audience, and stage, whether it’s in a theater or on my porch, that’s the art form to me. Yes, a stage manager and lighting and sound director would have been nice, as would have been a theater whose usual fare wasn’t Christmas specials and geriatric musicals. But thankfully much of the audience was peppered with people who understand the pitfalls the stage can hold. For example:

My sentiments exactly! All I kept thinking as the world collapsed around me was a) what the f&#k is going on and what the hell am I going to do next??, while simultaneously being conscious that b) this will be my most legendary performance ever because I don’t know anyone else who wouldn’t have walked off stage after 20 minutes. Through it all I just kept going and got funnier and funnier and funnier. So the tech mishaps in their own bizarre way worked in my favor. In the end, I got far more out of it than I had intended. My soul soared, and although I was nearly suicidal by the end of the show it was probably the most artistically satisfying thing I’ve ever done. At once everything was shattering around me in the worst conceivable way that anything can happen on stage, yet it was a totally triumphant evening.

Six cameras were shooting. I realize that a brilliant Waiting For Guffman times 1063 could be made out of it. That’s music to the ears of a kitsch lover such as myself, especially one who’s obsessed with learning how to make lemonade out of extremely rotten lemons. So it’s a kind of Self-Help Waiting for Guffman, or in this case, The Tech Guy. I also realize it gives me an incredible starting point for the next version of the show, which should happen by the end of January.

I will never again be afraid of adversity. I will only look at it as an annoying friend that I have to make the best of, and in the making of that a beautiful flower can bloom.

Tons of photos here!

Mere days after my first and only album, Childstar, was released on Epic Records in 1974, I walked on stage in front of 10,000 people to open in Boston for folksinger David Bromberg.

The only other time I had been on stage before was when I played a little fur tree in a school play when I was 8. Now here I was singing soul music, the first 10 songs I ever wrote, plus a Mary Wells medley and Brenton Woods’s “Oogum Boogum”. My band, the singers of whom would go on to become Chic, were dressed as sequined vegetables and I was in a satin suit that I’d autographed from head to toe. This is a really crappy photo of part of the costumes on mannequins but it’s all I’ve got;

Me and The Angle Babies aren’t in costume here but you can get a pretty good idea that between us and our costumes we weren’t what the folksinging crowd came to see.

I didn’t have a very good time on stage. I never could remember my lyrics and I always spent more time designing the sets and costumes than I did rehearsing or getting comfortable being on stage. After five performances on the East Coast we were booked into a lunchroom at Ohio State, the only way the college could also get Joni Mitchell to play in the main auditorium because we had the same agent. Our only audience were three people at a bridge table eating hot dogs and a psychology class being conducted in the back of the room, with the professor telling us to lower our volume after every song. I walked offstage after six songs and made the decision to just be a songwriter, where at least if I was being tortured it was in the comfort of my own room.

Through the years I’ve gotten much more comfortable performing – in my own unique way of doing so which doesn’t include singing live – mostly because I’m a big party thrower and walk around on mic the whole time.

Almost every conversation I have comes through the speakers and I’m literally directing and producing the party as I go. Throw in the thrift shop auctions and stupid party games that I lead the guests through and I’ve gotten very relaxed holding that cold metal thing in my hands.

But I still never have gotten it together to sing anywhere other than in the studio.

So the fact that in mere hours I will be up on the stage for the first time in almost four decades and I’m not sitting here throwing up is a MASSIVE ACHIEVEMENT! Me and five other well oiled songwriters will be singing our greatest hits and talking about how they were written. It’s just with a keyboard – Chris Price, who I’ve been writing and recording a song with and shooting a video all on iPhones, is accompanying me –  but I’m singing and remembering lyrics and lines nonetheless.

And if I can get through the evening not thinking about soul singers dressed as vegetables, psychology professors and hot dogs I will have made a big breakthrough.

I’ll be performing “September“, “Boogie Wonderland”, “Neutron Dance”, and “I’ll Be There for You (theme from Friends)“. At least radio has regaled me with these songs thousands of times over the years so I’m hoping that for once I can remember my own lyrics and be happy I’m up on stage.

Wish me luck!

On April 7 I was the closing keynote speaker at the Rust Belt To Arts Belt III conference in Detroit. Every year the conference takes place in a different city that’s faced with the task of reinventing itself in the ongoing transition from the Industrial Age into the Digital Age and beyond. Loving Detroit and having been in the heat of designing communities since the dawn of the commercial Internet in 1991, I wax on about all this in my speech.

I didn’t do any kind of visual presentation so showing a video of me moving my mouth for a half an hour isn’t going to cut the cake. It would be far more interesting to watch me moving my mouth cutting another foodstuff:

But seeing as I have no hot dog footage, here’s a link to the speech.  I’m very proud of it.  And mean every word I say.

 

Sorry this is so last-minute (not as sorry as I am for that crazy smile on my face) but if you have a chance to catch or TiVo The Kennedy Center Honors tonight, Jennifer Hudson is singing my song, “I’m Here”, to Oprah when she gets her honor. The Kennedy Center Honors are on CBS, I think at 9 pm. I’m told it’s toward the beginning of the show but with this said, you never know how things are going to be edited and whether the song is going to be there or not. But I have a lot of friends who were there and said it’s fantastic. Of course, it’s a great honor to know that “I’m Here” is part of such an honor for Oprah!

“I’m Here” is the lead character, Celie’s, big song or as they call it in the theater, the 11 o’clock song, in the musical I co-wrote with Marsha Norman, Stephen Bray, and Brenda Russell, The Color Purple.

Here I am with my co-authors the first time we met Oprah in 2005 when she walked into a rehearsal to announce she was coming onboard:

The Color Purple ran on Broadway for two and a half years and is going into its fourth year on tour.

That’s not seventh place American idol winner Jennifer Hudson in the poster, it’s first place Fantasia, who starred as Celie for a year on Broadway and for some of the First National Tour. Coincidently, LaToya London, who came in fourth, played Celie’s sister, Nettie, on tour.

Our original Celie on Broadway was the brilliant LaChanze, who won the Tony for Best Actress, our only win out of 11 nominations, one more than the movie got with the same number of noms.

Oprah definitely enjoyed producing The Color Purple:

There’s nothing inherently kitschy about Oprah Winfrey but in terms of my connection to her as producer of my musical, I love the kitsch value of the following photo. One waits a lifetime to be spoken to by Oprah and here I am not even paying attention…

Here we are opening night of the First National Tour in Chicago, May, 2007. I have no idea who we were all looking at.

The lyrics of “I’m Here” are a testament to the survival of the human spirit despite incredible odds. I saw an interview with Paul McCartney, who also receives an honor tonight, saying that what touched him the most was that all of the winners came from exceedingly humble beginnings and overcame incredible odds to become who they are. So “I’m Here” seems like a perfect match. You can read the lyrics and hear an incredibly fuzzy made-by-someone-who-snuck-a-camera-into-the-theater recording of Fantasia singing the song here. To hear the real thing, a version I co-produced with Fantasia and a 30 piece live orchestra, check it out on iTunes on Fantasia’s Back To Me CD.

For anyone doubting whether they have any worth, “I’m Here” is your theme song. Lucky for me, it’s Oprah’s tonight.

sept15-http-www.youtube.comwatch-v=4wrx3O1hYuQ&feature=related

Once an intro includes shooting a blank wall and someone tripping on stage you know that you have the potential for something great. Once the singing starts though I thought it was going to pan out to be a little too good. But that Caucasian-spiked arrangement I talk about a lot that so many school chorale groups follow with all the “hey hey heys”, new harmonies and rhythms straightened out to be so on the beat that the funk gets thrown out like an old piece of fish, is alive and well here. The fun really starts at 1:43 when someone steps out to solo. That’s when I am certain that whoever wrote this arrangement was drinking. I don’t know where they got the melody from – literally not one note of is right for that point in the song as it jumps from the lead vocal to a bizarre background note. And then there’s that wrong lyric that constantly drives me nuts that, because someone was too lazy to get the sheet music from the publisher and thought they were hearing it correctly from the record, went with it in their arrangement, perpetuating the inaccuracy forever.  It’s also fantastic how the mic is handed off to a second soloist who then steps out front with it dangling at his side and continues singing backgrounds as if only a lead vocal needed a mic. The vocal that finally comes left me speechless. Only to be capped off by that funky little ending the aforementioned arranger, who I’m certain only listens to theater music, wrote.