Interview: Star Johnson of #BLACKGIRLJOY at NYMF

Back then, we had no idea that 13 years later we'd see 420 musicals produced and about a quarter of those move on to regional, Off-Broadway and Broadway productions, but there we were at the start. That first year, we read through hundreds of scripts and listened to thousands of songs submitted and landed on, I think 15 musicals and a handful of shows that would get reading or concert presentations - that first year included [title of show], Altar Boys, Great American Trailer Park Musical and many others which went on to commercial futures.

Now in it's 13th year, NYMF is ambitiously mounting 20 full productions of musicals and more than 30 concerts, readings and other events. Among those concerts is a showcase of music and lyrics by DC native Star Johnson. #BLACKGIRLJOY: STAR JOHNSON IN CONCERT will feature pieces from How to Quit Your Day Job (54 Below), Flattops and F Words (Kennedy Center), and other works created by Star.

I had the chance to chat with Star about her experiences in DC and New York, and her hopes for this upcoming concert and for theatre in general.

JM: You've had your work showcased in New York before at 54 Below, can you say more about that experience?

SJ: It was very exciting because we were a DC production and didn't know a lot of people in New York, but we still sold well - the room was packed. A few of us went outside to see a line down the street before the show and we were in shock. It's something you always think about - having a show go up in New York. Is it gonna resonate with this crowd? To get that validation was really exciting.

JM: In your experience, what have your biggest challenges been as a young, black, woman writer?

SJ: I think the biggest challenge is the perception - you don't see black women composers who are prominent and have their work out there - when you think of musical theatre, you think of Sondheim, Cole Porter, Rodgers & Hammerstein. You don't think of black women as contributors to musical theatre. There are a ton of us women of color writers out there. Someone who looks like me who came from my socio-economic background, we're there - we just don't have the same opportunities.

I can tell you that the biggest motivator for me to really get my work out there was when Lin-Manuel Miranda won his Tony for In the Heights. He pulled his Puerto Rican flag out of his jacket pocket and waved it around - that was a moment for me when I thought "Okay, the white male archetype of musical theatre composers has been shattered." It's like he held up that flag and said "I'm breaking down the door and all you black and brown kids are welcome here now." Just having that representation there mattered so much to me.

JM: Your use of crowdfunding for your work was profiled in the Washington Post, how has crowdfunding influenced the work you do and what's your secret for success with it?

SJ: It's made it possible. To put it bluntly, I don't have any money - so we depend on our network to see something in our work and help make it happen. I think it would be very cool if one day you have a show that makes it to Broadway and it's financed 100% by crowdfunding. I think that, for me, the secret is just having the audacity to ask. If you build it, they will come. If you're deliberate with your ask, and you're confident and believe in what you're doing, it makes it easier.

In DC, people know me as someone who comes to parties and says "I'm going to Broadway. I'm going to be the first black woman to win a tony for writing a Broadway musical" And they think "Maybe this crazy girl can actually make this happen" and sometimes they want to be a part of it. So they put in their $10.

JM: What's it like being a musical theatre writer in DC? The arts community here is obviously thriving, but musical theatre writers often need to be in NYC to have their work showcased.

SJ: There's a lot of theatres that are not such huge theatres doing great and impactful work. I'm back and forth between DC & NY a lot. I'm not really trying to break into anything in DC. Anything I'm doing here is about honing my skills. Kennedy Center has a great program where they invite writers and companies to do work there. They open it up for the weekend and had writers and companies bring new work. Last year I had a show go up there, and it was great.

In DC, it's about looking for the opportunities. I have a specific goal and it's to get my work in front of NY audiences. So I'm doing everything I can do to get stuff up there. DC is more about having that space to hone my work in any way possible. The thing about the DC community is that it's home to me to some extent. It's what I know - I know the people, who's writing, who's doing the work. I feel more comfortable here, safe to do my work - and that's important. Folks will come see it and it's like showing it to your family and friends, it's a lower pressure situation where you can really grow.

JM: What's it like putting stories onstage that we don't hear or see often enough?

J: There are very few shows I can think of, especially on Broadway. Just so few stories about the black and brown experience today - and that's important. When you look at what shows are produced year after year. I love Lorraine Hansberry and August Wilson - some of my favorite writers. But we're getting the same stories year after year. What we don't see is what's happening now - what are the stories of the lives of black and brown people today?

I listened to the original Broadway cast recording of In The Heights and I was sobbing. Because it was a new story about us. Even if you're not a person of color, it's great to see a different life onstage. there's a new piece about a young latina woman who is going to audition after audition and nobody is casting her. And she thinks maybe this time will be it. And then I realized it was "I Hope I Get It" from A Chorus Line. I haven't seen that story onstage about young artists - and I realized this is a song that can be about anyone. But it changes the narrative when it's coming from a person of color.

JM: There's a lot of choices to make with the festival this year - and if you're looking for something to challenge you this year, come see this.

SJ: If you're looking for something outside the box that won't be like anything else in the festival, this is it. I want the audience to be challenged by what I do. So if you're an audience member who wants to think and you're okay with being challenged by art, this is the show for you.

#BLACKGIRLJOY: Star Johnson in Concert is part of this year's New York Musical Festival and will take place at The Green Room 42 @ YOTEL Thursday, July 27, 2017 at 7:00 pm, Friday, July 28, 2017 at 1:00 pm and Saturday, July 29, 2017 at 7:00 pm. For more information visit the NYMF website. If you're interested in supporting this event with a contribution, please visit: Send Star's Concert to New York on GoFundMe.