Interview: Johannah Easley and Aimee K. Bryant Cast a 'Spell' at Arena Stage in AKEELAH AND THE BEE!

"People are complex," muses Aimee K. Bryant, who plays Akeelah's mom, Gail, in AKEELAH AND THE BEE, the new musical at Arena Stage when I sat down with her and her on-stage daughter, 17-year old Johannah Easley (Akeelah) to talk about their experiences with the show. Increasing understanding within and among people is the power of theater, we agree, and Akeelah definitely offers up a story of complex people, young and old. Based on the wildly popular 2006 film of the same name, it's the story of a determined young girl from a difficult situation, competing in the Scripps National Spelling Bee. Akeelah's life is filled with challenges, as are many people's, and that's where this story resonates. Although a tale of triumph over adversity may not seem a new one, each person's story is different, and Akeelah's has layers that will be relatable to many in the audience.

Led by two Arena Stage veterans, Director Charles Randolph-Wright (an inaugural resident playwright at Arena Stage, and director of MOTOWN THE MUSICAL on Broadway), and the writer of the stage adaptation, Cheryl L. West (playwright, Arena's PULLMAN PORTER BLUES), AKEELAH had its inaugural run at Children's Theatre Company (CTC) of Minneapolis, in September of this year. Johannah, Aimee, James A. Williams (Dr. Larabee) and most of the other Minneapolis-based cast members have come to DC with the show, so they've had a chance to get to know the story and the characters over time. I began by asking what they thought might be different as they introduce the production to Washington audiences.

Johannah laughs; "not so many babies!" With a theater designed for children's productions, such as CTC, very young children are accommodated as they accompany the family to the show. Aimee notes that the theater has a crying room, however not everyone takes advantage. What really surprised her "was how well the little kids really stayed with us throughout the show!" Specifically, she notes, the show is probably best for third graders and up, but the younger children, such as the kindergartners, were "totally with it; saying "oh, you missed a word," by the end." Both Johannah and Aimee agree that the music holds a lot of appeal for youth audiences, as it includes some familiar pop songs and "beautiful original compositions," says Aimee. When school groups would attend, they told me, the audiences had a tendency to sing and dance in between scenes, even if the subject matter in a scene had been on the heavier side, but the moment the action would start again, they would immediately quiet down and get right back into the story. "My character is relatable," says Johannah, "and doesn't give up," making her interesting to all ages.

I wanted to know what Johannah and Aimee liked about their stage alter egos. Akeelah, Johannah says, "is a lot like me. She says what she wants right away...she's honest even when she tries not to be, and even when it might not be the best thing. I have to learn that lesson too. I try to be a sponge and learn from all these veteran actors in the cast." Aimee respects Gail's "strength and perseverance; even after a huge tragedy. It's admirable that she keeps the family going, and stays focused on what's most important." Art imitates life for Johannah, who notes that Gail is a lot like her own mother, and Reggie, her stage brother, is a similar age in relation to her, as is her real life brother. She goes on to muse that "our story is not just about one little girl; it takes a village, everyone around you who makes you who you are."

Speaking of young people and becoming who you are, I wanted to know what about theater made Johannah and Aimee think being on stage was right for them?

Aimee, originally from Detroit, tells me "I always wanted to be an actor, from being exposed to it on television; it was glamorous to me. I went to school for theater at Howard University here in DC, and then went to Minneapolis, and started working with a theater company called Ten Thousand Things Theater Company, which performs in nontraditional spaces, such as prisons and shelters." One day, she goes on, "I was doing a show called The Emperor of the Moon, a classical comedy, in a homeless shelter. I'd had a funky day, and came in, got changed into costume with the other actors, did the first scene, and then sat behind the audience, since there was no real off stage space. All of a sudden, I realized I'm in a room full of homeless people who are laughing...and that's what it is, that's what's it about, that's why we do it, that's why it's important. I thought I'd only do a season in Minneapolis and then go to NY, but I've stayed, because the work has been important, it's been fulfilling, it's been transformational."

Johannah, for her part, tells a slightly different story, since her initial reaction, after being badly bullied in her highly academic, private school for being "artsy," having a brother in theater, and being a dancer, was that "actors are weird." But that all changed when she went to see a Children's Theatre Production of BUD, NOT BUDDY, starring Nathan Barlow (who, in a lovely turn of fate, plays Akeelah's brother Reggie in this production), and saw someone who looked like her: "I saw a little black boy on stage, doing something in this really big theater, and realized, it's not weird, it's really cool; and they signed autographs after, and then I saw the show five more times, and said 'Mom, that's what I want to do.'" As the daughter of a single parent, who couldn't afford expensive classes, Johannah started small, working with her dance company, Journey Productions, doing plays and learning how to audition; happy to be in the background and play supporting roles (which was where she thought she'd stay). But then she got the email about AKEELAH, and now she's thrilled to be a lead. Johannah also laughs when she relates how star struck she was when she met the cast of AKEELAH: "all these actors I'd seen on stage before, and then there's little me. I had so much respect." Aimee notes that there was definitely a lot of mutual respect going both ways.

Are there challenges with "bringing up a show" as it develops? Laughter and a simultaneous reponse from both women: "new pages" they say quickly. As the script changes during development, it's not just the new lines to learn, but how the actors integrate new information about their characters that they may discover with scene changes. Aimee admits that "change can be hard, as you have to adapt to a new rhythm and flow," but agrees with Johannah that it is resulting in "more clarity and a better show." Is there a chance to collaborate with the creative team? Johannah enthusiastically says "yes! I so appreciate Charles and Cheryl because they will ask questions too; for example, 'how would you say that? Is there slang?,' and they seem to know when I need some help clarifying a line or scene and will help make it work for me."

Who has been important in supporting and inspiring Aimee and Johannah? Without hesitation, Aimee, says "for me it's been Mike Malone all the way, and other professors at Howard. But I'm so inspired by the people I work with. Especially out east, people don't really know the caliber of talent we have in the Twin Cities; definitely Broadway level, with a very high level of craft." For Johannah? "Tonia Williams, who runs my dance group, Journey Productions. She has this thing she always tells us: 'never do something if you don't know the meaning and the purpose.' As a challenge, we write our own plays, and choreograph own dance pieces, but she always asks that question. I performed a piece I choreographed at Pillsbury House, and when Tonia asked 'what is the purpose?,' I didn't really have one, so I had to really think about how theater and art isn't just to entertain, it always has a meaning; and I've kept that deep and close to my heart."

So what do the actors hope audiences will take away from AKEELAH? Aimee says intently, "in this time of 'Black lives matter,' I hope non-black audience members will see themselves in the story, and that the show affirms for African-American audience members how diverse we are, how multifaceted, and how much more we have to offer than what we usually see portrayed. And it's important to see that the bad guys are not all bad, everybody has their things, bad habits, but then can do really kind things, people aren't only bad...people are complex!!"

Johannah has the final word: "I want audiences to walk away with the idea of not losing hope no matter what your situation. Hope for all the characters, not just Akeelah, there's always hope for every person, keep the faith, keep it!"

AKEELAH AND THE BEE runs in Arena Stage's Kreeger Theater from November 13- December 27 '15. For more information, and tickets visit http://www.arenastage.org/shows-tickets/the-season/productions/akeelah-and-the-bee/

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