Interview: René Goddess, Director of "Beautiful Blackbird"
Margaret Brownlee, Veeva Banga, and Lys Pearl-Ross in “Beautiful Blackbird,” directed by René Goddess.
Photo: Katie Day
Interview: René Goddess, Director of "Beautiful Blackbird"
CMTM is thrilled to collaborate with the incredibly talented René Goddess for the upcoming production of “Beautiful Blackbird” in CMTM's Maddy's Theatre, debuting on September 28. To give the community a closer look at the creative directorial mind behind the production, we spoke with René to learn more about her artistic journey, her inspiration for this show, and what she hopes audiences will take away from this vibrant celebration of culture and identity.
René Goddess, director of “Beautiful Blackbird.”
CMTM: Please tell us a little about yourself and how you came to be a theatre artist.
René: I was originally born in Johannesburg, South Africa, alongside my twin brother, who is also an awesome artist. My grandmother, who was a master seamstress and a local matriarch, raised [me] and my twin brother alongside her teenage daughter. I grew up in a house full of music, people, culture, food, divinity, and art. Often I would find spare pieces of beautiful, delicious cloth on my grandmother's sewing room floor and convince her to make elaborate dresses for me. I grew up in a home where my Black identity was affirmed, and it was given costumes. I feel so very grateful for my grandmother and all the ways she was able to let me be a child, even though, because of war, she couldn't allow the same freedom for her own six children.
I was 18 when I first discovered that I was a theater person. I had heard of musicals on Broadway and even been in local shows like “Porgy and Bess” at Merrill Auditorium as a young child. For a long time, I didn't understand that there was an alternative to big productions and massive budgets. I discovered community theater when I was 24 after I showed up to audition for a role and ended up being given the job of stage manager instead by my late friend and mentor Julie Goell. I've never regretted that decision.
CMTM: What drew you to want to work with the Children’s Museum & Theatre of Maine and to direct "Beautiful Blackbird" for the second time in your career?
René: At one point in my life I was a nanny. In 22 years I took care of 25 families with 33 children total. To say that I adore little people is stating not just the obvious but the mildest version of my actual enthusiasm. Creating children's programming to help guide future humans through epic human experiences fully being themselves is my goal while working with Children's Museum & Theatre of Maine.
There is an immense amount of inequity in traditional theater spaces and organizations here on Wabanaki Territory. This collaboration with CMTM is an opportunity to have an honest conversation about how historically disenfranchised communities need to be seen and elevated in theater and theater education.
Directing “Beautiful Blackbird” for a second time is about fulfilling a promise I made to myself after the last production closed. We received so many thank yous and so many stories of inspiration from students and teachers after they saw the show. There was an overwhelming outpour of gratitude and love coming our way for a long time. Hearing from teachers that Black and Brown students felt seen, felt heard, and even changed some of their future dreams because they saw someone that looked like them create something so magical and so beautiful was overwhelming.
I promised myself I would at least one more time bring that experience to other children on Wabanaki Territory.
CMTM: This production includes original music by Eugene H. Russell IV, an Atlanta-based composer and actor who helped to adapt “Beautiful Blackbird” for its world premiere at the Alliance Theatre in 2017. Can you please tell us about the process of bringing this music to life with this cast?
René: The soundtrack for “Beautiful Blackbird,” created by the Alliance Theatre, is one of my favorite albums to listen to. If I'm ever in a bad mood and need to get out of it, that soundtrack is a surety to get me out of my mood.
Margaret Brownlee, Lys Pearl-Ross, and Veeva Banga in “Beautiful Blackbird.”
Photo: Katie Day
I knew directing this time around that the music we would create was going to be a much simpler version of the original score. Thinking specifically of the young folks in the audience, I wanted to make sure that everyone was able to appreciate the main act, the djembe. A traditional drum that comes with incredible history, I knew that the drum needed to be the lead in this play. You will hear cymbals, you will hear wooden sticks, and you will hear a shaker alongside the delicious downtowns and upbeats of the djembe.
The music-making process has been completely collaborative with our music director Nathan LaPointe and all three actresses. Everyone comes from a musical background and so it made it super easy and really exciting to learn new material and collaborate to find out what worked best with what and where. Learning to use a loop pedal to record music was full of giggles and triumphs. Bringing in a drum consultant, Sayon Camara, to help build confidence was also very helpful.
We hope you feel inspired to clap and sing along with us.
CMTM: What interactive elements can audiences expect to experience when they see the show?
René: The first and largest interactive parts of the show are singing and the choreography. There will be specific moments in the show where the actors will ask you to either repeat after them with song lyrics or a sentence. They will ask you to follow a dance move or to fly high in the sky with them as we all pretend to be birds.
There may even be a moment with black confetti being sprinkled on you!
The second interactive part of the show are everyone's individual wings. When you enter the theatre, there will be an opportunity to pick wings up (very simple, they go around your wrist).
The third interactive portion is not actually in the show itself. When you come into the theater and you find your seat, once you've settled I encourage you to look up. Above you are incredibly beautiful handmade paper feathers. These feathers were made by some of the cast members, designers, and also other young people who were in the museum enjoying the Beautiful Blackbird exhibit.
Margaret Brownlee and Lys Pearl-Ross in “Beautiful Blackbird.”
Photo: Katie Day
CMTM: Ashley Bryan’s original “Beautiful Blackbird” book is filled with colorful, dynamic illustrations. What role do the costumes, set, and other design elements play in bringing the story’s characters and themes to life in this production?
René: Have you ever pretended to be a bird? I have. I have also watched so many hours of birds on the internet. Now I feel very grateful that I get to be part of a production where we, as humans, can honor our animal relatives by portraying them. The many facets of their beauty and exquisite natures get to be accentuated by the delicious set. Sleeves become wings that allow our imaginations to run wild. A cleverly imaginative set that allows us to transition from day to night with a whole lot of awe. Hand-painted drums and eco-friendly musical instruments to dance the night away with. This show is glamor, excitement, and joy from beginning to end.
CMTM: Why should audiences come to see "Beautiful Blackbird," and what message do you hope children and their families will take away from the performance?
René: Building a strong identity is a difficult thing to do no matter where in the world you grow up. Capitalism depends on you disliking yourself. Blackbird teaches us that others around us can shape identity, so it is important to understand your own worth for yourself, to know what your internal groove is. “Beautiful Blackbird” is truly a show for all ages because it is never too late to learn the lesson about how you are perfectly you and that no one can be like you.
Come see the show because the music is spectacular, the choreography is funky, and the set and the costumes are exquisite. Most of all, come to see “Beautiful Blackbird” because you deserve to be affirmed for being you.
Veeva Banga in “Beautiful Blackbird.”
Photo: Katie Day