WHAT DO WE WANT IN TERMS OF LEGACY, LEAVING AN INDELIBLE MARK? CAN WE DO THAT THROUGH TECHNOLOGY?
coming from Chicago. You have the DuSable Museum, the history of Ebony and Jet magazines, the Johnson [Publishing] family as well as Third World Press, and entrepreneurs, old and new money here. There are these invisible lines to the city and you have people from different backgrounds layered throughout the infrastructure. Looking at the architecture of the piece, we drew inspiration from the Ebony/Jet Building, which is considered Afrofuturistic, built in 1973, chrome and glass and wood with a view of the lake. Just looking at that, and having it placed in this city that is known for cold and snow, and thinking about where Mr. Ames finds himself, this woolly mammoth hearing, feeling, the ice melting and where will he be after today? Signature: You have also been working with several groups of young people in Chicago and New York, creating multi-disciplinary projects that are inspired by the themes and subject matter of stop. reset. RT: I’m working with DePaul, the School of the Art Institute of Chicago, the Urban League, and Theatre Development Fund in New York. All these wonderful works that the young people are creating are part of the play itself. When we talk about how we experi-
left: L. Scott Caldwell in The Dreams of Sarah Breedlove, 2006. right: Yusha-Marie Sorzano (center) dancing in Crowns, 2012.
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