Steel Hammer World Premiere

The unbelievable SITI Company Performing Steel Hammer

The SITI Company Performing Steel Hammer

I am just now finding a moment to reflect on the experience I recently had in Louisville working on Steel Hammer with Anne Bogart, SITI Company and three fellow playwrights Regina Taylor, Kia Corthron, and Carl Hancock Rux.  Wow what an experience!  I am in complete awe and wonder at the power of an ensemble (SITI) working that closely and over that many years-what they were able to bring to the stage, and the way they inhabited the text was just astounding.  A special shout out to Eric Berryman, who plays John Henry.  He gave one of the greatest performances I have ever witnessed.  The piece premiered in Lousiville and will make it’s New York premiere next year.  Check out the reviews in the press section and on we go!

Anne Bogart, Will Power, and SITI Company in rehearsal for Steel Hammer

Anne Bogart, Will Power, and SITI Company in rehearsal for Steel Hammer

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Reflections on Blessing The Boats: The Remix

As I sit here in my hotel room, on the morning of the last performance of “Blessing the Boats: The Remix,” I can’t help to think back on this experience, and how much it has moved me to be a part of it. It was 18 months ago when I got a call about being in a the three-man ensemble that, with the guidance and leadership of Rhodessa Jones, was to remount this seminal work by the late poet-performer and educator Sekou Sundiata. Thus began weeks of rehearsals, collaborations exploring how to best bring forth this man’s work. One thing that moved me from the beginning of the process, was that the script was perfect, poetically and dramatically it was all there-with a language that was SO rich and vibrant. For real, our job was to tell the story and not get in the way, no need to push or force an emotion, Sundiata’s text gives you everything you need as the performer.

Reg Cathey, Carl Hancock Rux, Roger Guenveur Smith, and Will Power backstage at the Public Theatre

Reg Cathey, Carl Hancock Rux, Roger Guenveur Smith, and Will Power backstage at the Public Theatre

From rehearsals we presented a two show reading of the work at the Apollo last June, this was followed by 4 nights of performances at the River to River Festival, and most recently, a two week run at the Public Theatre (as part of the Under the Radar Festival) and a week run out here in Costa Mesa California. Wow, at The Public there were sold out shows, rave reviews, and emotionally stirred audiences, many of who knew Sekou-there were some extremely vibrant moments during the Public shows. Now here in Costa Mesa, the audiences have been smaller, and not as aware of who Sekou Sundiata was, still the responses have been overwhelming. Folks have been feeling the work out here, and wanting to find out more about Sekou and his legacy.

Along the way, I have bonded deeply with my fellow performers Carl Hancock Rux and Mike Ladd. We’ve known one another for a long while now, but with each one of us having our own canon of work, we’ve never had the chance to collaborate. It’s been inspiring, and back stage can at times be hilarious-those brothers are funny and never without a sense of humor about things. I’m going to miss them as we go back into our own works and disperse after tonight’s final performance. Though there is some talk of a national and international tour next year-who knows? Maybe there’s some more work to do as Blessing the Boats travels to a your city, maybe the adventure is not concluding tonight, but just getting started.

Thank you Sekou

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Fetch Clay, Make Man Featured on NPR’s All Things Considered

Listen to Interview Here

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See Video Here

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New Fetch Clay, Make Man Video

See Video Here

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Fellow playwrights Paula Vogel, Teo Castellanos, and myself sat down with Polly Carl to discuss my decision to boycott Florida, the Trayvon Martin case, and the complicated role of the Artist Activist in the 21st Century. Read on and  join in on the conversation @ Here:


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Dear Nick Conroy,

Thank you for your invitation to participate in a three-week engagement at the Atlantic Center for the Arts in New Smyrna, Florida.  I was initially thrilled to come. As you explained it to me, the nature of the work I’d be doing at the Center-blending presentation with teaching the craft of playmaking to emerging artists is exactly the kind of artistic engagement I love to do.  Also, the financial honorarium you and your organization offered was generous indeed, and would’ve went a long way towards helping my wife and I build a future for our family, which is where much of my energy is going these days.

However, I cannot accept your invitation.  Recently in the state of Florida, a young, unarmed African-American man, was senselessly gunned down for no reason other than that he looked “suspicious” by one George Zimmerman.  I am an African-American man, and so are many members of my family and community, and one day my son will be an African-American man.  It doesn’t feel right to engage in the artistic and spiritual practice of creating theatre in a state that has a Stand Your Ground Law, a law that basically condones the use of violence against African-American men, as was the case with Trayvon Martin.

In making this decision I have consulted many friends and mentors.  One of the arguments I have heard in favor of me coming and working in Florida is that I am not Jay-Z or Justin Timberlake, and that me not coming to the Sunshine State would not have much of an economic impact.  True, I am not a celebrity.  I am a working artist, I travel nationally and internationally creating and presenting works of theatre, while teaching and engaging diverse communities.  For me, the idea that only artists who can fill arenas should participate in a boycott is ludicrous.  If anything, it is the so-called arts-activists who should be active in this stand against racial injustice. I’ve also been advised to go to Florida to “work and make change from the inside.”  This is a valid argument.  But at the core of this three-week engagement is a residency in which like minded artists would fly from all over the country to study theatre under my leadership-so if I’m asking them to come to Florida, where this horrible atrocity happened and a killer walks free, and a law is in place to allow future killers to walk free, then exactly where am I leading these emerging artists?  What message am I sending to them, and what will they take back to their communities?  That it’s ok to cross a boycott and not join in on the stand against racial injustice as long as you’re doing and learning something “positive?”  This line of thinking doesn’t hold for me.

In closing, I’d like to say that I’ve heard nothing but stellar things about your organization, both the work that it does and the ways it fosters creative learning and growth amongst artists.  Once the Stand Your Ground Law is repealed in Florida, I would be more than willing to revisit the possibility of me coming to the Atlantic Center for the Arts.  In the meantime, if you and/or the Center decide to produce a fundraiser, or any event specifically geared towards changing the Stand Your Ground Law and ending the racial injustices that have happened and continue to happen, I will quickly get on a plane and come down to help the cause in any way I can.  We MUST repeal the Stand your Ground Law.  Until that time, I won’t play Florida.


Will Power

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The Making of Fetch Clay, Make Man (Video

The Making of Fetch Clay, Make Man (Video)

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Just released-my presentation at the TEDx Conference last year. Here it is!

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Blessing The Boats: The Remix

Brother Sekou Sundiata was a phenomenal Harlem poet, playwright, composer, and educator who touched the lives of many through his works and his life. 4 months of poetry, music, and the remounting of his poetic dramas will be going down from now to October. I am thankful to be a part of “blessing the boats:  the

sekou-photo1remix,” a piece that was originally performed by Sekou as a solo work, and is now being presented by three of us-Carl Hancock Tux, Mike Ladd, and myself. Just finished rehearsal a few house ago-staying in a hotel that looks over the World Trade Center. Death and life, in the window, all around, and within Sekou’s piece. It’s a beautiful piece, an unbelievable, poetic journey in which Brother Sekou lays it all out, an amazing work that continues to deepen as we continue to explore. Hope to see you all there at the Tribeca Performing Arts Center here in New York City. For more info on blessing the boats: the remix, click here, for more info on the life and work of Sekou Sundiata, click here.

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