Indianapolis Recorder, Indianapolis, Marion County, 24 May 2002 — Page 26

THE INDIANAPOLIS RECORDER

FRIDAY, MAY 24, 2002

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Playwright David Talbert is making things happen

THE SCOOP

By KENYA YARBROUGH. Electronic Urban Report “Love Makes Things Happen” is the latest play from popular playwright David E. Talbert. The play is about a woman who makes six figures a year who falls in love with a man who makes $6 an hour. It stars Dawn Robinson, formerly of En Vogue/Lucy Pearl, and singer Kevon Edmonds. This time around, Talbert teams with Kenny “Babyface” Edmonds to help produce the play, as well as contribute hit songs and new music. With that production team and talent formula, it’s no wonder the play is a hit. It just completed its tour of Los Angeles, after mesmerizing Atlanta, New Orleans, Baltimore, and is now headed to Philadelphia, New York, and Washington, D.C. With all the brouhaha and rave reviews over “Love Makes Things Happen,” we thought it might be best to get the scoop straight from the horse’s mouth, playwright Talbert. He said, “It’s the fourth in my relationship series. And it’s really commentary on how we sometimes place more value on finance instead of romance. Some women would argue that it takes more than love to make this situation happen, but that’s what the play is about— finding love where and when we least expect it.” In our community, at least, it’s common theory that such a partnership isn’t plausible. Society seems more often to favor the man “bringing home the bacon.” And if he can’t, he’s less of a man. But Talbert shuns that theory. “What happens to the sisters that make a lot of money?” he asks. “They need love too. So we have to reassess, given where we are today — we have to redefine pur system of evaluating what is good for us romantically, though it might not be beneficial for us financially. The play kind of poses that. At the end of the day, love has no financial status. It doesn’t have conditions based on finance — love doesn’t.” He says this play takes the next step in dealing with whether or not a relationship can work between a sister that makes a lot of money and a brother who doesn’t. “What stops those relationships from working is not love,” he confidently states. “It’s all the other

junk that people put on it. It’s the girlfriends, and the best friends, and the mama and the daddy and their opinions, their issues. What makes two people fall in love are two human beings, two hearts, two souls. It has nothing to do with money or cars or any of that stuff.” What makes Talbert such an expert, you ask? He says it’s just living, everyday relationships, and conversations with friends that help make up the stories. But he says it also has a lot to do with how he was raised. “Living life and being in relationships has given me a great deal of case study. I get most of my ideas from female friends. And they share with me what they’re going through,” he says. “I was raised with three generations of Black women with a void of male presence in their lives. So I write from a perspective of what I know, which is the plight of the Black sister and how they have to make it happen in spite of a significant male presence, because that’s what I know.” Along with Talbert’s personal passion in writing the play, he praises the talents of his actors. Dawn Robinson and Kevon Edmonds offer magnificent performances, he says. “(Dawn) is by far one of my favorite leading ladies. She exudes style, presence, and sophistication. She is a delight to work with,” he says of Robinson, who plays the lead character Sheila Carter. “Kevon is like Elvis going through the country — the woman are screaming for the brother,” he says of Babyface's sibling, who plays Sheila Carter’s mate Chauncey Brown. “He is very much like the character. He has a very unassuming personality. His has great likeability. He represents to hie the guy that’s overlooked and dismissed. Kevon is fabulous.” Talbert raves about the talent of his lead actors. Not only in delivering the play, but also in performing the music. However, he says, it’s not hard to do if you’re dealing with Babyface-penned tracks. “Not only is there passion in the writing of the dialogue, but there’s passion in the writing of the songs, and then there's passion in the performance of the songs,” Talbert brags. So theatergoers have not only Witnessed a play, but a relationship seminar and a concert. Though the fourth of his relationship series, “Love Makes” is the first in the Urban Broadway Series, which is helmed by Talbert

and Clear Channel Entertainment, and will encompass high-profile producers. The next production is going to be a collaboration with Robert Townsend, and will certainly tackle another relationship obstacle. For more information on the play, its tour, David Talbert, or the Urban Broadway Series, check www.davidetalbert.com. ***** Sean “P.DIddy” Combs is praised for his remixes with commercial artists, but it seems Diddy likes underground remixes, too. Last week, Bad Boy Records did some big things. In addition to dropping its “We Invented the Remix” CD, bolstered by the single and video for “I Need A Girl, Part II,” featuring Loon. Ginuwine and Mario Winans, the addition of underground Southern rappers 8 Ball and MJG to Bad Boy Records’ roster was announced. The duo’s move to Bad Boy ended a long bidding war for the artists. Other labels vying for a chance to sign the Memphis-bred rappers included Southern-based Cash Money Records and So So Def Entertainment. Entertainment attorney James McMillan, who negotiated the terms of the 7-figure deal, reportedly helped resolve a three-way lawsuit between the duo’s original label Suave House Records, JCOR Entertainment and the artists themselves. 8 Ball and MJG, who sued Suave House for unpaid royalties, was picked up by Interscope-dis-tributed JCOR Entertainment, who was then sued by Suave House for interfering with an artist’s existing contract. McMillan says he is positive about his artists’ affiliation with Bad Boy, outlining 8 Ball and MJG’s place in the rap game. “8 Ball and MJG is to down South what Biggie was to New York and what Tupac was to the West Coast.”

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