January 23, 2012 | by Manny Strauss    0 comments

James Johnson and Psalmayene 24 in Imagination Stage's production of P.Nokio: a Hip-Hop Musical. Photo by Blake Echols.

Psalmayene 24, a multi-talented artist in the Washington area, wrote, directs, and stars in P.Nokio: A Hip-Hop Musical, a reimagining of the classic tale of Pinocchio, receiving its world premiere at Imagination Stage beginning February 1, 2012.

tW: When did your involvement with hip-hop start?

Psalm: As I was growing up [in Park Slope in Brooklyn] in the mid to late 70’s, hip-hop was also growing up and evolving. At block parties I would see people break dancing, they’d take out cardboard and I’d see people spinning on their heads, and I would also dance and join in. In school, kids would bang out beats on the lunch room table. It just seemed natural to me. But then I realized that all of these things, the graffiti that I would see on the trains going to and from school, was part of hip-hop culture and then it evolved into this global phenomenon. It was fun.

tW: After starts in film and dance at Howard University, what made you move to acting?

Psalm: I’ve always loved to act, ever since that excerpt of Annie [that I did in grade school]. The experience of being on stage was just so thrilling that I knew that it would be something I had to do again. In junior high school, I was in my first full length play, which was Our Town. I played George and that was a great experience. My drama teacher said, “Okay, I think you should go ahead and audition for the school of the arts.” At the time I was actually scared and I hadn’t figured out that this was what I wanted to do with my life, so I went to Midwood High School (alma mater of TV’s Emmanuel Lewis and Woody Allen).

We also did Sing! Each class puts on a musical and there’s a competition. I was a part of that for two years, and that is when I really knew that performing arts would be a huge part of my life.

tW: Hip-hop theatre is described as a genre unto itself. Do you think it’s a separate form of theatre, or is it just theatre?

Psalm: I would call it theatre. There are arguments for both. In terms of marketing, I can see the benefits and the drawbacks of calling something hip-hop theatre. In terms of describing a working aesthetic, calling something hip-hop theatre gives people a general idea of the form that you work in, but there are also different interpretations of it, different definitions of it as well. I would just put it under the umbrella of theatre.

Part of my mission is to illuminate the infinite creative and artistic potential of hip-hop. When you say hip-hop, most people think of just rapping and generally very basic, offensive, rap. In terms of the creative potential of it, I don’t feel like it’s been mined – especially in theatre. It’s just as valid and can be just as expressive as ballet, or opera, or any of these other musical forms.

tW: You were part of a hip-hop band, you act, you direct, you write…is any one of them a sweet spot?

Psalm: It depends on what mood I’m in. Sometimes I love the seclusion and the privacy of writing because you’re by yourself, you’re with your thoughts, you get the opportunity to really grapple with your own demons, and learn about life. At the same time, I love the camaraderie and the community of being an actor and being in a cast. On the other hand, there are times when I really love directing and just being part of the creative process. I appreciate each one of those different things, that’s why I’m now doing all three at the same time.

tW: Do you find that they build on each other?

Psalm: Definitely. Having been an actor first has helped me with my writing, and the directing has helped me as a playwright. I can visualize things on stage and troubleshoot as I write drafts.

tW: Why hip-hop for kids?

Psalm: It was created by kids. That’s their culture now, that’s the language, that’s the rhythm that they speak in and move to. That’s going to feel very comfortable and familiar to them. Because there’s music, there’s dance, you have the rhyming in it too, it’s so chock full of creative energy that it’s a great way to really grab their attention and captivate them and hopefully through the actual story itself, we can take them some place worthy.

tW: Where do you see the future of hip-hop?

Psalm: Theatre is where hip-hop is going to find a solid home. If you look at the past few years, Broadway is slowly starting to embrace it – like In The Heights. Things are just about to erupt. The lava is boiling and the volcano is about to burst. Once it does, regional theatres are going to have to get on board with it because the audience is. The audience that appreciates hip-hop is going to become the audience that is willing to buy tickets. Not only in terms of what they aesthetically appreciate, but also in terms of what is going to work for them from a marketing standpoint. It just makes the most sense. Theatre is way behind the music [in terms of embracing hip-hop], but it’s along the same path, so eventually theatre will catch up.

tW: So, the question that everyone asks you: Why the name?

Psalm: It’s just a way to define myself, as an artist. It’s so important to define your work and have a clear vision of your work for yourself, and to have a clear vision of who you are in this world. It’s something that you create. So, in that spirit, I chose the name Psalmayene 24, and there were a series of steps that I took to actually get to that full name. I used to do open mikes, and I had the idea of each time I would do an open mike to change my name. I said that I would go ahead and use the name “24” and after I said, “I actually like it.” I didn’t change my name again after that. As I started to write more songs, the idea of “Psalm”, you know, the book in the Bible, sort of resonated in me, and the fact that my believing that songs -- and what you write and create -- it’s a spiritual act, it’s a sacred act. I took the “Psalm” and added the “ayene” on the end of it and put it all together.

Printer-friendly version

Send by email