Fear the Crown by
Fear the Crown is a play centered on the love between RUBY and THELONIOUS as they struggle to break their respective creative blocks and find their integrity in the process rather than the product.
Sondai NaNaBuluku
Sondai NaNaBuluku
Sondai NaNaBuluku is a new Atlanta born playwright who is the recipient of Working Title Playwright’s 2021-2023 Rosalind-Ayres Memorial Scholarship with a BFA in Theatre & Performance from Bard College as well as an MA in English Education from NYU. His work focuses on the relationship between self-love/self-worth, generational scars and history, as well as traditional African spirituality that pertains...
Sondai NaNaBuluku is a new Atlanta born playwright who is the recipient of Working Title Playwright’s 2021-2023 Rosalind-Ayres Memorial Scholarship with a BFA in Theatre & Performance from Bard College as well as an MA in English Education from NYU. His work focuses on the relationship between self-love/self-worth, generational scars and history, as well as traditional African spirituality that pertains
to the experiences of Black people in this country. “The core of my development as a writer has been through my academic training with Bard College, where I worked with the likes of Chiori Miyagawa and Nilaja Sun, and NYU Steinhardt, where I started to understand theatre’s impact within communities, as well as my professional work with Working Title Playwrights. Here, I’ve been provided with various opportunities to have my work professionally read by local actors and reviewed by said actors, reputable playwrights, directors, producers, and fellow WTP members.” He has also worked on numerous twitter plays, “Rest in My Heart Because You’re Dear to Me” and the “Laughing Box”, various full-length plays, as well as his own self-produced work, “Ala Ala! The Self-Love Play”. He believes that struggle, heartache, and suffering is often informed and shaped by our relationship to time/history, how we view ourselves, and how we view those around us. It is critical that as individuals we start by asking ourselves important questions such as “how can I truly make a difference” and “how do
I support the people who need my help as soon as possible?” Community activism and revolutionary work is near and dear to his heart; however, he believes that this sort of work comes after the mandatory introspective, soul-searching. Because of that, he aspires to create work that places the task of introspection on actors as well as audience members. By working together to deal with our turmoil, our various traumas,
we’re more likely to connect to the things as well as the people that make life worth fighting for. He believes that making these points clear and actionable for everyone involved in the theatre going experiences is a matter of intention. Regardless of where a creative may find themselves in the creative process, they can always rely on the initial spark, the jolt of inspiration that created the artistic need to pursue an experience. As
long as we as creatives are in love with the work that we are creating, people will usually reflect that love and connection to said experience(s). This is crucial to the creation of impactful work because if we as creators cannot appreciate what is being
created, then how can we ask people to appreciate it for themselves? The creation of theatre is an inherently collaborative experience; it’s about building a larger rapport
with fellow creatives and former strangers, but in the same way that revolutionary changes within a community can only occur from the inside out, from the individual to the larger community, Sondai believes that good theatre can only be created from the inside out.
to the experiences of Black people in this country. “The core of my development as a writer has been through my academic training with Bard College, where I worked with the likes of Chiori Miyagawa and Nilaja Sun, and NYU Steinhardt, where I started to understand theatre’s impact within communities, as well as my professional work with Working Title Playwrights. Here, I’ve been provided with various opportunities to have my work professionally read by local actors and reviewed by said actors, reputable playwrights, directors, producers, and fellow WTP members.” He has also worked on numerous twitter plays, “Rest in My Heart Because You’re Dear to Me” and the “Laughing Box”, various full-length plays, as well as his own self-produced work, “Ala Ala! The Self-Love Play”. He believes that struggle, heartache, and suffering is often informed and shaped by our relationship to time/history, how we view ourselves, and how we view those around us. It is critical that as individuals we start by asking ourselves important questions such as “how can I truly make a difference” and “how do
I support the people who need my help as soon as possible?” Community activism and revolutionary work is near and dear to his heart; however, he believes that this sort of work comes after the mandatory introspective, soul-searching. Because of that, he aspires to create work that places the task of introspection on actors as well as audience members. By working together to deal with our turmoil, our various traumas,
we’re more likely to connect to the things as well as the people that make life worth fighting for. He believes that making these points clear and actionable for everyone involved in the theatre going experiences is a matter of intention. Regardless of where a creative may find themselves in the creative process, they can always rely on the initial spark, the jolt of inspiration that created the artistic need to pursue an experience. As
long as we as creatives are in love with the work that we are creating, people will usually reflect that love and connection to said experience(s). This is crucial to the creation of impactful work because if we as creators cannot appreciate what is being
created, then how can we ask people to appreciate it for themselves? The creation of theatre is an inherently collaborative experience; it’s about building a larger rapport
with fellow creatives and former strangers, but in the same way that revolutionary changes within a community can only occur from the inside out, from the individual to the larger community, Sondai believes that good theatre can only be created from the inside out.