The Film’s The Thing For Veteran South-Central Playwright

Michael Ajakwe Jr. has been one of the most prolific playwrights in Los Angeles over the last 15 years.   Since 1993, this first-generation Nigerian-American has worked on stage with renowned performers like Glynn Turman, Vanessa Bell Calloway, Debbie Allen, Ted Lange, Phil Morris, Ta’Mar, Bill Overton, Robert Ri’chard, Hill Harper, Niecy Nash, Tommy Hicks, Art Evans, Aloma Wright, Gary Sturgis, James Pickens, Tatyana Ali, Marc Coppage, Mo’Nique, Sicily, Rae’Ven Larrymore Kelly, Estelle Harris, Wendy Raquel Robinson, Lee Garlington, Kellita Smith, Robert Pine, Shayla Rivera, Gary Alan Williams, Ralph Carter, Deniece Williams, and Charles Dutton.   As a TV and film writer, Mike’s worked with Martin Lawrence, Greg Kinnear, Tisha Campbell, Mark Curry, Tia and Tamera Mowry, Tim Reid, Jackee Harry, Steve Harvey, Eve, and the late Paul Winfield.  He’s also developed TV and film projects for Russell Simmons, Kim Fields, Reuben Cannon, Norman Howard (nephew of The Three Stooges), Beverly Todd, Vidal Sassoon and Natalie Cole.  But he considers the stage his first love.  Since 1993, Mike has written and directed 9 plays and produced 15 that have garnered 27 NAACP Theater Award Nominations, winning 5.  He is a two-time NAACP Award-winning Playwright/Producer (Company Policy/Ted Lange’s Four Queens, No Trump!) and a two-time NAACP Award Nominated Director -- If You Don’t Believe:  A Love Story (Featuring the Songs of Deniece Williams)/Body Language (Featuring the Songs of Patti LaBelle).

Recently, Mike tried his hand at filmmaking by adapting his acclaimed one-act play, Happy Anniversary, Punk! as a short -- which he also produced and directed.

Q:  WHAT WAS IT LIKE MAKING YOUR FIRST FILM?
A:  GREAT!  I MEAN, IT WAS A LOT OF WORK BECAUSE WE SHOT IT OVER FIVE DAYS WITH VERY LITTLE MONEY, BUT I TRULY ENJOYED EVERY MINUTE OF IT. 

Q:  SOME PLAYWRIGHTS FIND IT DIFFICULT TO TRANSITION FROM THEATER TO FILM.   DID YOU?
A:  I ACTUALLY FOUND IT TO BE A NATURAL FIT.  I WAS SURPRISINGLY VERY COMFORTABLE.  I THINK THE FACT THAT I HAVE BEEN WRITING FOR TELEVISION FOR 12 YEARS PLAYED A FACTOR SINCE THEY’RE NORMALLY FOUR CAMERAS AROUND.  I ALSO TRULY BELIEVE THAT ALL THOSE YEARS I SPENT DIRECTING THEATER HAD A LOT TO DO WITH IT, TOO.  TO ME, THE CAMERA WAS LIKE ANOTHER CHARACTER ON THE STAGE OR, IN THIS CASE, SCREEN.

Q:  WHAT WAS THE CASTING PROCESS LIKE?
A:  WHAT CASTING PROCESS? (LAUGHS)  I BASICALLY CAST STAGE ACTORS I HAVE WORKED WITH OVER THE YEARS OR THAT I HAVE SEEN IN SMALL THEATER AROUND TOWN AND HAVE WANTED TO WORK WITH.  I ONLY HAD A CASTING SESSION FOR ONE CHARACTER IN THE SHOW OUT OF 21 ACTORS.  IT WAS REALLY A FAMILY AFFAIR.  AND ALL OF MY ACTORS, EVERY LAST ONE OF THEM, WAS SIMPLY OUTSTANDING – THE MOST IMPORTANT PART OF THE FILM, IN MY EYES.

Q:  WHY DID YOU ADAPT “HAPPY ANNIVERSARY, PUNK!” INTO A FILM?
A:  BECAUSE, FOR YEARS, SO MANY FRIENDS HAVE SUGGESTED THAT IT WOULD MAKE AN EXCELLENT FILM.  AND THEY WERE RIGHT.

Q:  THE PLAY DEALS WITH YOUTH VIOLENCE IN THE BLACK COMMUNITY.  WHAT INSPIRED YOU TO WRITE ABOUT THAT SUBJECT?
A:  IN 1994, I WAS READING JET MAGAZINE – THE PROVERBIAL BLACK BIBLE – AND I CAME ACROSS AN ARTICLE ABOUT AN NFL PLAYER WHO WAS DRIVING CROSS-COUNTRY, ON HIS WAY TO TRAINING CAMP.  HE STOPPED AT A MOTEL AND GOT INTO AN ARGUMENT WITH ANOTHER TENANT AND THE TENANT’S 15-YEAR OLD SON SHOT THE FOOTBALL PLAYER IN THE HEAD AND KILLED HIM.  NOW, I GREW UP IN SOUTH CENTRAL LOS ANGELES SO I HAVE BEEN READING AND HEARING ABOUT SENSELESS KILLINGS ALL MY LIFE.  BUT FOR SOME REASON, THIS ONE REALLY GOT TO ME.  I COULDN’T SHAKE IT FOR WEEKS.  THAT MADE ME SUSPECT THERE MIGHT BE MORE THERE.  SO I DID WHAT ANY ANGRY PLAYWRIGHT WOULD DO – I WROTE A PLAY ABOUT IT.   THE PLAY IS A GRITTY, SORT-OF SOCRATIC DIALOGUE BETWEEN A CRAZED, GRIEVING FATHER AND THE TEENAGE BOY WHO KILLED HIS SON.

Q:  THAT SOUNDS LIKE A LOT TO PACK INTO A SHORT FILM.
A:  IT IS.  AND I FELT I COULD NOT DO THE FILM JUSTICE IN 25-MINUTES.  SO I MADE THE SHORT A PREQUEL TO THE PLAY.   IT’S ABOUT EVERYTHING THAT HAPPENS BEFORE THE PLAY STARTS. 

Q:  WHAT KIND OF RESPONSE ARE YOU EXPECTING FROM YOUR FILM?
A:  I WANT TO ELICIT AN EMOTION OUT OF PEOPLE.  I WANT THEM TO CARE.  IF PEOPLE COME OUT FEELINGS SOMETHING -- EVEN AN EMOTION THEY ARE NOT PROUD OF -- THEN I HAVE ACCOMPLISHED MY GOAL.

Q:  IF YOU COULD ADAPT ANOTHER ONE OF YOUR PLAYS INTO A FILM, WHICH ONE WOULD IT BE AND WHY?
A:  WELL, I’M NOT DONE WITH HAPPY ANNIVERSARY, PUNK! YET.  MY NEXT GOAL IS TO  EXPAND THE SHORT INTO A FULL-LENGTH FEATURE.   AS FOR ANOTHER PLAY OF MINE I’D LIKE TO ADAPT FOR FILM, I’D HAVE TO SAY COMPANY POLICY.  IT DEALS WITH RACIAL, GENDER AND SEXUAL POLITICS IN A WAY I ‘VE NEVER SEEN ON SCREEN BEFORE. 

Q:  OKAY, THE PITCH -- ONE SENTENCE.  GO!
A:  IMAGINE IF MALCOM X AND MARTIN LUTHER KING WENT TO WORK FOR IBM.  WHO DO YOU THINK WOULD SURVIVE PROBATION?

Q:  HEY, THAT WAS TWO SENTENCES.    EVEN SO, I MUST ADMIT, YOUR PITCH DID PIQUE MY CURIOSITY.
A:  COMPANY POLICY WOULD MAKE A COMPELLING, PROVOCATIVE FILM.  BUT I WROTE THE PLAY, SO YOU CAN’T TRUST MY OPINION (LAUGHS).

Q:  NOW THAT YOU’VE MADE A SUCCESSFUL TRANSITION, WILL YOU DO LIKE SOME PLAYWRIGHTS AND MAKE FILM YOUR MAIN FOCUS?
A:  I WILL.  I ENJOYED MAKING MY FIRST FILM AND I CAN’T WAIT TO MAKE ANOTHER ONE.  IT IS LIKE GETTING A NEW TOY.   I HAVEN’T FINISHED PLAYING WITH MINE YET (SMILE). 

Q:  YOU’VE NOW WORKED PROFESSIONALLY IN THEATER, FILM AND TELEVISION.   HOW WOULD YOU RANK THEM?
A:  IN TERMS OF FINANCIAL GAIN -- TV, FILM, THEATER.  IN TERMS OF PERSONAL AND ARTISTIC SATISFACTION – THEATER, FILM, TV.  THERE IS NOTHING LIKE LIVE THEATER.  FILM COMES CLOSE SINCE IT’S MEANT TO BE EXPERIENCED– LIKE THEATER -- IN A COMMUNITY SETTING.   BUT, FOR ME, THEATER WILL ALWAYS BE KING.

To learn more about Michael Ajakwe, Jr., visit www.michaelajakwe.com