Jackson Free Press: Spotlight on Dominique McClellan

What began as a childhood pastime for Dominique McClellan has developed into his life's work. The Duck Hill, Miss., native grew up on his family's farm. He spent his afternoons, evenings and summers helping maintain crops, feeding livestock and securing firewood for the winter. McClellan passed the time by creating imaginative stories featuring fictional characters.

"Growing up I had an imagination that kept me company, and I would write and create characters to keep myself entertained or let my mind wander while out doing work in the field," he says.

McClellan remembers rewriting lyrics to songs he heard on the radio in the third grade. Around that same time, he began writing poetry. By junior high, he was composing short stories. The Grenada High School alumnus enlisted in the U.S. Army after graduating in 1997. His travels took him to Europe, South Carolina and Maryland, but he never kept too far away from writing.

"During that time I still wrote, but I didn't really focus on it," McClellan says.

After completing a four-year enlistment with the army, he enrolled at Holmes Community College in 2001 to study machine and computer technology. There he took a creative-writing course, and the instructor, impressed with his work, encouraged him to rethink his career path.

"She suggested that I go to a four-year university and pursue something that related to writing," McClellan says.

The suggestion changed the trajectory of his life. In 2002, he enrolled in the University of Mississippi. While there, he enlisted in the Mississippi Army National Guard in 2004. His unit was deployed to Iraq in 2007. When his commander advised the soldiers to find something to keep their mind occupied while in a war zone away from family and friends, McClellan knew exactly what he would do. He began writing a script.

"It was supposed to be a little film, but I wanted everybody to see it, so I thought maybe we could do a skit. I started writing the skit, but I'm kinda long-winded when I write," he laughs.

What began as a "skit" erupted into a 100-page play.

While he was still in Iraq, McClellan enlisted the help and talent of his fellow soldiers to put on the performance. He held auditions for a cast, many of whom were soldiers. One friend who played for the base's chapel pulled together a group of musicians and helped create the music. Friends he knew from the Army who were engineers helped build the set and lighting setup. The result was a full theatrical production and the first-ever viewing of "The Wedding Party."

"It was absolutely amazing," he says. "It was almost sold out. Almost 800 soldiers showed up."

The play's success reignited a fire in McClellan, but he understood accomplishing his goals would not be easy. He returned to the University of Mississippi after the deployment and added theater as a second major. He graduated in 2010 with bachelor's degrees in mass communication and theater.

He moved to New Orleans without a place to live and with little money, and spent the next six months living out of his car and taking odd jobs working behind the scenes of movie sets. Eventually he found a home that doubled as his rehearsal studio. He auditioned a cast, secured a location and again brought his play to the stage. The overwhelmingly positive response convinced McClellan that this was the right move. He has now produced the play in Louisiana and Mississippi, and it is scheduled to become a full-length feature film.

The comedy recounts the story of a mother who is preparing a pre-wedding dinner for her son and his fiancee. The evening reunites family that a divorce has divided. The story follows the mother, who is attempting to show the family that she has survived the ordeal unscathed, when she really has not. Other unresolved issues bubble to the surface, including the mother's tumultuous relationship with her youngest daughter. As the evening progresses, the family's discussion begin to resolve long-held and deep-seated issues.

"It's a comedy, but it deals with real issues. It deals with teenage pregnancy, divorce, an overbearing parent, diabetes, trust and infidelity. It touches a lot of topics," McClellan says.

McClellan hopes that the work will open discourse for families.

"There is no individual issue that is bigger than the family," he says. "The main (message) is the importance of family, the importance of creating a dialogue, the importance of being able to forgive and reach a level of understanding."

Review: In Southern Rep's 'All the Way,' a gripping look back at another tumultuous time

McClellan flawlessly embodies the nobility, grace and intelligence of the legendary King. Like Johnson and his antagonistic group, King must negotiate dissensions between conservative elders as such as the National Association for the Advancement of Colored People's Roy Wilkins (Angelo Cross) and radical revolutionaries like Bob Moses (Henry Davis III).

'All the Way' a brilliant political drama from Southern Rep

When he bursts forth into full oratory mode, Dominique McClellan captures King's vocal rhythms and cadences to stirring effect. His charismatic appeal, however, is equally strong in the quiet calm he brings as he struggles to unite the various factions of the black leadership of the movement.

Just as Johnson wrangled the divided members of his own Democratic Party, King fought to preserve a united front between the more conservative traditional leaders, such as the NAACP's Roy Wilkins (Angelo Cross) and Ralph Abernathy of the Southern Christian Leadership Conference (Rodney C. Graham), and those calling for more radical revolution like Stokely Carmichael (Kirk Jonathan Bush).

Black drug zombie short ‘Saltz’ is favorite at SF Bay Film Fest

by The Minister of Information JR

“Saltz” is hands down one of my favorite films in the San Francisco Black Film Festival, partly because it is half a Black horror film and half a “this can really happen” film. The film is a futuristic look at the coming drug saltz epidemic, in the midst of today’s opioid epidemic.

“Saltz,” Dominique McClellan’s debut film, boldly introduces Black zombies to the genre. At SFBFF, Saturday night 6-9 p.m. is Sci-Fi and Horror Film Night, kicked off by “Saltz” at 6 p.m. at the Lush Life Theatre, 1320 Fillmore St.

It is also a look at our own attitudes on race where the story is told twice, once with a Black cast and one with a white cast, which allows the viewer to see if there is a change in attitude towards a drug addict based on race. It is a genius critique on race and the effects of racist media in the Trump era. Check out first time director Dominique McClellan as he discusses his film, “Saltz.”

M.O.I. JR: What inspired you to write the script for the film “Saltz”? Where did you get the idea to tell the story in the way that you did?

Dominique McClellan: “Saltz” is my first film as a writer-director-filmmaker, so I wanted to follow the normal first-time filmmaker trend and shoot a quasi-zombie film. That said, being a Black filmmaker, I’ve never seen people who look like me in a zombie film as the focal point. I often wondered what kind of effect the Black experience would have on this beloved genre.

Then I wondered why the market for this genre has been cornered by one ethnic group. So I figured I’d conduct an experiment to appease my queries. Take a genre that is typically (in my opinion) reserved for white people and tell the story though the interpretation of both white and Black actors.

As a director, I wanted to see what’s different about the actor’s approach as a whole and individually. I set out to see if “race” would play a factor on any aspect for the actors on either side of the camera. I also wanted to extend awareness to the synthetic drug epidemic and the real lives associated with it.

I also wanted to see how viewers would react to it. Which ethnic group would they identify with most? Which would they prefer to see made into a full length film? I also have the full version of each film. I screened all three and the responses were unbelievable. “Saltz” is a really good case study on race in film.

M.O.I. JR: In looking at today’s opioid epidemic and the possible coming saltz epidemic, what do you see in the future as far as in the future of drugs?

Dominique McClellan: Now that this drug epidemic is affecting more of white population, I see more programs being created around treating drug use and addiction as a health and mental health issue and not as much as a criminal issue like it was when drugs ravaged the African American neighborhoods in the ‘80s and ‘90s.

M.O.I. JR: How did you cast for this film? Where?

Dominique McClellan: I held a general casting call in New Orleans, where I live. None of the actors knew that “Saltz” was going to be one film made with two different casts. I casted equally as far as talent and experience because I didn’t want either group to have an edge.

M.O.I. JR: Have you had any personal interactions with hard drugs?

Dominique McClellan: No, I’ve never done drugs, but so many people in my neighborhood have lost so much due to drugs. I’ve seen the consequences of addiction. I’ve seen the communities it has destroyed.

M.O.I. JR: Who is the target audience? And what is the overall message that you are trying to convey with “Saltz”?

Dominique McClellan: I would have to say that the millennials are my target audience. They are the group that would be most capable of sharing the message or just simply talking about the film. Social media is the reason so many are familiar with how synthetic drugs can make some people lose complete control and do unthinkable things such as experience cannibalistic behavior. Also, the Black vs. white aspect of the film is good social media conversation and can be included in the trending conversation on representation in Hollywood, among other things.

From a social aspect, I want people – parents especially – to be aware this drug or type of drug is out there and that it’s real. And from a filmmaker’s aspect, I want people to challenge the norms of what they see represented in the media – television and movies especially. The tide is already shifting where more people of color are receiving more opportunities that are not rooted in the stereotypical roles and stories – but we have so much more and so far to go.

M.O.I. JR: What was important about the policeman in the story getting turned out on saltz?

Dominique McClellan: The policeman is there to convey that they are no more human than we are. There has been so much controversy in the media about law enforcement officers failing to measure how they respond to perceived threats, and the waters surrounding how the officers are prosecuted is always muddy.

I wanted to show that they are capable of making the same mistakes we make as civilians. Their fate or consequences should be no different. If a civilian kills someone unjustifiably and is sent to prison, a police officer who kills someone unjustifiably should be dealt the same blow.

M.O.I. JR: Do you plan to make this a feature film? Why?

Dominique McClellan: Yes, I plan to make “Saltz” a feature – the script is ready, just need some fundraising – because the world loves, loves, loves a good zombie flick. But almost all zombie flicks are rooted in a world of “probably ain’t gonna happen.” “Saltz,” however, is actually possible.

There are so many isolated instances where people have experimented with synthetic drugs and have experienced cannibalistic behavior, super strength and other zombie-like behaviors – literally walking dead. So I think it’s the most possible – though it might not be probable – zombie concept when compared to what has been done already. And every movie can also serve as a low-key awareness piece, especially to parents who don’t know much about the synthetic drug epidemic.

M.O.I. JR: Why did you apply to the SF Black Film Fest? How did you feel when “Saltz” was selected to screen this year?

Dominique McClellan: Like I said, this is my first film, so I’m a newbie to all of this. Still wet behind the ears. But I did a ton of research and really felt like SFBFF was one to try and land no matter what just because of the scale and the caliber of attendees. The possibility of being able to come out and rub elbows with great filmmakers of color was also a huge plus.

When I found out my film was selected I was on set working on another production and yelled out “Hell yeah!” so loud that we had to cut and reshoot the scene we were shooting. Needless to say, I felt great and validated. It really gave me the confidence to push harder with my work as a writer-director.

M.O.I. JR: How do people stay online with your work?

Dominique McClellan: My Instagram is the most efficient way. I do have a website and Facebook. Just simply plug my name into either or all and I’ll pop right up. So it’s dominiquemcclellan on both Instagram and Facebook, and my website is www.dominiquemcclellan.com and email is dominiquemcclellan@gmail.com.

The People’s Minister of Information JR Valrey, journalist, author and filmmaker, can be reached at blockreportradio@gmail.com or on Facebook. And tune in to BlockReportRadio.com. The 2017 San Francisco Black Film Festival runs June 15-18; learn more at SFBFF.org.

Budding Playwright Brings His Party to New Orleans - by Lyndon Jones

In 2008, Camp Anaconda in Balad, Iraq was home to more than 20, 000 military personnel. As the largest United States military base in Iraq at that time, the camp was created to give a small hometown American feel in what was considered the most hostile part of the occupied nation. Serving his second tour of duty there was aspiring actor/writer and Mississippi native, Dominique McClellan, who remembers recommendations from his superiors.

“Chain of command encouraged us to do things to take our mind off of being in the desert and warzone. That wasn’t too hard for me,” says the budding playwright, a self-proclaimed creative thinker, who was just a couple of years away from completing a double major in TV production and theatre at the University of Mississippi.

McClellan, now 34, recalls always being passionate about writing and “telling stories” from an early age. But not until seeped in the tension of a warzone and thousands of miles from home, did McClellan realize that his passion had the ability to impact lives.

“I knew what I was good at. I knew I wanted to make movies. But using my work to help people is what I discovered at that time. It helped me find my passion.”

McClellan immediately began to transform what was originally intended to be his first screenplay, into a stage play that would be performed by his fellow troops. Titled, The Wedding Party, McClellan held auditions with soldiers, oversaw rehearsals, and even secured a live band for backup for a heartfelt story which compiled several personal experiences of love and loss, along with a few stories inspired by fellow soldiers. The storyline is meant to be humorous and one to which everyone can relate, while providing an emotional release for participants and audience alike.

According to McClellan, the play was a huge success, drawing more than 600 military men and women, but most importantly it gave troops the opportunity to completely forget that they were in the midst of an unpredictable warzone. This was the purpose, he says.

“The support was so overwhelming,” says McClellan, adding that his parents sent countless supplies for set design. His mother even mailed a wedding cake, which took two weeks to arrive.

“When I got the box, I could smell the cake. It was still fresh,” he says. “At that moment, (the play) became real to me.”

McClellan has since gone on to write several more stage plays and screenplays, but has also revised The Wedding Party, choosing to produce the play in his hometown of Grenada, Mississippi where, it too, had tremendous reception.

The amended work reflected real life for those in his hometown, whom as he says, at that time, needed to be uplifted, it needed the play’s humor, the sub-drama that so many families deal with behind closed doors, humorous characters like a grandmother and grandfather, who will punch through with comedic lines.

“Nothing like that had ever been done (in his hometown),” he says. And admittedly skeptical in the beginning, the play went forward before a packed house of 500 people. “It went so well that I had to stay another three months because they wanted me to do it again”.

‘The Party’ Arrives in NOLA

McClellan has brought The Wedding Party to New Orleans. McClellan landed in New Orleans three years ago with nothing to his name but a dream of putting his work to stage and eventually the big screen. Having taken small roles in several local plays like Anthony Bean Community Theatre’s Cat on a Hot Tin Roof, where he played the role of “Gooper,” as well as, many odd jobs in film and production, McClellan has finally found his footing and an “impressive” cast to bring his first production to life.

On May 23 and 24 in Landry Walker’s auditorium, the Jackson family story will take center stage with 12 local actors who will take audiences through the ups and downs of family life. The play deals with the serious consequences of diabetes, the difficulty of teenage pregnancy, and offers comic relief from characters audiences have found funny and familiar, McClellan says.

Local actress Jyna Tilton, who serves as stage manager and has been active in the local theatre scene for several years, says the over-arching theme of the play is love.

“The Jacksons are a good example of family. I think there’s a character that everyone will relate to.”

Originally drawn to New Orleans because of its thriving movie industry, McClellan admits pondering other locations such as Atlanta or Los Angeles, but declares the choice has been to stay close and do something for “my community.”

McClellan has not only added life to the play, but has revamped the musicality of the play with all local New Orleans musicians who will perform live. And says working so closely with all actors and musicians has led to an unexpected closeness. “We’re like a family,” he says. “It’s like a family atmosphere.”

McClellan and Tilton hope to bring similar results with their non-profit, New Orleans Renaissance Movement (NORM). NORM is set to provide at-risk youth in New Orleans with a holistic theatre experience by offering up-close sessions in costume and set design, acting and writing.

“We want to serve youth who are overlooked,” says Tilton adding that the ultimate goal is to “strengthen literacy skills through writing as well as the writing of the original production.”