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Award-winning singer Brian De Lorenzo swings into Scullers to celebrate the artistry and remarkable career of one of America’s favorite singers, Nat King Cole. De Lorenzo presents songs for which Mr. Cole is well known – songs such as “Nature Boy,” “Mona Lisa,” and “Don’t Get Around Much Anymore” – plus stories and anecdotes about Mr. Cole’s personal and professional lives. De Lorenzo will also interweave memories and anecdotes from his own experiences of Nat King Cole’s music.

As we approach the 40th anniversary of the passing of this wonderful entertainer, De Lorenzo feels that Mr. Cole deserves to be honored for his talent as a singer and for his importance to entertainment and race relations in the 20th Century. Cole also has connections to Massachusetts and Boston as a performer and through family members. Boston-area audiences will find those connections to be extremely interesting.

LIESL TOMMY RETURNS TO THE HUNTINGTON TO HELM “A RAISIN IN THE SUN” – POWERFUL FAMILY CLASSIC ABOUT DEFERRED DREAMS BEGINS MARCH 8
(BOSTON) – Fifty-four years after its Broadway premiere, the Huntington Theatre Company presents A Raisin in the Sun, Lorraine Hansberry’s landmark family classic about deferred dreams. Liesl Tommy (Ma Rainey’s Black Bottom, Ruined – IRNE Award for Best Director and Production) returns to the Huntington to helm the production that features Leroy McClain (the title role in Hamlet at California Shakespeare Theater) as Walter Lee Younger and Kimberly Scott (Molly Cunningham in Joe Turner’s Come and Gone – Tony and Drama Desk Award nominations) as matriarch Lena Younger.
“Whenever we’re approaching a classic, we do so with the director in mind,” says Huntington Artistic Director Peter DuBois. “Liesl Tommy’s powerful Ruined and her fresh approach to Ma Rainey’s Black Bottom are two of the most artistically exciting productions of recent memory at the Huntington, and I look forward to her bringing her perspective to one of the greatest American plays ever written.” Hear more from Peter DuBois about the production at huntingtontheatre.org/peter-raisin.
Hailed by The New York Times as “a play that changed American theatre forever,” A Raisin in the Sun is a fiercely moving portrait of the Younger family – Walter, his wife Ruth, son Travis, mother Lena, and sister Beneatha – packed into a tiny apartment on Chicago’s South Side. They yearn for a better life, and an impending insurance payment could be the key: for Beneatha, an education; for Walter, a business of his own; for Lena, the stability and legacy of homeownership. When Lena takes steps to buy a house in an all-white neighborhood, a racist representative offers to pay the family not to move, and Walter is faced with the choice of erasing past financial mistakes or finally seizing the American Dream so long deferred.
“My father was an urban planner who worked on low-income housing in Boston, and we often talked about how destructive to family life tiny apartments can be,” recalls director Liesl Tommy. “With this production, I’m looking to explore just how desperate poverty can make you when you don’t have the space to be yourself.”
Hansberry’s groundbreaking classic was inspired by her father Carl’s battle to move his family to an all-white neighborhood of Chicago in 1938. After the family took up residency, their neighbors fought to remove them by citing a restrictive covenant they had signed to keep African-Americans out. When the Illinois Supreme Court ruled against the family in 1940, Carl appealed to the US Supreme Court in 1940. The Court’s ruling secured the Hansberrys’ residency, but unready to address the underling civil rights issue, was silent on the legality of restrictive covenants.

A Raisin in the Sun was the first play by an African-American or directed by an African-American to premiere on Broadway. Despite first touring to successful reviews, it took producer Philip Rose more than a year to raise the money to mount it. The production received four Tony Award nominations in 1960 (Best Play, Actor, Actress, Direction) and has been revived and adapted for the screen to great acclaim. It received the 1959 New York Drama Critics’ Circle Award for Best New Play. Having been in continuous production for more than 50 years, the play has become a cultural trope for how we think about the American Dream.
“A Raisin in the Sun asks us to examine the human condition and what it means to be human,” says Joi Gresham, Executive Director and Literary Trustee of The Lorraine Hansberry Literary Trust. “How much can we distance a man or a woman from their dreams and aspirations – for themselves, for their children – and still expect them to maintain their dignity and humanity?”
ABOUT THE ARTISTS
Leroy McClain (the title role in Hamlet at California Shakespeare Theater) as Walter Lee Younger and Kimberly Scott (Molly Cunningham in Joe Turner’s Come and Gone – Tony and Drama Desk Award nominations) as Lena Younger lead the cast that also features Corey Allen (Ma Rainey’s Black Bottom at the Huntington) as George Murchison; Jason Bowen (Ma Rainey’s Black Bottom and Ruined at the Huntington) as Joseph Asagai; Ashley Everage (Fen and In the Blood at Rutgers Theater Company) as Ruth Younger; Will McGarrahan (Next Fall and The Drowsy Chaperone at SpeakEasy Stage Company) as Karl Lindner; Maurice E. Parent (The Mountaintop at the Underground Railway Theater) as Bobo; and Keona Welch (Moony’s Kid Don’t Cry at the Drama League DirectorFest 2012) as Beneatha Younger. Cory Janvier and Zaire White alternate as Travis Younger. Calvin Braxton and Christian Roberts are the Moving Men.
Lorraine Hansberry (Playwright) was a playwright, essayist, poet, and leading literary figure in the civil rights movement.
A Raisin in the Sun won the 1959 New York Drama Critics Circle Award and made her the first black, youngest person, and fifth woman to win that prize. Her play The Sign in Sidney Brustein’s Window was produced on Broadway in 1964.
Ms. Hansberry left a number of finished and unfinished writings that indicate the breadth of her social and artistic vision. Robert Nemiroff, whom she had divorced in 1964 but designated as her literary executor, adapted some of her writings for the stage under the title To Be Young, Gifted, and Black. He also edited and published an anthology of her work (reissued in 1994) that included Les Blancs, The Drinking Gourd, and What Use Are Flowers?. She died from pancreatic cancer in 1965 at the age of 34. A Raisin in the Sun, the first play by an African-American woman produced on Broadway, has become a classic of the American theatre and has enjoyed numerous professional revivals.
Liesl Tommy (Director) returns to the Huntington having previously directed Ma Rainey’s Black Bottom and Ruined. Her recent credits include the world premieres of Party People by Universes (Oregon Shakespeare Festival), The White Man — A Complex Declaration of Love by Joan Rang (DanskDansk Theatre, Denmark), Peggy Pickett Sees the Face of God by Roland Schimmelpfennig (Luminato Festival/Canadian Stage), Eclipsed by Danai Gurira (Yale Repertory Theatre, Woolly Mammoth Theatre Company, and McCarter Theatre), The Good Negro by Tracey Scott Wilson (The Public Theater/NYSF and Dallas Theater Center), A History of Light by Eisa Davis (Contemporary American Theatre Festival), Angela’s Mixtape by Eisa Davis (Synchronicity Performance Group, New Georges), A Stone’s Throw by Lynn Nottage (Women’s Project), and Misterioso 119 by Koffi Kwahule (Berkshire Theatre Group and Act French Festival/Lark Theatre). Her productions have won numerous awards for directing, acting, and design. She has taught master classes in acting, directing, and new play development internationally and taught at The Juilliard School, Trinity Rep/Brown University, The Strasberg Institute, and New York University’s Tisch School of the Arts. She is an artistic associate at Sundance Theatre Institute, a native of Cape Town, South Africa and a graduate of Newton North High School and Trinity Repertory Conservatory.

WHAT: CLYBOURNE PARK
WHERE: SpeakEasy Stage Company
Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.
WHEN: MARCH 1-30
TICKETS: 617-933-8600 or www.SpeakEasyStage.com.

How would you like to see a play that won the 2011 Pulitzer Prize for Drama, the 2011 Olivier Award for Best New Play, and the 2012 Tony Award for Best Play? You are in luck as the SpeakEasy Stage Company presents the Boston-area premiere of CLYBOURNE PARK.

Often Boston versions of New York or London plays miss the original finesse of the acting or directing but not so with this Boston premiere. I can’t imagine any actor doing more with the dual roles of Russ and Dan than Thomas Derrah. He didn’t play these men, he became these men. Joining him with excellent performances were Michael Kaye, Marvelyn MacFarlane, Philana Mia, DeLance Minifee, Paula Plum, and Tim Spears. This is a play that will have your brain cells milling about with more questions than answers. Another bravo shout-out to Cristina Todesco for her scenic design. The convertible nature of the set, set the mood for each act. Bruce Norris, author of Clybourne Park constructed a play that had depth, great dialogue, challenged the audience and was constructed perfectly.

Written by Bruce Norris, author of The Pain and the Itch, The Unmentionables, and A Parallelogram, CLYBOURNE PARK is a bold new work about race, real estate, and the volatile values of each. Inspired by Lorraine Hansberry’s classic play A Raisin in the Sun, this acclaimed work explodes in two outrageous acts set 50 years apart. Act One takes place in 1959, as nervous community leaders anxiously try to stop the sale of a home in a white community to a black family. Act Two is set in the same house in 2009, as the now predominantly African American neighborhood battles to hold its ground in the face of gentrification.

M. Bevin O’Gara, whose recent local credits include You for Me for You, Love Person, Matt & Ben, and The Pain and the Itch, will make her SpeakEasy directorial debut with the production.

CLYBOURNE PARK premiered Off-Broadway at Playwrights Horizons on February 21, 2010, where it ran for one month. Directed by Pam MacKinnon, the cast featured Frank Wood, Annie Parisse, Jeremy Shamos, Crystal A. Dickinson, Brendan Griffin, Damon Gupton and Christina Kirk.

The play had its UK premiere in August 2010 at the Royal Court Theatre in London directed by Dominic Cooke, the theater’s artistic director. It later transferred to Wyndham’s Theatre in the West End, winning the 2011 Olivier Award for Best New Play.

After productions in Providence and Philadelphia, CLYBOURNE PARK opened on Broadway at the Walter Kerr Theatre on April 19, 2012, for a 16-week limited engagement, which was later extended. The Off-Broadway cast reprised their roles. The play was nominated for several Tony Awards, winning for Best Play. CLYBOURNE PARK also won the 2011 Pulitzer Prize for Drama and the 2011 Laurence Olivier Award for Best New Play.
BRUCE NORRIS (Playwright) is the author of Clybourne Park, which won the Tony Award for Best Play in 2012, the Olivier and Evening Standard Awards (London) for Best Play, 2011, and the Pulitzer Prize for Drama, 2011. Other plays include The Infidel (2000), Purple Heart (2002), We All Went Down to Amsterdam (2003), The Pain and the Itch (2004), The Unmentionables (2006), and A Parallelogram (2010), all of which had their premieres at Steppenwolf Theatre, Chicago. Two new plays, titled The Low Road and Domesticated, will premiere in 2013 at the Royal Court Theatre, London and at Lincoln Center Theatre, New York, respectively. His work has also been seen at Playwrights Horizons (New York), Lookingglass Theatre (Chicago), Woolly Mammoth Theatre (Washington, D.C.), Staatstheater Mainz (Germany) and the Galway Festival (Ireland), among others. He is the recipient of the Steinberg Playwright Award (2009), and The Whiting Foundation Prize for Drama (2006) as well as two Joseph Jefferson Awards (Chicago) for Best New Work. He lives in New York.

M. BEVIN O’GARA (Director) has previously directed You for Me For You and Love Person (Company One), Matt and Ben (Central Square Theater), The Pain and the Itch (Company One, IRNE Award nomination for Best Director and Best Ensemble), Two Wives In India and Gary (Boston Playwrights’ Theatre, Elliot Norton Award nomination for Best Production), 2.5 Minute Ride (Downstage @ New Rep, IRNE Award nomination for Best Solo Performance), Othello and The Crucible (New Rep On Tour), Melancholy Play (Holland Productions), Bat Boy: The Musical (Metro Stage), Tattoo Girl, Painting You, and Artifacts (Williamstown Theatre Festival Workshop), and ANTI-KISS (3 Monkeys Theatrical Productions). Other companies include New Repertory Theatre, the Gaiety Theatre of Dublin, and the Actors Centre of Australia. Ms. O’Gara is Associate Producer at the Huntington Theatre Company. She has a BFA from Boston University in Theatre Studies.

About the Cast

THOMAS DERRAH* (Russ/Dan) returns to SpeakEasy Stage, having earlier acted in Red, The Drowsy Chaperone, and Fuddy Meers. He is a founding member of the A.R.T and has performed in 120 productions there. Mr. Derrah has performed on Broadway in Jackie: An American Life (23 roles) and Off-Broadway in Big Time, Johan Padan, and Oliver Twist. He has performed regionally in theatres in San Francisco, Los Angeles, Chicago, Philadelphia, and Houston, and has toured extensively to theatres and festivals in Europe and Asia. Recently he has been performing the title role in Julius Caesar on several tours throughout France for the Centre Dramatique National d’Orléans. Mr. Derrah has also appeared locally at the Huntington, New Rep, Commonwealth Shakespeare, and ASP. He has several IRNE and Norton Awards for acting, including the Norton Prize for Sustained Excellence. He was also awarded the 2010 Brustein Award and a Los Angeles DramaLogue Award. Mr. Derrah appeared in Julie Taymor’s film “Fool’s Fire”, and several programs on CBS, A&E, and PBS. Other film credits include “Mystic River” and “Pink Panther II.” He teaches acting at Harvard and is a graduate of The Yale School of Drama.

MICHAEL KAYE* (Karl/Steve) is thrilled to be making his SpeakEasy debut with this production. Some of Michael’s regional theatre credits include appearances at the Huntington Theatre, Olney Theatre Center, Lyric Stage, New Repertory Theatre, Boston Playwrights’ Theatre, and Boston Center for American Performance. Michael is an Assistant Professor of Acting at The Boston University School of Theatre, where he received both a BFA and MFA in Acting and Theatre Education respectively.

MARVELYN McFARLANE (Francine/Lena) is thrilled to be back in Boston to make her SpeakEasy debut! She spent the past two years developing and performing ESL children’s musicals in South Korea. Boston credits include Huntington Theatre: A Civil War Christmas (u/s for Uzo Aduba); Wheelock Family Theatre: The Little Mermaid; Company One: The Good Negro; Voyeurs de Venus; Articulation; The Bluest Eye; and Our Place Theatre Project: Mother G; Feathers On My Arms. She is a three time IRNE nominee and is so grateful to the Boston theatre community! marvelynmcfarlane.com
PHILANA MIA* (Betsey/Lindsey) is pleased to make her SpeakEasy debut. Philana has appeared at Stoneham Theatre in I Capture the Castle; Central Square Theater in Matt & Ben; Company One in The Pain and the Itch; Apollinaire Theatre in The Wonderful World of Dissocia; and the workshop at Williamstown Theatre Festival in Far Away and Project: Identity. Her film credits include Whaling City, winner of the 2007 Alfred P. Sloan Feature Film Production Grant and the 2005 Alfred P. Sloan Screenwriting Award; and Silver Circle. She is a proud member of Actors’ Equity Association.

DeLANCE MINAFEE* (Albert/Kevin) is excited to return to Boston for his SpeakEasy debut. Boston credits include: A Civil War Christmas at the Huntington Theatre; Donnie Darko at the American Repertory Theatre; and Trigger, Phoenician Women, and Pinter’s The Room with ART/MXAT Institute. New York credits include: Dust (u/s) (Off-Broadway), The A-Train Plays (Neighborhood Playhouse), and Cabaret Émigré (Negro Ensemble Company). Regional Credits include: Amistad Voices (Chicago Shakespeare), Death in Venice (Chicago Opera Theatre), HomeBound (Congo Square Theatre/Chicago), Holes (Walden Media/Denver), Smokey Joe’s Café (Playhouse on the Square/Memphis – Nominated for “Best Actor in a Musical” Ostrander Award), A Soldier’s Play, Dreamgirls, Joseph & the Amazing Technicolor Dreamcoat, Anything Goes, Damn Yankees, Dracula, and The Wizard of Oz (Arkansas Repertory Theatre). He holds a BA in Theatre Arts, with Minor studies in Dance, from Henderson State University in Arkansas, and an MFA in Acting from The American Repertory Theater/Moscow Art Theatre-Institute for Advance Theatre Training at Harvard University. More info available at www.delance.net

PAULA PLUM* (Bev/Kathy) SpeakEasy: The Divine Sister, Body Awareness, Reckless, The Savannah Disputation, The History Boys and The New Century. Lyric Stage: 33 Variations, Blithe Spirit, Miss Witherspoon, Three Tall Women; The Goat…or Who is Sylvia?, The Heiress, and Sideman. A founding member of the Actors’ Shakespeare Project, Paula has played Cleopatra in Antony & Cleopatra, Beatrice in Much Ado About Nothing, Margaret in Richard III, and Lady Macbeth. She has appeared in Wit for Lyric West; Faith Healer, Molly Sweeney, Happy Days, and Breath of Life for Gloucester Stage; and No Exit, Ivanov, Mother Courage, and Lysistrata at the American Repertory Theater. She has been honored with three Elliot Norton Awards, four IRNES and, in 2003, was named a Distinguished Alumna of Boston University’s School for the Arts. A recipient of the Fox Actor Fellowship, Paula is currently in the third of a three-year actor residency with SpeakEasy Stage. Her play, What Lips My Lips Have Kissed, will be given a staged reading at SpeakEasy on April 29. She is married to actor Richard Snee.

TIM SPEARS* (Jim/Tom) is excited to be making his SpeakEasy debut. Credits in NYC include A Question of Mercy (Potomac Theatre Project): Realism, JUMP! (The Exchange); Jasper Lake (NY Fringe Festival). Regional: Monster, House, Good, and A Question of Mercy (BCAP); Mister Roberts (New Rep); and In the Mood (Olney Theatre Center). Tim earned his BFA in Acting at BU School of Theatre where he is currently a staff member and a part-time graduate student.

\The Boston Conservatory Dance Ensemble, under the artistic direction of Cathy Young, presents Winter. Dance!, a varied program featuring a wide range of aesthetic and technical approaches, including works by contemporary dance giants. Performances take place Thursday–Saturday, Feb. 21—23 at 8 p.m. and Saturday and Sunday, Feb. 23 and 24 at 2 p.m., at The Boston Conservatory Theater, 31 Hemenway Street, in Boston’s Fenway neighborhood. Tickets are $30 premium seating, $25 general admission, $15 for senior citizens and $10 for all students with valid ID. Tickets are available through The Boston Conservatory Box Office: (617) 912-9222 and www.bostonconservatory.edu/tickets.

Winter. Dance! features Ezekiel’s Wheel by jazz dance choreographer Danny Buraczeski and Light Rain by Gerald Arpino, which was a signature work of the Joffrey Ballet for many years. In addition, the program introduces two new works by West Coast artist Robert Moses (Wake) and faculty member Diane Arvanites (Shadowed).
Artistic Director Cathy Young received her B.A. in sociology and women’s studies from Harvard and her M.F.A. in dance from the University of Illinois. She is nationally recognized as a master teacher and has taught classes at more than 30 colleges around the country, as well as at the Bates Dance Festival, Florida Dance Festival and the International Open Look Festival in St. Petersburg, Russia. As a performer, Young has danced with a number of companies, including Zenon Dance Company and Danny Buraczeski’s Jazzdance! She has also toured extensively throughout the U.S. and Europe, and she has performed in prestigious venues such as the Joyce Theater in New York and Jacob’s Pillow Dance Festival.

About The Boston Conservatory

The Boston Conservatory trains exceptional young performing artists for careers that enrich and transform the human experience. Known for its intimate and supportive multi-disciplinary environment, The Boston Conservatory offers fully accredited graduate and undergraduate programs in music, dance and theater, and presents more than 200 performances each year by students, faculty and guest artists. Since its founding in 1867, The Boston Conservatory has shared its talent and creativity with the city of Boston, the region and the nation, and continues to grow today as a vibrant community of artists and educators. For more information, visit www.bostonconservatory.edu.

To Friend or Not to Friend, That is the Question

People who say that older people, who need people, are the luckiest people in the world are right. I love doing things with people and I can do most things that younger people can do. At 70 plus a lot of months, I teach aerobics and muscle conditioning, I can bound stairs in a single leap, and I can take naps that make infants seethe with jealousy. And yes, I can even mount a dream project that I have been obsessed with for years.

Let me start at the beginning. I have been a life long devotee of Broadway musicals as a musical theatre actor, a director and an adoring audience member. Why, I can see musicals 5 or 6 times without blinking. I just love them and they have no calories. And the actors have to be triple threats. They have to sing, dance and act. Take Hugh Jackman who starred in Oklahoma, The Boy From Oz and now is going to hit the big screen in Les Miz. Amazing!

What I always knew was that this uniquely, quintessentially American art form was created mainly by the Jews. Yes, Irving Berlin, George and Ira Gershwin, Jerome Kern, and the list goes on.

As a former TV host and producer, I knew the impact of telling a story on television, so I decided that I was going to put together a film, a documentary on the Jewish legacy of the musical. I cleverly called it , Broadway Musicals: A Jewish Legacy. I immediately named myself creator and executive producer (because I was the creator and executive producer,) hired the best of the best Michael Kantor as director, producer and writer (he has shelves of Emmys many of which are for his film Broadway: The America Musical and others) and we were off and running.

Fast forward to today, three plus years later. The film is completed and being aired on PBS Tuesday January 1, 2012 at 9:30 PM in most markets. So far so good.

Here’s where my age starts playing out in an all too familiar scene. I heard that people use social media to get their message out. I wasn’t sure what social media was but I thought that it must be Facebook. However, I don’t know how to use Facebook so I hired a PhD candidate and Fulbright scholar to do it for me. I instructed her to cover my immediate universe. She did and here’s the personal letter that I wrote as the header to the press release.

Letter #1
Dear Friends,

The film that I have been working on with Michael Kantor, Al Tapper and Jan Gura for over 3 years is finally finished. I am so excited and would like to share the good news with you.

Best,
Barbara Brilliant

PBS Great Performances
Broadway Musicals: A Jewish Legacy
Narrator Joel Grey
Tuesday, January 1 at 9:30 p.m. (Check local listings)

The next morning as I was getting in the elevator in my apartment building a neighbor said, “Barbara, I was so delighted to get your invitation and do you mind if we bring our son.”

Embarrassed to say no, I said “of course. I’ll see you downstairs in the library on Tuesday. “ Knowing that my other friends in the building would be insulted not to have been invited, I dashed off an e-mail inviting people in the building to come to Dessert, Decaf and Documentary at 9 PM on Jan. 1.

Later that day, my friend Willa called me and said, Barbara, where do you have room to put all of those people? I know that you’re excited about the film but doesn’t your library hold max 50 people?”
“Yes, that’s right, “ I answered innocently.
“Well Newt (her husband) read his e-mail invitation from you today and there are over 200 people coming to your house on the first.”
I panicked. OMG, it is against fire regulations to say the least. Help! What was I to do?

Breathlessly, I called my Fulbright scholar. “ I guess that I shouldn’t have sent it out as an invitation, “ she said. “Not to worry, “ she said. She would come over gratis in the evening and would send the following note.
My husband drove me the 15 miles to pick her up, because we didn’t want her to take the subway at night.

Letter #2
The aim of this invite was to formally announced that my movie project I was working on will be aired on PBS channel on Tuesday, … I apologize for any confusion or misunderstanding if this electronic invite event let some of you to believe that there is an actual party or event at my house. However, I would really appreciate and will be very happy if my friend and family can watch my movie on PBS.

“No, no.” I said. So I rewrote the letter for her.

Letter #3
Dear Friends of Barbara Brilliant,
Since Barbara doesn’t know how to use Facebook, she hired me to tell you about her upcoming film. I mistakenly sent it out as an invitation instead of as a notice. I am so sorry for the confusion. Barbara sends her apologies as well and hopes that you enjoy the film on PBS Tuesday night at 9:30 PM.
Thank you for understanding,
S.G. for Barbara Brilliant

So far so good, however what happened next was that the people in the apartment building also got this letter and thought that they were uninvited so I had to write the following.

Letter #4
Although you may have heard about the Facebook mix up, be assured that you are invited for Dessert, Decaf and a Documentary. Come as you are, pajamas are fine.
Tuesday Jan 1, 2013
9:00 PM Film at 9:30PM
Library

Denying that my age has limitations is like saying that I can play professional baseball even though I am old, have astigmatism and am not athletic. A kid of 8 would have not made this mistake; she would not have had to hire someone to use Facebook. She would have stopped her letter writing at #1.

Anyhow on Tuesday January 1, 2013 at 9-11 PM, I might be having a small intimate gathering to view the film, or an extravaganza of people with not enough food, chairs and fire marshals breaking up the illegal gathering dressed in PJs.

I don’t blame my former Facebook friends to dump me after this debacle. Do you want to go out for dinner? I’ll need some new friends since I’m through friending.

Barbara Brilliant

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Barbara Brilliant is a television producer and host, songwriter, speaker, and AFAA fitness professional.