Before Amelia Earhart, there was Bessie Coleman — the first Black aviatrix who took her race from the cotton fields to the clouds.
There aren’t a lot of options for a Black girl in rural Waxahachie Texas in 1917. Dissatisfied with the choice between picking cotton and laundering cotton, Bessie decides to travel to Chicago to join her older brothers, Johnny, a dissolute World War One veteran, and Walter (a pullman porter whose holier-than-thou wife Willie is at odds with Bessie’s ambitions) and her cherished nephew, Arthur. Although Bessie soon becomes a successful manicurist and leads a more “stylish” life than in Texas, she’s still unsatisfied – until Johnny inspires her with a story of seeing a woman flyer in Paris.
Bessie is seized by the image and passionately pursues her new dream. She struggles to break into a sky primarily populated by white men and is repeatedly rejected. Undaunted (and with the help of the Chicago Defender, a nationally respected Black newspaper), she pursues her quest in France, where race and gender barriers don’t exist.
Upon returning to America, Bessie has to negotiate fame and the never-ending plight of raising funds to fly, which Johnny dismisses as being “a flying sharecropper.” Seizing an opportunity to make money starring in a movie, “Negroes in the Air,” Bessie is dismayed to discover it’s a slapdash, stereotypical effort and walks off the set, losing the invaluable support of the Chicago Defender. After her brother Johnny reminds her that her dream is greater than herself, Bessie becomes determined to encourage women and people of color to fly so they can experience the freedom she’s found in the sky.
To raise funds for her flying school, Bessie travels around the country performing breathtaking aerial shows as a “barnstormer.” While her plans seem to end with her tragic death in a flying accident, her nephew Arthur goes on to become a World War II flyer with the Tuskegee Airmen, thus enabling Bessie to posthumously fulfill her dream.
Song Samples
About the Writer
Cheryl has received three Writers’ Guild Awards for her work on the daytime dramatic serials As the World Turns and Days of Our Lives, and has recently been nominated for another Writers Guild Award for Days. She was also nominated for a Daytime Emmy Award for Days, as well as for As the World Turns). She writes for Law & Order: SVU on a freelance basis, and her episode “Garland’s Baptism by Fire” is available on Peacock On Demand. Her short play Now I Lay Me Down to Sleep streamed as part of #WhileWeBreathe and received a write-up in the New York Times.
Cheryl received the Ed Kleban Award for her work as a musical theater librettist, and her musical BARNSTORMER, written with award-winning composer Douglas J. Cohen, received a Jonathan Larson Performing Arts Foundation Award under the auspices of the Lark Play Development Center. Her play MAID’S DOOR was produced at the Billie Holiday Theatre, received seven Audelco Awards, and was presented at the 2015 and 2017 National Black Theatre Festivals, and was published in Holy Ground: The National Black Theatre Festival Anthology. Her musical BRIDGES was commissioned and produced by the Berkeley Playhouse and received great reviews, including from the San Francisco Examiner; it was a finalist for the 2018 Richard Rodgers Award. DON’T STAY SAFE, the short film musical based on BRIDGES, was nominated for a Drama Desk Award and screened and won awards in several film festivals. She is the co-librettist for a new version of Scott Joplin’s opera TREEMONISHA, received its world premiere in Toronto in June 2023 to great reviews (including a writeup in the New York Times as a Best Classical Music Performance of 2023); it was recently nominated for 11 Dora Mavor Moore Awards in the Opera Category.
Cheryl’s play about the desegregation of the nation’s school system, THE COLOR OF JUSTICE, which was commissioned by Theatreworks/USA, received excellent reviews in the New York Times and Daily News, and toured for a number of years. Her play WINNIE THE POOH KIDS was commissioned and is currently licensed by the Disney Theatrical Group. Her play COVER GIRLS, which is an adaptation of the Bishop T. D. Jakes novel, was produced and toured by ClearChannel Entertainment. She has written commissions for the Ensemble Studio Theatre/Alfred P. Sloan Foundation Science and Technology Project, the Red Mountain Theatre Company (MANDELA and THE MLK PROJECT), and the Birmingham Children’s Theatre (TUXEDO JUNCTION, about Alabama Jazz musician Erskine Hawkins).
Cheryl is a librettist and lyricist and is an alumna of the Advanced Workshop of the BMI/Lehman Engel Musical Theatre Workshop. She has a degree in English and a Certificate in Theatre and Dance from Princeton University and has studied playwriting with Jean-Claude Van Itallie and Jeffrey Sweet. She is a former Dramatists Guild Fellow, having been mentored by playwright/librettist Alfred Uhry. She is a member of the Dramatists Guild and a Board member of the Dramatists Legal Defense Fund.
She received her J.D. from Columbia University School of Law and her M.S.J. from the Columbia University School of Journalism. She is a practicing attorney in Manhattan and is the General Counsel for the Authors Guild.
http://www.cldplay.com/
About the Writer
Douglas J. Cohen is the recipient of two Richard Rodgers Awards (book, music, and lyrics for NO WAY TO TREAT A LADY, THE GIG), a Jonathan Larson Grant (composer of BARNSTORMER with lyricist/librettist Cheryl L. Davis under the auspices of the Lark Play Development Center), a Drama Desk nomination for Outstanding Lyrics (CHILDREN’S LETTERS TO GOD), a Drama League nomination (DON’T STAY SAFE co-written with Cheryl L. Davis), and the Fred Ebb Award for his body of work.
Doug’s musicals have been produced Off-Broadway at the Manhattan Theatre Club (THE GIG), The York Theatre Company (NO WAY TO TREAT A LADY), The Cell Theatre (THE EVOLUTION OF MANN), Theater Row (THE BIG TIME, NYMF Festival), TheaterWorks USA and Urban Stages (A CHARLES DICKENS CHRISTMAS), and Manhattan School of Music (VALENTINO’S TANGO).
Regional productions include the Williamstown Theater Festival and Magic Theater (THE OPPOSITE OF SEX), Signature Theater (NO WAY TO TREAT A LADY), Dallas Lyric Stage (CHILDREN’S LETTERS TO GOD, world premiere), Barrington Stage (NO WAY TO TREAT A LADY), Goodspeed Opera House (THE GIG and GLIMMERGLASS), and the Berkeley Playhouse (BRIDGES, commissioned with librettist/lyricist Cheryl L. Davis and a Finalist for the Richard Rodgers Award). Doug is a three-time Festival writer in the National Alliance of Musical Theatre Festival of New Musicals (THE GIG, GLIMMERGLASS, and BARNSTORMER.)
The album to his musical THE BIG TIME (with a libretto by five-time Tony nominee Douglas Carter Beane) was recently released by Concord Records starring Santino Fontana, Debbie Gravitte, Will Swenson, and Jackie Hoffman and other members of the sold-out McCarter Theatre concert in January 2020.
Doug’s recent book, HOW TO SURVIVE A KILLER MUSICAL: AGONY AND ECSTASY ON THE ROAD TO BROADWAY, was published by Applause Books (2023) and is a starred review in the Library Journal: “A treat for anyone interested in theater.”
Doug is a proud member of the Dramatists Guild, ASCAP, and the Advanced BMI Lehman Engel Musical Theatre Workshop. He taught Song Interpretation for eight years at the Neighborhood Playhouse and three summers at Jacob’s Pillow. He is represented by Barbara Hogenson of the Barbara Hogenson Agency.
douglasjcohen.com