A Conversation with Allen Louis, the Musical Force Behind the 2020 Antonyo Awards
Shannon Gaffney
Allen Louis saw Wicked – his first Broadway show - in sixth grade, and immediately became fascinated by the art of telling a story through song. In seventh grade, he made his musical theatre debut as Kelso (yes, they changed the character from “Kelsey”) in a production of High School Musical. He made his sold-out composer-lyricist debut in New York City at the Green Room 42 in November of 2019. Most recently, he made an incredible theatrical contribution as the Composer, Lyricist, Arranger, and Music Director of the 2020 Antonyo Awards, a celebration of black artists in the industry, presented by Broadway Black.
Beginning this journey, Louis was no stranger to the writing process. He began writing for his church choir, and later picked up the storytelling pen in high school. “I know what I want to feel,” Louis says. “I start playing around with melodies and themes in my head. I wouldn’t say I’m ‘lyrics before melody’ or ‘melody before lyrics.’ Sometimes, it’s just a hum, or sometimes it’s a phrase that comes with a melody that I repeat and sing into my voice memos in my phone.”
Although he was beyond prepared for the writing itself, theatre in the wake of COVID-19 still presented new challenges. His work was translated from page to a fully realized production – not in person, but on the internet. Despite the new medium, Louis was not phased. In fact, he describes it as one of the most rewarding aspects of the project. “Seeing how far we could push the limit when it came to virtual creating [was the best part],” he says. “In the beginning, I was like ‘how the hell are we gonna do this?’ First of all, the team was absolutely amazing. They were the best, most organized, most creative people ever, and so it was really a fun process working through Zoom.”
Louis reflects that the content of the opening number was discussed in very early meetings of the project. Its goal was simple: empowerment. “Collectively, what we wanted people to feel … Obviously, we didn’t touch base on everything, but we wanted to highlight a few issues that we, as black artists, face in the industry,” says Louis. “We also didn’t want to eternize it. We wanted to empower our black artists, and we wanted them to know that although this is where we come from, here’s where we’re headed. We’re headed to a place where theatre is inclusive, and where we can unapologetically be . . . [We wanted to] let them know that they are seen, that they are heard, and that they have something to offer to this world with their art. “
A lot of work is yet to be done to create an anti-racist theatre community. The Antonyo Awards inspire a call to action for white artists to recognize their privilege, and make a consistent effort to give space, respect, and recognition to black artists and their voices. Louis emphasizes that “the learning” is the key to progress. “There’s a lot that white people just haven’t stopped to think about sometimes and haven’t stopped to acknowledge,” he explains. “I have a lot of white friends that, although our relationships have been so close, there’s a lot of things that they haven’t considered about the life and the experiences of a black person in this industry . . . [Stop] to take note of [the] privileges white people have in this industry to really differentiate . . .What is the difference between us? What do I get that they don’t get? What am I not mindful of, that they have to always be mindful of? What can I do and get away with, that they can’t do? . . . There’s a lot of learning that can be done for a white person to really see the journey of a black artist, and the struggle, and really, how hard it is.”
Most of all, he does not want us to stop talking about systemic racism or accept ignorance. “I really think the conversations are important,” he stresses. “White people learning about white privilege and white fragility . . . and doing the work to try to dismantle this idea in their minds, subconsciously even. . . [C]ontinue having these conversations – the uncomfortable conversations that make us really see like, ‘Wow, all this time, I didn’t know this was the privilege that I was afforded, when other people in the same company as me . . . were not.’”
When asked about advice that he would give to aspiring artists, Louis laughs. “Ugh,” he says. “The answers to this would be so cliché, if I were to give them, but they could not be more true.” His first tip is simple: be true to yourself. “I think comparison really kills us as artists,” Louis says. “When we try to match people in their talent, to their journey, to their presence, whether on social media or in the industry . . . Yes, it’s said all the time, but you really can only be you, because we were all created with gifts and talents that are unique to us.”
His second tip for success is also vital: take risks. “You can’t play it safe all the time,” says Louis. “Sometimes, [art] requires you to really get out of your comfort zone to really see what you are capable of. . . I feel like we only tap into half of our potential as humans. The other half is always lost in fear, and we’re scared to tap into the other half, because that would require us to jump out of our comfort zones, and we don’t wanna do that.”
Not only does Louis urge young artists to take risks within their medium – but also to pick up a pen without fear. “We are all capable of creating,” says Louis. “Who knows what we’ll create? I really feel like sometimes I speak to people and be like, ‘You write?” And they’re just like, ‘No, I’m just a performer.’ And I just say, you know, “I think you have something to say.” I think we all have something to say.”
Finally, Louis reminds young artists to continue taking care of their minds and bodies. “Drink water!” he says. “Take care of yourself. Taking care of ourselves, really taking care of our physical and mental health is so important, because without [that], we could not be good artists.”
Louis has a lot of exciting endeavors in store – including an original musical, that is currently in the works. “I’ve always believed that art has the power to change, to influence, to impact,” says Louis. “It has the power to heal. . . I hope to be one of the black writers that changes the face of the American theatre. Through my work, I hope to help with the change as far as black musicals and plays go, providing more opportunities for black performers in the musical theatre industry to be seen. I hope to write for them . . . I hope to change the world with my art.”