by Ron Fassler . . .
- Do you recall the first time Billy Strayhorn was introduced to you by way of his music or life story?
I certainly do. I had the great fortune of being born into a musical family steeped in all kinds of music, but particularly in great part- jazz. My father Eddie de Haas was a jazz bassist- your quintessential jazz sideman (and whose contemporaries included the great bassist, Ray Brown) who played with some of the best in the business- Chet Baker, Gene Krupa, Dizzy Gillespie, Miles Davis, Roy Haynes, Blossom Dearie- among many others- so I was exposed to the music from Strayhorn on that end. In the late 50’s and early 60’s My mother, Geraldine (Bey) de Haas sang with her sister, my aunt Salome Bey and my uncle Andy Bey as a trio called Andy and The Bey Sisters. They toured in the states and all over Europe and shared bills with such musical greats as Cab Calloway, Sister Rosetta Tharpe, and Sam Cooke. They also got to be acquainted with Lena Horne and were invited to her and Lennie Hayton’s wonderful party gatherings where they also made the acquaintance of Billy Strayhorn. Years later, after I was born in Chicago, my mother produced in downtown Chicago an annual tribute to Duke Ellington- beginning in the year of his death 1974 and running through 1978. These tributes eventually became what is now The Chicago Jazz Festival. So I was exposed to and knew of Billy Strayhorn and his music since I was a little boy. Years later, I had the opportunity to do concerts for Lincoln Center’s American Songbook Series and, having been buoyed by reading David Hajdu’s wonderful biography of Mr. Strayhorn, “Lush Life”, I decided to do concerts of all Billy Strayhorn music. I immersed myself in his music, his life, his work. And received a lot of help from many wonderful people who either knew of him or knew him personally- including the great Luther Henderson (best known probably as the Musical Arranger/orchestrator for “Ain’t Misbehavin“). Doing the Strayhorn concerts, in many ways, launched the concert performance aspect of my career.
2. In the mix of his offstage life and onstage musicianship, what is it about Strayhorn that speaks to 2023 and makes his story worth telling?
Billy Strayhorn was a genius, black, gay, queer man who wrote one of the most popular standards of the 20th Century- “Take The A Train.” The fact that most people still don’t know that is in my view unacceptable. He wrote one of the greatest standards ever, “Lush Life” at age 16. He lived his life openly which for that time (the 1930’s up to his death in 1967) was basically unheard of in any broad sort of way- though there were many queer, gay, trans, bisexual, lesbian artists always in this time and throughout our history -and the fact that he navigated this working with arguably one of the greatest orchestras America has produced, the Duke Ellington Orchestra, is a feat in itself. The music industry was (and still can be) horribly homophobic, so I can only imagine the hits he took with being out. That said, the band overall loved and deeply respected him as did everyone seemingly in his orbit. As is said often now, representation matters, and Billy Strayhorn has, unwittingly or not, as gay black artists, been our northstar. And beyond whatever labels, he stands with the great American composers of the Great American Songbook as one of the best. And still, most people don’t know who he is. That’s why this show is important NOW. And we are in a time in this country where there are many people who would rather bury or ignore or stay ignorant of our rich, complex history. Billy Strayhorn’s story is a story for our times- particularly now when black queer lives are still being attacked, brutalized, mischaracterized and killed. There are great lessons to be gleaned from finally bringing him out of the shadows and placing him centerstage, illuminating his humanity and giving him all the flowers he deserves. And I feel audiences and, I’m hoping young people, will hear and see and hopefully identify and carry him into the next century and beyond.
3. Being Black is a huge part of Strayhorn’s story, as is his being a gay man during a time it was a considerable liability in the jazz world. In what ways do either of these elements, or both, speak to you personally?
Look at the answer to the previous question LOL!!!!
The fact of Billy Strayhorn speaks to me deeply. I am a black, gay man. If not for Billy Strayhorn and other black performers, many of whom are gay- I wouldn’t be here. Period. I have made decisions about how I would navigate in my career as an out gay man and I’m sure that affected possible opportunities I could have had as an actor or singer/recording artist. But I made the decision early on that I would not suppress that part of myself for anyone. And also show I can do what needs to be done as an actor/ singer/ human being. Again, in this country, we need to get past the fear and change the societal systemic construct that dictates that if you are queer, if you are black, if you are whatever – that you- in the fullness of who you are- are not a valued viable member of society — unless you make us money. And even then- you still walk that tightrope of possible great success or being dropped unceremoniously.
4. What are some of your feelings about how Strayhorn’s career was tamped down by prejudice and how if he had come up during our current and more enlightened climate towards race and sexuality he might have thrived in unimaginable ways?
I think that Billy Strayhorn’s prodigious talent could not be denied in the time he was living, working, arranging and composing. He was extremely productive and I think driven by the love of music and what he knew his genius could produce. And Duke Ellington and many others knew that. That said, it was the tenor of those times that one took what they wanted that would be deemed “acceptable” and brush all that other stuff (being gay, too artsy,etc- and Strayhorn being credited) under the rug. I think it’s better now and I think Strayhorn would thrive- I look at Charles Blow/Terence Blanchard’s brilliant “Fire Shut Up In My Bones” that the MET did- and think, wow, what would Strayhorn have done with THAT. And I reiterate- in a spiritual sort of way, we would not have a piece like “Fire Shut Up In My Bones” without someone like Billy Strayhorn who pushed the boundaries of classical interpolation into jazz composition. We still have a long way to go though.
5. How were you brought into the project? Tell us more about Matthew Whitaker and Billy Porter being involved.
I was aware of the project way before I was ever involved. I am friends with Alyce Claerbaut who is Billy Strayhorn’s niece and manages his estate and she made me aware that the brilliant Kent Gash -who is long overdue for wider recognition- was directing the piece. I knew of the amazing genius of Matthew Whitaker- wait until you hear him!- from a profile I had seen on the news a couple of years ago and saw he was signed on as Musical director/arranger and thought- wow- that’s gonna be FANTASTIC. But still didn’t think I was going to be part of it LOL. Then I had seen a small item that my friend Billy Porter was coming on as producer and I was so proud to see that he again is shining light on a Black queer American genius like Billy Strayhorn. But again- didn’t see myself being part of it LOL! Then I was called in by the creative team of the show- and the timing was good as I was up for something else I didn’t get and was sad about it. I don’t know- my love for the music and for Rob Zellers and Kent Gash’s fantastic script poured through and now I’m playing probably the greatest role I’ll ever have in my acting career.
6. Bringing a Black historical figure such as Strayhorn back to life is important for audiences who may not have ever heard of him. As a founding member of Black Theatre United, how does Billy Strayhorn’s story fit in with the goals of that organization?
Thanks for asking this. Our mission at Black Theater United (of which Billy Porter is also a founding member along with myself) is to break down the walls of these systemic constructs that permeate throughout our industry that historically repeats the cycle of racism, sexism, etc. over and over. We want to be able to pass on to young people coming up in this business and beyond a more inclusive, knowledgeable, safe, well-rounded industry where we can TELL ALL OF OUR STORIES and have seats at the table all around (creating, producing, etc.). The story of Billy Strayhorn, the mere fact of him in the time of history he was alive is crucial for all of us, particularly young people, to see that we as American, black, queer human beings have not only been here but are part of the building of what has made this society, be it in the arts or whatever all the beautiful things it is and the POSSIBILITY of what it could become. Billy Strayhorn was ahead of his time in a lot of ways. We need to catch up. “Billy Strayhorn: Something To Live For” shows us that.
7. Why is it appropriate that this musical is premiering at the Pittsburgh Public Theater in Strayhorn’s hometown?
Billy Strayhorn was raised in Pittsburgh from 5 years old and was there until he moved to New York to work with Duke Ellington. It’s in Pittsburgh where he basically created the roadmap and dreamed and pursued his passions against horribly unimaginable odds. I think the Pittsburgh Public Theater has made it its mission to illuminate the stories and humanity of many public figures over the years and when you have one who is basically a native son, who gave the world so much, I think it is a great source of pride and positivity that you are recognizing your own. And Pittsburgh has such a rich cultural heritage of artists (Mary Lou Williams, August Wilson, Andy Warhol)- I hope and pray audiences are excited to say I saw “Billy Strayhorn: Something To Live For” at the Pittsburgh Public Theater at the very beginning of its amazingly extraordinary journey.
The upcoming world premiere jazz musical BILLY STRAYHORN: SOMETHING TO LIVE FOR, on stage September 19 to October 8 at the O’Reilly Theater in Downtown Pittsburgh. The cast features Broadway star and “The Marvelous Mrs. Maisel” regular Darius de Haas as Billy Strayhorn, along with J.D. Mollison of Broadway’s Les Miserables as the incomparable Duke Ellington featuring a 9 piece jazz band. Tickets are on sale now at PPT.org/STRAYHORN or by calling the Box Office at 412.316.1600.
Photo: Michael Kushner
