Interview with Aleshia Brevard: Part 5

Monika: Apart from acting, you directed over 20 theatre plays. How did you find theatre directing?

Aleshia: Directing seemed a natural extension of my years spent touring in dinner theatre. As with most things that occurred in my life, it just sorta happened as a matter of course. The opportunity presented itself and I took it. There had, of course, been courses in directing as part of the curriculum in both undergraduate and graduate school.

Once out in the real world, I gradually began expressing my desire to direct, then negotiating this as part of my contractual acting agreement with several theatres. Nothing ventured; nothing gained. It worked out nicely. I truly love directing, perhaps more than I adore being on stage. Later, when I became a professor of university theatre, the foundation for directing main stage productions was already in place. From time to time, things do just seem to fall naturally into place.

Interview with Aleshia Brevard: Part 4

Monika: Before you started your movie and theatre career you were a female impersonator. How would you define this kind of vocation? Could it be regarded as a piece of art or just another form of entertainment or show business?

Aleshia: As I must always stress, Monika, the only assessments I can make on ANYTHING are based on personal experience. I cannot speak to the experience of others. Nowhere would this be truer than when answering your question concerning female impersonation. There are many people, both straight and gay, who are devotees of impersonation as an art form. My experience ‘backstage’, behind the façade at Finocchio’s in San Francisco, was limited and merely a respite during my gender journey. I was a neophyte, a “new Nanette”. I became a headliner at the prestigious nightclub in the late ’50s and early ‘60s because of how I looked, not because of any professional expertise and/or show business acumen.

Interview with Aleshia Brevard: Part 3

 
Monika: Aleshia, in our previous conversation you stated that your true acting career took place in the theater. How would you compare these two artistic worlds?

Aleshia: Ah, Monika, that is a subject on which I could easily drone on for hours, one on which someone could write a book – and indeed many have. Accomplished actors still argue over whether performance styles must differ markedly between stage and film. I tend to agree with those artists who argue successful acting for film is more self-contained. The film is the more intimate medium. Obviously, on stage, the play’s ideas are projected into a three-dimensional space peopled with actors whose goal is to reach and move the theater audience. This requires a project of both voice and manner. Even with a long run of the play, the actors must speak their lines as though they had just thought of them, the “illusion of the first time.” I would further contribute that theater appeals to feelings first and to intellect second.

Interview with Aleshia Brevard: Part 2

Monika: Today I would like to focus our interview on your movie acting. Your first movie role was Sherry in „The Love God?” (1969). Did you have to go through any auditions to get the role? How did it feel to be an actress for the first time?

Aleshia: Oh, yes, Monika, Universal had seen every tall redhead in Hollywood by the time I auditioned. That, at least, is what I was told by my agent, with whom I’d just signed. I was so new in the business that I didn’t even have headshots – which almost proved my undoing. Some Universal executives feared I might not photograph well on screen but the director, Nat Hiken, fought for me. Bless that man! I was absolutely stunned by my good fortune, loved every single moment of the process, and promptly buckled down on set to learn my craft. It was a glorious experience.

Monika: Sherry was an extremely sexy lady that accompanied the main character played by Don Knotts. How do you recollect your work with him?

Aleshia: I adored Don Knotts. "The Love God", in my estimation, was a testimonial to Don’s comic genius. The film was ahead of its time, no doubt about that, but Don Knotts was perfectly cast as the misguided sex symbol. His improvisations still make me laugh when I see the film.

Interview with Gina Grahame

Monika: Today’s interview will be with Gina Grahame, an American businesswoman, and writer from San Francisco, California. Gina is also a motivational speaker, coach, and creator of how to ‘be authentacious’, educating and people on personal authenticity, overcoming adversity, transgender, and LGBTQ issues. Hello Gina!

Gina: Hello Monika! 
Monika: What are you doing these days?

Gina: I’m a Global Sales Manager for a worldwide media company, specializing in the videogame industry.

Monika: You are involved in one project titled The Association of Transgender Professionals. How is it progressing?

Gina: It’s progressing well though my involvement is actually quite minimal. The group was in need of a corporate identity so I established an online contest whereby interested persons could enter their logo designs and association members would choose a winner. To stay true to the association’s core principle of financial equality, I initiated a cash prize for the winner. The charting of the group's course is in the very capable hands of others.

Interview with Aleshia Brevard: Part 1

Monika: Hello Aleshia! I am very happy that you accepted this interview to be included in my series of “Interviews with Transgender Icons”.
Aleshia: Thank you for asking that I participate, Monika. I blush a bit at being labeled an “Icon”, but hopefully by my age, one has learned to embrace any and all positive comments that come along – while summarily dismissing the negative.
Monika: What are you doing these days?
Alexia: I recently turned seventy-five, hooray-hooray, so thankfully as a rather long-in-tooth retiree my time is pretty much my own. Gone are those bothersome pressures of younger years. Much of my time is now spent writing, having just finished the first novel. It comes on the tail of my two published memoirs and several produced plays. Most importantly, however, I’ve found contentment which I never even dream might be possible when I began my transsexual odyssey in the late 1950s.