1
00:00:01,033 --> 00:00:02,700
>> I guess I can stab, and then 
say the line,

2
00:00:02,700 --> 00:00:04,866
because I guess it will be 
more audible

3
00:00:04,866 --> 00:00:06,700
>>Okay, Yeah, makes sense.

4
00:00:06,700 --> 00:00:08,366
All right. Seventy-Five please. 
>>All right.

5
00:00:08,366 --> 00:00:11,033
>>This is what I need to do, 
this is my calling.

6
00:00:11,033 --> 00:00:13,733
I need to make sure

7
00:00:13,733 --> 00:00:17,533
that more people, not only 
go to see black theater

8
00:00:17,533 --> 00:00:21,533
and support it, but understand 
why it's important.

9
00:00:21,533 --> 00:00:24,100
And I want every black actor

10
00:00:24,100 --> 00:00:26,100
to have the experience

11
00:00:26,100 --> 00:00:31,033
of doing a show with a 
completely black cast.

12
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>>Having the opportunity 
to work with her professionally

13
00:00:33,366 --> 00:00:35,466
here at CPG has been 
life changing for me,

14
00:00:35,466 --> 00:00:37,033
because she's given me 
opportunities a lot of people

15
00:00:37,033 --> 00:00:38,366
in this town haven't given me.

16
00:00:38,366 --> 00:00:40,200
I mean, she calls me up, she's 
like, "Hey, do you want

17
00:00:40,200 --> 00:00:42,366
to direct this show next year? 
Hey, I'm trying to do an acting

18
00:00:42,366 --> 00:00:44,366
workshop. do you want to come 
and work with me here?"

19
00:00:44,366 --> 00:00:47,533
Always providing opportunities 
for black people in the city

20
00:00:47,533 --> 00:00:49,700
to do what they love and 
do what they do best.

21
00:00:49,700 --> 00:00:53,533
Leslie, standby, we're going to 
do the choke hold after that.

22
00:00:53,533 --> 00:00:56,866
If you're a live theater fan, 
a local music lover,

23
00:00:56,866 --> 00:00:59,200
a reader, or a radio listener,

24
00:00:59,200 --> 00:01:03,033
there is a good chance you've 
seen or heard today's guest.

25
00:01:03,033 --> 00:01:07,366
Join us as we catch up with 
the ever busy, multi talented,

26
00:01:07,366 --> 00:01:11,033
Leslie M. Scott-Jones. 
Come on.

27
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>>Leslie, everywhere I go 
in Charlottesville,

28
00:01:13,533 --> 00:01:15,533
there you are. 
>>[Laughs]

29
00:01:15,533 --> 00:01:19,200
>>So tell us, how did you 
get involved in theater and

30
00:01:19,200 --> 00:01:21,033
the arts, what inspired you?

31
00:01:21,033 --> 00:01:28,533
>> I started literally writing 
my own, kind of

32
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I guess adventure novels 
you could call them,

33
00:01:31,700 --> 00:01:33,200
when I was like seven or eight.

34
00:01:33,200 --> 00:01:36,033
So, all of my Barbies were 
international spies and their

35
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husbands had absolutely 
no idea what they were doing,

36
00:01:39,033 --> 00:01:40,533
>>[Laughs] 
>>And they wen all around

37
00:01:40,533 --> 00:01:42,033
the world saving the world

38
00:01:42,033 --> 00:01:45,200
from bad guys, nuclear weapons, 
the whole deal.

39
00:01:45,200 --> 00:01:48,700
That's how it started. 
>>So it started on your own.

40
00:01:48,700 --> 00:01:51,533
And then your mother and father 
had a little influence too?

41
00:01:51,533 --> 00:01:57,533
Yes. And then, so my dad is

42
00:01:57,533 --> 00:02:02,533
one of those... he's big 
and burly and a man's man.

43
00:02:02,533 --> 00:02:05,533
His hobby was redoing old cars.

44
00:02:05,533 --> 00:02:07,033
So if I wanted to spend time 
with my dad

45
00:02:07,033 --> 00:02:08,366
it had to be in a garage.

46
00:02:08,366 --> 00:02:12,533
The only other thing that he and 
I really connected on was music,

47
00:02:12,533 --> 00:02:16,866
and every Saturday morning 
he would put on blues.

48
00:02:16,866 --> 00:02:20,433
So I grew up listening to 
BB King and James Brown

49
00:02:20,433 --> 00:02:24,200
and Bobby Blue Bland 
and all of those guys.

50
00:02:24,200 --> 00:02:27,533
And then my mom 
did the more like bougie,

51
00:02:27,533 --> 00:02:30,033
more cultural side of things.

52
00:02:30,033 --> 00:02:33,533
So, she would take me 
to the Kennedy Center,

53
00:02:33,533 --> 00:02:36,200
and to Ford's Theater, 
so I got to see

54
00:02:36,200 --> 00:02:40,533
Avery Brooks do his one man 
Paul Robeson show.

55
00:02:40,533 --> 00:02:44,533
I got to see the original cast 
of Ain't Misbehavin'

56
00:02:44,533 --> 00:02:48,533
at Ford's Theater, Meryl Streep 
doing Merry Wives of Windsor and

57
00:02:48,533 --> 00:02:49,866
>>Oh my goodness. 
You caught the bug, right?

58
00:02:49,866 --> 00:02:50,533
You knew it.

59
00:02:50,533 --> 00:02:51,033
>>Oh, yeah.

60
00:02:51,633 --> 00:02:53,866
>>Well, and you set off 
into the world and to school,

61
00:02:53,866 --> 00:02:56,866
and you're studying theater 
and theater education,

62
00:02:56,866 --> 00:02:58,866
and eventually you 
have a family,

63
00:02:58,866 --> 00:03:01,866
and so you focus on your 
two beautiful kids.

64
00:03:01,866 --> 00:03:02,533
>>Yes.

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00:03:02,666 --> 00:03:04,366
>>Tell us how you 
got back into it.

66
00:03:04,366 --> 00:03:07,533
>>We had moved from Culpepper 
back to Charlottesville,

67
00:03:07,533 --> 00:03:11,533
and I see a posting for

68
00:03:11,533 --> 00:03:14,700
African American actors 
for Othello.

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00:03:14,700 --> 00:03:17,033
>>Five minutes to places please.

70
00:03:17,033 --> 00:03:21,200
>> So I go, I audition, 
not expecting to get anything,

71
00:03:21,200 --> 00:03:24,200
because it'd literally been 15 
years since I'd been on a stage.

72
00:03:24,200 --> 00:03:27,566
But I go, I audition, 
and I get Emilia,

73
00:03:27,566 --> 00:03:28,366
>>Yeah

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00:03:28,366 --> 00:03:29,566
>>which was amazing.

75
00:03:29,566 --> 00:03:31,866
>> And you haven't really 
stopped since then.

76
00:03:31,866 --> 00:03:32,866
>> No.

77
00:03:32,866 --> 00:03:34,200
>> You have not stopped 
since then.

78
00:03:34,200 --> 00:03:35,200
>>I really haven't.

79
00:03:35,200 --> 00:03:37,266
>>Let's talk ... you act, 
>>Yes.

80
00:03:37,266 --> 00:03:40,566
>>you're also, you direct, 
you produce,

81
00:03:40,566 --> 00:03:43,266
you adapt scripts. 
So let's

82
00:03:43,266 --> 00:03:47,833
Talk about some of 
your favorite projects

83
00:03:47,833 --> 00:03:49,366
over this past decade.

84
00:03:49,366 --> 00:03:52,200
>> I guess my favorite 
is still Jitney.

85
00:03:52,200 --> 00:03:55,366
>>Okay, so this is part of the 
August Wilson series?

86
00:03:55,366 --> 00:03:56,033
>>Yes.

87
00:03:56,233 --> 00:03:57,700
>>Right, so let's maybe 
back up and

88
00:03:57,700 --> 00:03:59,033
>>With the Charlottesville 
Players Guild

89
00:03:59,033 --> 00:04:03,133
>> And let's explain that. 
So you started with Fences.

90
00:04:03,133 --> 00:04:07,033
>> Yeah, Andrea Douglas, 
Dr. Douglas came to me and said,

91
00:04:07,033 --> 00:04:09,033
"I'm not a theater person,

92
00:04:09,033 --> 00:04:12,366
but I want to produce

93
00:04:12,366 --> 00:04:14,266
the entire Century Cycle,"

94
00:04:14,266 --> 00:04:17,500
because part of the 
mission of the center is to

95
00:04:17,500 --> 00:04:19,633
tell the black history 
of the 20th century,

96
00:04:19,633 --> 00:04:21,033
specifically of the 
20th century.

97
00:04:21,033 --> 00:04:23,600
And that's what the 
Century Cycle is,

98
00:04:23,600 --> 00:04:25,700
it's a picture of life for

99
00:04:25,700 --> 00:04:28,033
black people in every decade.

100
00:04:28,033 --> 00:04:29,700
Well, I'm worried about 
what you talking about.

101
00:04:29,700 --> 00:04:31,366
Bono, you going to stay 
for supper?

102
00:04:31,366 --> 00:04:33,666
No thank you, Rose. 
Lucile said she going to be

103
00:04:33,666 --> 00:04:36,133
cooking up some 
[inaudible]

104
00:04:36,133 --> 00:04:37,933
[Inaudible] I might be 
going home with you,

105
00:04:37,933 --> 00:04:40,033
might even stay the night 
if you [inaudible]

106
00:04:40,033 --> 00:04:42,033
>> And then the second 
in the series, Jitney,

107
00:04:42,033 --> 00:04:43,533
now that was one 
of your favorites.

108
00:04:43,533 --> 00:04:45,233
>>Yes. So Jitney is set

109
00:04:45,233 --> 00:04:47,100
in the Hill District 
of Pittsburgh,

110
00:04:47,100 --> 00:04:50,033
right at the point of 
another round of gentrification.

111
00:04:50,033 --> 00:04:53,433
It's centered around 
a cab company.

112
00:04:53,433 --> 00:04:57,366
they discover pretty early in 
the play that it's going to be

113
00:04:57,366 --> 00:05:00,400
taken over by eminent domain 
and torn down.

114
00:05:00,400 --> 00:05:03,766
so they have to decide whether 
or not they're going to fight

115
00:05:03,766 --> 00:05:06,633
to keep their business and 
their livelihood.

116
00:05:06,633 --> 00:05:10,233
And a week and a half 
before we open,

117
00:05:10,233 --> 00:05:12,133
August 11th and 12th happens,

118
00:05:12,133 --> 00:05:13,233
>> 
Right.

119
00:05:13,233 --> 00:05:14,933
and every single member

120
00:05:14,933 --> 00:05:17,500
of my cast and crew, including me,

121
00:05:17,500 --> 00:05:20,333
were on the streets that day.

122
00:05:20,333 --> 00:05:24,066
So that one's always going 
to be closest to me.

123
00:05:24,066 --> 00:05:28,533
It wasn't just telling a 
black story anymore.

124
00:05:28,533 --> 00:05:33,933
It really brought it home to 
everybody on that stage that

125
00:05:33,933 --> 00:05:36,633
through telling this story

126
00:05:36,633 --> 00:05:40,066
we 
are proving our humanity.

127
00:05:40,066 --> 00:05:42,600
>>Leslie is a great component, 
and a great activist

128
00:05:42,600 --> 00:05:44,133
for Jefferson School,

129
00:05:44,133 --> 00:05:45,100
no 
t just Charlottesville 
Players Guild

130
00:05:45,300 --> 00:05:47,500
and saying, "Look, we've 
got stories we need to tell.

131
00:05:47,500 --> 00:05:48,466
And it's our job to tell them,

132
00:05:48,466 --> 00:05:50,033
because no one else 
is going to do it.

133
00:05:50,033 --> 00:05:52,333
>>People of color, 
marginalized people

134
00:05:52,333 --> 00:05:55,033
she is willing to 
uplift those people

135
00:05:55,033 --> 00:05:56,900
in the space of theater,

136
00:05:56,900 --> 00:05:59,500
and making theater more 
equitable for the people

137
00:05:59,500 --> 00:06:00,500
of Charlottesville.

138
00:06:00,500 --> 00:06:02,500
>>All right, now talk 
about BlackMac.

139
00:06:02,500 --> 00:06:05,266
Yes. So BlackMac came out

140
00:06:05,266 --> 00:06:07,900
of a conversation one night,

141
00:06:07,900 --> 00:06:09,266
And Ti turns to me and says,

142
00:06:09,266 --> 00:06:11,866
"So what's the next show?"

143
00:06:11,866 --> 00:06:13,100
I said, "I don't know."

144
00:06:13,100 --> 00:06:14,266
And Richelle says,

145
00:06:14,266 --> 00:06:16,733
"Oh, we should do Macbeth."

146
00:06:16,733 --> 00:06:19,300
And T says, "Oh yeah,

147
00:06:19,300 --> 00:06:21,100
and I should direct it."

148
00:06:21,100 --> 00:06:23,466
And I was like, "Oh yeah, 
that'd be a good idea."

149
00:06:23,466 --> 00:06:25,533
And Richelle goes, "And I'll 
play Lady Macbeth."

150
00:06:25,533 --> 00:06:27,033
I was like, "Done."

151
00:06:27,033 --> 00:06:28,533
It was really amazing.

152
00:06:28,533 --> 00:06:32,333
And I love the way she 
adapted the script

153
00:06:32,333 --> 00:06:36,300
to really encompass 
the African diaspora,

154
00:06:36,300 --> 00:06:39,933
and really bring that 
as a layer on to the

155
00:06:39,933 --> 00:06:41,733
Shakespearian language.

156
00:06:41,733 --> 00:06:45,400
You know, Ooh, he's so extra.

157
00:06:45,400 --> 00:06:47,200
>>[laughs] Oh that's great.

158
00:06:47,200 --> 00:06:48,000
>>Completely fit in Shakespeare.

159
00:06:48,166 --> 00:06:50,033
>>Oh, that's great. Okay, 
talk about Hambone.

160
00:06:50,033 --> 00:06:52,633
>>So yeah, we wanted to do 
it was like, okay, so we did

161
00:06:52,633 --> 00:06:57,533
this kind of other wordly kind 
of thing with Shakespeare.

162
00:06:57,533 --> 00:07:00,133
Let's bring it a little 
closer to home and do like a

163
00:07:00,133 --> 00:07:01,933
black family drama,

164
00:07:01,933 --> 00:07:04,500
grieving what happened and 
trying to figure out a way

165
00:07:04,500 --> 00:07:06,533
to move forward.

166
00:07:06,533 --> 00:07:09,233
>> Here, Othello, 
take my napkin, wipe thy face.

167
00:07:09,233 --> 00:07:12,433
The queen carouses to 
Hambone's fortunes.

168
00:07:12,433 --> 00:07:14,466
>> Gertrude, do not drink.

169
00:07:14,466 --> 00:07:17,966
>> I pray you'll pardon me, 
my lord. I will.

170
00:07:17,966 --> 00:07:21,066
>> It is the poisoned cup. 
It is too late.

171
00:07:21,066 --> 00:07:24,033
>> Come let me wipe thy face.

172
00:07:24,033 --> 00:07:26,166
>> I think the role that Leslie 
plays in our community

173
00:07:26,166 --> 00:07:31,366
is bringing a lot of artists 
and people out of their shells

174
00:07:31,366 --> 00:07:32,933
and trying different things.

175
00:07:32,933 --> 00:07:35,433
I know she did that with me 
and I love it.

176
00:07:35,433 --> 00:07:39,700
[fight scene] 
...they are incensed.

177
00:07:39,700 --> 00:07:43,500
[inaudible]

178
00:07:43,500 --> 00:07:45,566
>>All right, and hold.

179
00:07:45,566 --> 00:07:48,600
>>Music. You know, music 
is a big thing to you.

180
00:07:48,600 --> 00:07:49,300
>>Yes.

181
00:07:49,733 --> 00:07:51,433
>>And you and your buddy, 
Richelle Claiborne, who is

182
00:07:51,433 --> 00:07:52,700
an amazing musician,

183
00:07:52,700 --> 00:07:53,666
>>Oh, my God.

184
00:07:53,666 --> 00:07:57,000
>>You've partnered on... 
you were involved in an

185
00:07:57,000 --> 00:07:58,600
Aretha Franklin tribute-

186
00:07:58,600 --> 00:08:00,433
>>Yeah, that we did in 
Pennsylvania.

187
00:08:00,433 --> 00:08:02,000
>>And another tribute...

188
00:08:02,000 --> 00:08:03,600
>>A Nina Simone tribute.

189
00:08:03,600 --> 00:08:04,600
>>Oh, Nina Simone.

190
00:08:04,600 --> 00:08:05,333
>>Yeah.

191
00:08:05,333 --> 00:08:06,600
>>Yeah.

192
00:08:06,600 --> 00:08:09,933
Yeah. And once again, 
that's something I kind

193
00:08:09,933 --> 00:08:12,033
of got pushed back into.

194
00:08:12,033 --> 00:08:15,433
I'm a Southern woman, 
of course I grew up

195
00:08:15,433 --> 00:08:17,033
singing in the choir, 
of course.

196
00:08:17,033 --> 00:08:18,600
but I hadn't sung in public

197
00:08:18,600 --> 00:08:20,166
for a really long time.

198
00:08:20,166 --> 00:08:23,400
And then I met this wonderful 
man who's a musician

199
00:08:23,400 --> 00:08:24,866
and a composer 
and he goes,

200
00:08:24,866 --> 00:08:26,700
"You need to sing again."

201
00:08:26,700 --> 00:08:28,400
>>So, here you are out 
there singing.

202
00:08:28,400 --> 00:08:30,466
>>So, here I am out 
there singing.

203
00:08:30,466 --> 00:08:32,133
>>And you write. You have 
books that you've written,

204
00:08:32,133 --> 00:08:32,833
>>Yes.

205
00:08:33,300 --> 00:08:34,333
>>I don't know if there are 
any Barbie dolls involved

206
00:08:34,333 --> 00:08:35,833
anymore but. 
>>No. No Barbies.

207
00:08:35,833 --> 00:08:38,900
>>But books. You contribute 
in the community

208
00:08:38,900 --> 00:08:40,500
to different papers,

209
00:08:40,500 --> 00:08:43,700
and you have 
a podcast radio show.

210
00:08:43,700 --> 00:08:44,566
>>Yes.

211
00:08:44,566 --> 00:08:46,866
I'm always busy. I am 
always busy.

212
00:08:46,866 --> 00:08:48,833
>>I, I would, yeah!

213
00:08:48,833 --> 00:08:53,433
>> There is, and I come by it 
honestly, I did not steal it.

214
00:08:53,433 --> 00:08:58,666
My mother was possibly the 
busiest person I've ever met,

215
00:08:58,666 --> 00:08:59,933
and she still is.

216
00:08:59,933 --> 00:09:03,400
There was always 
a meeting to go to, or

217
00:09:03,400 --> 00:09:07,400
an event that had to be planned.

218
00:09:07,400 --> 00:09:08,766
To me that's what you're 
supposed to do.

219
00:09:08,766 --> 00:09:10,633
Like, if you are sitting at 
home and doing nothing,

220
00:09:10,633 --> 00:09:11,666
something is wrong.

221
00:09:11,666 --> 00:09:13,066
You are doing it wrong.

222
00:09:13,066 --> 00:09:15,400
>>Well, what I love, 
too, is that

223
00:09:15,400 --> 00:09:17,600
you took the time 
to raise your children.

224
00:09:17,600 --> 00:09:18,100
>>Yeah.

225
00:09:18,200 --> 00:09:20,366
You know, you did that,

226
00:09:20,366 --> 00:09:22,000
and now you have 
been doing this.

227
00:09:22,000 --> 00:09:24,433
You are back to your first love, 
or your second love,

228
00:09:24,433 --> 00:09:25,833
because your kids 
are your first love.

229
00:09:25,833 --> 00:09:26,833
But you're back to this.

230
00:09:26,933 --> 00:09:29,333
What kind of advice do you 
have for people who are

231
00:09:29,333 --> 00:09:30,966
passionate about the arts,

232
00:09:30,966 --> 00:09:32,266
no matter how old they are,

233
00:09:32,266 --> 00:09:34,600
no matter where they are 
in their stage of life?

234
00:09:34,600 --> 00:09:37,100
>>A lot of people think that

235
00:09:37,100 --> 00:09:40,766
that you're going to get 
from here to there

236
00:09:40,766 --> 00:09:43,666
and it's going to be 
instantaneous.

237
00:09:43,666 --> 00:09:45,766
And it's like, no,

238
00:09:45,766 --> 00:09:47,366
getting there

239
00:09:47,366 --> 00:09:49,500
is 20 years of hard work.

240
00:09:49,500 --> 00:09:50,166
>>Yeah.

241
00:09:50,166 --> 00:09:52,200
>It doesn't matter if there is

242
00:09:52,200 --> 00:09:53,466
winning an Oscar,

243
00:09:53,466 --> 00:09:53,933
>>Right.

244
00:09:54,500 --> 00:09:56,000
>>Or, if there is starring 
in a musical at your

245
00:09:56,000 --> 00:09:57,533
local community theater,

246
00:09:57,533 --> 00:10:00,233
it doesn't matter what 
the destination is,

247
00:10:00,233 --> 00:10:02,800
there's always work 
in the middle.

248
00:10:02,800 --> 00:10:04,333
>>Yeah. And you have to 
enjoy this.

249
00:10:04,333 --> 00:10:05,866
>>And you have to be here.

250
00:10:05,866 --> 00:10:07,333
>>If you're s- looking at this 
the whole time,

251
00:10:07,333 --> 00:10:08,200
how are you going to 
enjoy that?

252
00:10:08,200 --> 00:10:10,833
>>Right. You have to be 
in the moment,

253
00:10:10,833 --> 00:10:13,100
present, and figure it out.

254
00:10:13,100 --> 00:10:14,233
>>Yeah.

255
00:10:14,233 --> 00:10:16,366
>>And the wonderful 
thing that I love

256
00:10:16,366 --> 00:10:18,300
about community theater

257
00:10:18,300 --> 00:10:21,100
is that there's always 
going to be people

258
00:10:21,100 --> 00:10:22,066
to catch you.

259
00:10:22,200 --> 00:10:24,433
There's always going to be 
people to support you.

260
00:10:24,433 --> 00:10:27,000
There's always goint to be 
this mini family that's

261
00:10:27,000 --> 00:10:29,566
cr 
eated when you do a show

262
00:10:29,566 --> 00:10:33,833
>>And collaboration, you 
collaborate constantly.

263
00:10:33,833 --> 00:10:34,333
>>Yes.

264
00:10:34,933 --> 00:10:36,533
>>And that just makes the 
experience even richer.

265
00:10:36,533 --> 00:10:38,033
And shares it with more people.

266
00:10:38,033 --> 00:10:40,833
>>Yeah, because you're never 
going to have every idea.

267
00:10:40,833 --> 00:10:42,866
It's absolutely impossible

268
00:10:42,866 --> 00:10:45,233
that you're going to have 
every good idea all the time.

269
00:10:45,233 --> 00:10:46,200
>>Right.

270
00:10:46,400 --> 00:10:49,233
>>So it's important that you get 
other people in the room.

271
00:10:49,233 --> 00:10:51,533
And people from different 
perspectives, like that

272
00:10:51,533 --> 00:10:53,766
that's why I... that's 
another reason why I like

273
00:10:53,766 --> 00:10:55,666
having diverse casts,

274
00:10:55,666 --> 00:10:59,433
especially in age and 
experience, because that

275
00:10:59,433 --> 00:11:02,733
because that person who just 
walks off the street and

276
00:11:02,733 --> 00:11:06,866
has never been on a stage 
before could have the idea

277
00:11:06,866 --> 00:11:10,200
that makes whatever is 
wrong in this moment

278
00:11:10,200 --> 00:11:13,700
come together in a way that 
no one else in the room could.

279
00:11:13,700 --> 00:11:14,733
>>Yeah.

280
00:11:14,733 --> 00:11:16,566
>>And we need that.

281
00:11:16,566 --> 00:11:19,866
>>Go, bring these ladies to 
where young Hambone is.

282
00:11:19,866 --> 00:11:22,500
[inaudible]

283
00:11:22,500 --> 00:11:25,033
>>She will always

284
00:11:25,033 --> 00:11:27,733
do the best

285
00:11:27,733 --> 00:11:31,566
to put black people forefront 
in the theater.

286
00:11:31,566 --> 00:11:33,766
People of color, marginalized 
people,

287
00:11:33,766 --> 00:11:37,233
she is willing to uplift 
those people

288
00:11:37,233 --> 00:11:39,933
in the space of theater, and

289
00:11:39,933 --> 00:11:42,766
ever since I've know her she 
has worked toward that goal

290
00:11:42,766 --> 00:11:44,933
and making theater 
more equitable for

291
00:11:44,933 --> 00:11:46,533
the people of Charlottesville.

292
00:11:46,533 --> 00:11:47,700
>>You never know 
what you can do

293
00:11:47,700 --> 00:11:48,833
until you actually do it.

294
00:11:48,833 --> 00:11:52,500
And Leslie is very good at 
bringing that out in people.

295
00:11:52,500 --> 00:11:53,800
>>Leslie is a great component

296
00:11:53,800 --> 00:11:56,200
an 
d a great activist for 
Jefferson School.

297
00:11:56,200 --> 00:11:57,566
not just Charlottesville 
Players Guild,

298
00:11:57,566 --> 00:11:59,866
in saying, "Look, we've 
got stories we need to tell,

299
00:11:59,866 --> 00:12:00,800
and it's our job to tell them,

300
00:12:00,800 --> 00:12:02,266
because no one else 
is going to do it."

301
00:12:02,266 --> 00:12:03,500
I don't know what 
Charlottesville

302
00:12:03,500 --> 00:12:06,000
would do without her.

303
00:12:06,000 --> 00:12:10,033
Ophelia [inaudible]