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France Jean-Baptiste |
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You Said
October 22, 2009 ‘The Message is in the
Music (God is a Black Man Named Ricky)’ Oh, Lord! It turns out that even
a hardcore agnostic can find plenty to enjoy in “The Message is in the Music (God is a Black Man Named Ricky)”—a
true testament to the exuberant power of the performers in Black Ensemble Theater’s latest show. Fortunately for Taylor ( and more importantly, for the audience ) , we have five absolutely amazing
voices to thrill and touch us. When this show rocks, it’s hard to sit still. In fact, if you can sit still, you better
check your pulse. France Jean-Baptiste, Desla Epison, Dawn Mitchell, Carrie, and Melanie McCullough are not only gifted actresses;
they are dynamite in interpretation and vocal pyrotechnics ( James knew how to belt out a song ) . We’re treated to
about two dozen songs over the course of the show, and every one of them is a slam dunk.
Dear Sister Baptiste: I saw the production of "At Last" a few weeks ago, and I have a newfound appreciation for Etta James.
I see why the play has been extended numerous times. I might even check it out again. All of the actors did a superb portrayal
of Ms. Etta's life, but I thought you were absolutely astounding. Your voice is wonderful, and I would love to continue to
support your performances - just let me know when and where. Peace, Adrian Sky
LINCOLN SQUARE
CHAMBER OF COMMERCE September
1, 2006 France, I am writing
to thank you for another wonderful performance. It was a real pleasure to have you back at the Lincoln Square Chamber of Commerce
Summer Concert Series. We always try to recruit the best local talent for our annual concert series and for the last 2 years
you have not disappointed. You bring a big, rich, energetic sound that our really audience responds to. I have heard many
positive remarks about your show. I also appreciate
your professionalism – I can tell that you are very committed to your work and to your audience. I look forward
to seeing you perform again. We will definitely keep you in mind for future events. Thanks again and please stay in touch!
Sincerely, Christie
Hahn Great grooves, soulful vocals, smokin' guitar. Hope to hear more.Maybe we can gig together. Raven Desmond
I
knew from past experience of Ms. Jean-Baptiste's incomparable acting abilities, given her stellar performance in my last show,
"Lingis in Love." However, I was in for a whole new side of her...Singing Diva. France, elegantly dressed in a maroon sequined
gown, entered the room, and the drama commenced! Her hair and make-up were perfected as if there had been a team of queens
primping and prepping her. However, she is beyond the beautiful songstress/ muse stereotype one may perceive her to be upon
first glance, and given her musical selections, you know there's much more to this talent. What left a lasting impression
was that I didn't hear the same ol' tired blues and piano-bar songs. Instead, I was taken on a journey of my youth, and the
trip was one that left me feeling elated. I know my fans think that since I'm so young, my childhood reflects songs by Britney
Spears...thanks for the flattery, but I don't think so. Selections
such as Journey's "Open Arms" left me reminiscent of carefree afternoons spent while riding my BMX with my boys. I truly melted
with "Sarah Smile" as I reflected upon my first love, Sarah. Why were these emotions so overwhelming? I'll tell you, the reason
is that France Jean-Baptiste is an "Eccentric Martini." Ever had one?
It's part Jimmy Scott, part Marianne Faithfull with a dash of Etta James and finished off with a sweet cherry. I looked
away and blushed as she captivated me with her spellbinding glances and smooth and sultry stylized vocals. Vocals that lifted
me and said, "I've seen many things. I've loved and I've hated. I'm at a good point now." That's
what her presence and amazing voice, unknowingly, share with you. The audience was in outer space with France, and everyone
was orbiting with one final destination...Planet Happiness. France Jean-Baptiste epitomizes avant-garde; eclectic R&B
meets altered state of consciousness. Do
me a favor, check out France and request "Love Don't Live Here Anymore." By the end of the song, you'll appreciate the very
moment you're living in. When the last note is sung, she'll leave you feeling the essence of joie de vivre as well as a permanent
engagement on Saturday evenings...The Raw Bar & Grill, featuring Ms. France Jean-Baptiste ...
Along the way, we're treated to stellar performances, from the twitchy, young, strung-out
Etta (McCullough) to the earthy, centered, eldest Etta (Jean-Baptiste). Bob & Ann
CHICAGO SUN-TIMES
January 4, 2004
BY BOBBY REED Extras, extras, read all about them!
George Bailey runs through the snow-covered streets of Bedford Falls, screaming "Merry Christmas!" to holiday
revelers. Boxing enthusiasts cheer as Rocky Balboa and Apollo Creed slug it out in a grueling match. A doomed luxury liner,
carrying Rose DeWitt Bukater and Jack Dawson, leaves port while hundreds of well-wishers wave to the ship's passengers.
These scenes from "It's a Wonderful Life," "Rocky" and "Titanic" all feature the talents of extras -- those
unheralded, often unnoticed actors who populate the silver screen. Whenever a script calls for a bustling sidewalk or a crowded
airport, extras are called into service. Extras do occasionally get speaking parts, but their main job is to create ambience.
Robert Altman's film "The Company," which was shot in Chicago in fall of 2002, required dozens of extras to
portray audience members. This engaging drama -- starring Neve Campbell, James Franco and Malcolm McDowell -- focuses on the
onstage and backstage workings of the famed Joffrey Ballet of Chicago.
Several of the movie's dance productions were filmed at the Auditorium Theatre. Through the magic of camera
angles and editing, Altman creates the sense that the venue was filled with appreciative ballet patrons, even though he was,
at times, working with as few as 35 extras.
On a typical day of shooting, the extras' tasks were simple: They donned formalwear (provided by the wardrobe
department), they watched the dancers perform and they applauded on cue. Then they changed clothes, moved to another section
of the auditorium and repeated the process.
This work is often tedious, but it provides aspiring actors with a resume line and the instructive experience
of being in a major motion picture.
"I don't like the term 'extras' because it often has a negative connotation," explained David Levy, one of
the film's producers. "Some people use terms like 'background artists,' but in this context, I prefer 'spectators' because
they are audiences watching the ballet."
Local talent agencies, independent casting directors and open casting calls are three tools that filmmakers
use to gather extras. Levy, who has worked on nine Altman films, said, "We try to go through organizations that are already
linked to the subject matter in the film, or who have a particular interest in participating, rather than just using people
who are coming in purely to get the paycheck."
Like many of the extras in "The Company," France Jean-Baptiste
of Rogers Park got the gig through Ambassador Talent, a Loop-based agency. Jean-Baptiste has been an extra for many Chicago-based
productions, including episodes of "ER" and the 1995 film "While You Were Sleeping."
The 38-year-old professional vocalist admitted, "My first
experience as an extra was devastating. Everybody wants to be the star. You want to be in front of the camera, but you have
to realize that you're just the background. I stopped doing it for a while because I couldn't take that."
Jean-Baptiste enjoys steady work as a singer -- performing
frequently at the Chicago Music Mart and other area venues -- but she returned to acting as an extra in order to supplement
her income. For her work in "The Company" she earned $55 for the first eight hours on set per day (along with overtime pay
for additional labor).
Being an extra is obviously not a path to immediate riches,
but Jean-Baptiste had no complaints about her job of watching the Joffrey dancers. "That was the most fun of all the extra
work I've ever done."
Bobby Reed is a Chicago free-lance writer.
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