Theatrical Innovations

Works from Velvet Duke Productions are centered in Black Joy. Letting “Black Joy Win” despite the grotesque and divisive tools of colonialism as an act of resistance. Letting Our Loved Ones into our hearts so we can let our True Selves Out. These works join the chorus of advocacy for community change

“(Re)Tired Magical Black Man” was an award winning, 50-minute solo puppet show, written and premiering at the Ottawa Fringe Festival and touring at the Halifax Fringe Festival (2022). In addition to their own role as dJerald the Djinn, Velvet performed seven (7) puppet character roles and audio description narration; the show featured three original songs and an improvised abduction story based on audience suggestion. The show was ASL interpreted throughout the Ottawa Fringe Festival run. The show received three awards and five more nominations

“Djinn Joint” was a 50-minute solo show streamed (through Gather.Town) at the Primetime Festival (Toronto Fringe, 2021). Velvet created the piece and managed the production through Open Broadcaster Software (OBS). Velvet managed virtual background and digital content sharing, and a lighting “costume change” effect mid-show. Additional technicians streamed audience Google form responses – Velvet created an automated Google Sheet response dashboard for this purpose, as well as Velvet’s original sound effects and music cues. Also, Velvet created a random fortune machine for the Gather space

“All Request Radio” was a series of 60 minute musical shows, streamed (through Zoom) to the Black Improv Alliance Facebook page (2021). Featuring random royalty free music and talented musical performers, Velvet acted as musical director, lead host, and singer performing “your favourite made up songs.” Before Zoom incorporated Live Transcription, Velvet used a closed caption github solution

“Boldly Blerd Trek” was a 10-minute solo show streamed (through Streamyard) at the Orlando Fringe’s First Fridays (2020). Velvet created the piece and managed the production through Open Broadcaster Software (OBS), it featured virtual backgrounds and digital content sharing, in addition to live props and costumes

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