It’s hard to grab an audience’s attention in 15 minutes. The attention span of the average audience member is about that of a gnat, especially these days, with so many things competing for our attention.
That being said, if I had been in Writer/Director/Producer Jaran Huggins’ shoes while writing directing his short “Sheet Music,” I would have started the 15-minute short with the song that concludes “Sheet Music.”
“The Song We Sing,” is the song, performed by Chloe Kibble, a Nashville girl whose father was one of the members of the group “Take6.” She is truly wonderful delivering the closing original song; her gold dress is the perfect wardrobe choice.
Kudos to the writer of the song, Bryard Huggins, who wrote the lyrics. He is an accomplished performer who tours with Gladys Knight as her featured guest artist. Bryard has released 6 albums and 7 singles. Bryard Huggins is the brother of “Sheet Music” Writer/Director/Producer Jaran Huggins, a recent graduate of Temple University (BFA in Film and Media Arts.)
“Sheet Music”—the 15-minute short that Jaran created, which screened at the 53rd Nashville Film Festival— has some things going for it, but most of what makes it truly riveting happens in the final frames, when Chloe Kibble lets loose with “The Song We Sing.” Yowza! That girl can sing! I wanted to hear more of Chloe and to hear her sing much earlier in the short.
The plot, according to the press notes, “Tells the story of two Black performers who are able to find their liberation in the roots of oppression.” There really is not much evidence of “oppression” onscreen, other than the white usher failing to bring the about-to-perform female singer a glass of water.
For the first approximately 13 minutes, nothing happens.
Two Black performers wait backstage to perform in a white establishment in a Black neighborhood. The two are Adryan Coogan Jr. (played by Ty Norwood Jr.) and Leilani Drakeford (played by J.C. Willis). Leilani did a credible job with a not-very-riveting script. Her inability to get the white usher to bring her a drink of water is our clue that she and her accompanist are victims of oppression, along with a less-than-welcoming white doorman who opens the club door for the duo.
The production designer (Kimberly Redman) has done a fantastic job of reproducing a slightly down-at-the-heels small dressing room of the era. There are appropriate posters and, as J.C says, the dressing room is a small closet that might have belonged to the janitor. Then again, are dressing rooms in small, seedy establishments glitzy, as a general rule?
The conflict that Jaran shows us comes from Adryan forgetting the duo’s sheet music. The lead singer (J.C. Willis)—one half of the team billed outside as “Adryan Coogan Jr. and J.C. Willis” of “The All American Ragtime Blues” duo—doesn’t seem that concerned about the missing sheet music. However, the pair is waiting for their call to go onstage, which is imminent. Because of the MIA sheet music, the pair ultimately walks out, hand-in-hand down the alley.
This struck me as a poor way to launch a singing career (or any career). I was not overwhelmed at the logic of the two getting a shot at performing in front of an audience (that will be mostly white) and simply walking out, leaving the club owner to deal with the fall-out.
So, to sum up: 1) Slow opening
2) Not very interesting dialogue; the first 13 minutes dragged.
3) Adequate articulation of the dialogue (better from Leilani Drakeford than from Ty Norwood, Jr.). For me, the couple’s decision to stiff the owner of the night club and run off was a very bad idea for a duo trying to jump start their performing career.
4) Great sets and costumes. (Kudos, Kimberly Redman).
5) Great performance of the song “The Song We Sing.”
I’m not sure whether this short was originally created for a thesis at Temple or if it is merely a way for Jaran to launch a film career, but, if he is as talented as his brother Bryard, his anticipated move to Los Angeles may prove fruitful. There wasn’t enough of the music, but the one song was thoroughly enjoyable. After 13 minutes of waiting for it, it was like a cool drink after a long hot walk up a steep hill.
This Harriet Tubman quote from the press notes is prominent: “Every dream begins with a dreamer who dares to dream.” I don’t want to get into a debate with Harriet Tubman, but the quote made me think of that other oft-used quote (author unknown): “Every journey of 1,000 miles begins with one small step.”
Both are true, but it would be a good idea to have talent, drive, stick-to-it-iveness, and maybe some influence with somebody at the top who can help you as you dream your dream or struggle towards your goal(s).
I wish Jaran Huggins the very best as he sets about making his dreams come true.
As for me, I would have started with the show-stopping song and lost most of the dialogue that preceded it. The conflict was not that evident in the dressing room scenes that lead up to the song.
Sitting through the pointless dialogue at the outset was still worth it, to hear Chloe Kibble, who was glorious. I wish she had had more to do (and sing) in the film.