Actors need lines to read, or scenes to enact; musicians need notes to play, or parameters within which to riff. Blues For A Royal Flush requires a group of artists, diverse in their expertise, to come together to put notes, words, and details ahead of the actions of actors, musicians, and technicians, so that this theatre piece can step onto its unique platform, and be experienced. In exploring further, resonant interactions, I have found my way to envelope a stream of Billy Strayhorn into this narrative. The suggestive “Royal Flush” seems now to have further flesh; Duke, Ethel, Ella and Billy. The work of Strayhorn is seminal to understanding Duke’s genius; a knack for finding talent, and construing it into a mantle of his own. The artists who worked, played, or wrote for Duke, came to know his way of ‘momentum’; making himself the light of the thunderclap. ..this paradigm of collaboration cost everyone involved utter commitment and a meshing of ego beyond a known map of partnership. But the bargain was never really about obliterating the diversity of the individual voices, but of melding the sound into the distinct texture and tones of Ellington’s mystique. It is easy to mark this journey through Witness of the exhaust trail. And this is well done in too many other places. Blues For A Royal Flush is not going to attempt to speak as biography, but as instances of encounter; as ‘moments’, when the sparks struck surface, igniting an outline of personality, perseverance, preservation, performance.. and patience.. In its stride, Blues will include a cohort of its own artists, weaving their individual expertise into a bridge of grace notes to achieve a tapestry of storytelling beyond the page of a script. The vision of this project has gained the imagination of three, very individual and unique talents: documentarian, Samantha Cheng; cultural illustrator, Nekisha Durrett; and filmmaker, Penny Hollis. Their distinct styles will be utilized as ‘thresholds’; sequences of narrative image to resonate/'usher in’, scenes of live action. This is not about playing with media as a ‘toy’, but about finding the right moments to work with its ability to deliver a deeper layer of the ..unspoken context, that pervade our experiences, and enhances 21st century communication – because Blues, though it speaks of the past, is a work of the present, and is a multidisciplinary endeavor. As a commission by Stanford in Washington, Blues must also speak to a wide dynamic of audience; not only students, faculty, and alumnae, but to the larger community in which Stanford stands established. In alignment with the ethos of its commission, this project continues to broaden into an educational opportunity; it has engaged the participation of students from the Duke Ellington School of the Arts, in DC. Interns, from DESA’s Museum Studies, and Theatre track, have joined to research archive material and images, which will be offered to the project’s visual artists as possible material to work with, or ‘re-imagine’ with. For these interns, working with established artists creates opportunity for an exchange of knowledge and ‘real life application’ that might not otherwise be available. Additionally the students will create their own image gallery and content exhibition, elaborating on their personal discoveries while investigating lesser known details, and challenges, in the lives of the artists they’ve researched. This component of exhibition will be part of the overall event, of Blues’ presentation, allowing the interns platform and recognition for their work. As artist, and Teaching artist, I am very grateful for this project; as the deeper institutional partnerships that are threading, because of it, are crucial to ensuring that Arts Education is not tilted entirely off the future landscape ..