"In theater, so much is either African-American or white," Fletcher explains. "It's very rare that things are a mixture. This show is, and I'm very happy about that."

The theme of race in "The Errols" is important to the cast as well. "One of the interesting things about this show is the issues it deals with. It creates an interesting dynamic within the cast itself," says Alexis Toomer '93, who plays Elizabeth.

Peter W. Wardle '92, who plays an "evil racist lawyer," says, "I think it's cool because the subject matter is racial."

"I get to act completely racist and that makes me think about all the themes," he continues, "especially because sometimes racist acts are not as overt these days."

It is also the novelty of the project which Fletcher and the cast members say they enjoy about working on "The Errols."

"I feel that we're all taking part in a creative process because this is an original. It's a neat feeling to have been a part of this," says Edward J. Collins, Jr. '94, who portrays Cedric.

Charlie W. Cardillo '91 also enjoys "the chance to sing original stuff," he says. "[Fletcher's] music is beautiful. I guess my greatest fear is that I really want to do it justice." Cardillo plays the grandfather.

And getting to work with a director who actually wrote the script is a rare and fortunate opportunity, cast members agree.

"[Fletcher] definitely knows what he wants," says Cardillo. "I really feel like I sound better after he explains more and more to me about the character."

Like Any Other Thesis?

Yet before anything else, "The Errols" remains a thesis project. And like any other thesis, the musical provides Fletcher with challenge and even pressure.

"In a sense it was more difficult because it all had to come from himself," says Alfred, who is Fletcher's thesis advisor.

"It's stressful because first of all I have to write it. Second of all I do the stage and music direction," Fletcher explains. "Because it's my baby and I've spent so much time with it, I'm involved in every single aspect of the production."

Balancing the project as an academic project and as an actual theatrical production can be difficult, he explains. For example, when trying to decide whether or not to make changes in the show, Fletcher thinks to himself: "It may work intellectually, but will it work for the audience as well, and can the cast member learn this? At what point do I stop changing things?"

"Most challenging is the fact that I have to please my advisors and I also have to please myself and the audience and the cast," Fletcher says.