Some stories remind us that purpose doesn’t always look the way we imagined.
In Looking Over the President’s Shoulder, director Chanel Bragg guides us through the life of Alonzo Fields, a man who set aside his dream of becoming an opera singer to serve four U.S. presidents, and in doing so, discovered a different kind of greatness.
At the helm of this one-man show is Bragg, a director, performer, and educator whose work centers on the resilience and humanity of underrepresented voices. Known for past productions like Lady Day at Emerson’s Bar & Grill and Waitress, Bragg brings a deeply personal lens to every story she tells.
Looking Over the President’s Shoulder runs October 29 – December 14, 2025, in the Judith Hardes Theatre at The Phoenix Theatre Company.
We sat down with Bragg to talk about why Fields’ story resonates today and what she hopes audiences will see in his legacy.
Q: What drew you to Looking Over the President’s Shoulder?
Bragg: Looking Over the President’s Shoulder is a beautiful story that is timeless. It is about Alonzo Fields, who was a butler for the White House for four different U.S. presidencies, which is really, really incredible. I really love that it’s a true story about how he’s a former opera singer and how he chose a different path because he needed to provide for his family. He wasn’t just a butler he was a confidant, he was a leader in the White House, he provided for his family, and although his life took a turn he didn’t expect, he found that art can exist no matter what your profession is.
Q: You mentioned this story feels timely. Why does it resonate for you personally?
Bragg: Every show I’ve directed at The Phoenix Theatre Company – Lady Day, Waitress, and now this one has arrived in my life when I needed it. For Lady Day, I had just lost a family member to substance abuse, for Waitress, it was about self-worth and healing, and for Looking Over the President’s Shoulder, it’s about recognizing that even when life doesn’t unfold as planned, there’s still honor and art in the path you take.
Q: What is your approach when directing stories like this one? Do you start with the historical context or the humanity?
Bragg: Always the humanity first. I’m an activist and I sing in a protest band, so I try to align myself with institutions doing work that matters to the community. Theater is what moves our empathy meter forward. It lets us sit inside someone else’s perspective for two hours and ask, Did this change me? Did it make me see someone differently? That’s why I do it.”
Q: You’ve shared a powerful connection between this play and your own family. Could you tell us more about that?
Bragg: My grandmother worked as a housekeeper for a prominent Arizona family for over twenty years. As a kid, I’d go with her to help clean their home, and even then, I saw the pride she took in her work. That taught me to never look down on any profession rooted in care and service. When I shared that story with playwright James Still, he said, ‘You’re meant to direct my piece.’ It felt full-circle.
Q: What do you hope younger or contemporary audiences take away from Alonzo’s story?
Bragg: That the path isn’t linear, and that’s okay. Alonzo wanted to be an opera singer, but life shifted, and he still found fulfillment in another calling. I teach college students, and I tell them all the time: it’s okay to pivot. A dream deferred doesn’t mean a dream denied. Sometimes you’re just being rerouted toward a different kind of purpose.
Q: What do you want audiences to feel as they leave the theatre?
Bragg: Gratitude for Alonzo, for the workers who keep our institutions running, and for the humanity behind power. I hope audiences walk away remembering that the presidency isn’t just an office, it’s a relationship between people, and I hope they see the art in ordinary lives.
Event Details
What: Looking Over the President’s Shoulder
When: October 29 – December 14, 2025
Where: The Phoenix Theatre Company, Judith Hardes Theatre, 1825 N. Central Ave., Phoenix, AZ 85004
Tickets: Available at www.phoenixtheatre.com or by calling the Box Office at (602) 254-2151
Click here for a PDF of the full article.
Click here to watch the complete Director’s Download with Chanel Bragg.
