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Meshelle ‘The Indie-Mom of Comedy’ is No Joke

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Meshelle “The Indie-Mom of Comedy” (Courtesy Photo)

Meshelle “The Indie-Mom of Comedy” (Courtesy Photo)

by Jannette J. Witmyer
Special to the NNPA from the Afro-American Newspaper

Anyone trying to keep up with Meshelle “The Indie-Mom of Comedy” had better lace up his or her track shoes, take a deep breath, and be prepared for a near-exhausting and rigorous run. To say that she leads a full and busy life would be an understatement.

When the award-winning, off-Broadway actress and standup comedienne is not performing in New York, Chicago,Los Angeles and points in between, she’s back home in Baltimore handling her business as a wife, mom to three, author, social justice advocate and nonprofit administrator. And, juggling all of those hats just scratches the surface of all that goes on in this Indie-Mom’s life.

Right about now, if you are amongst the uninformed (as was I), you’re probably wondering, “What is an Indie-Mom?”

In the simplest terms, an Indie-Mom is a woman who does not lose her identity to motherhood.

In Meshelle’s case, “Staying completely innovative and staying independent and still having a very individual sense of self, while being the best mom you can be, and, in my case, wife. That’s what the Indie-mom is all about.”

“An Indie-Mom is independent, innovative, with individuality, fearless and poised to live her dream,” she explains.

MechelleIndieMomWhich brings us to her one-woman show, “Diary of a MILF (Mom I’d Love to Follow).” In October 2014, the full theater production, which she wrote and in which performs all five characters, won the Outstanding Solo Performer Award at the 15th Annual Midtown International Theatre Festival, the second largest off-Broadway theater festival in New York. Directed by Rain Pryor, it is headed to LA, February 27 and 28, for an invitation-only special engagement, entertaining producers and industry executives from the areas of development and talent.

“MILF,” she explains, “is a derogatory term that was popularized by the movie “American Pie” that came out in the 90s. One of the characters used the term referring to moms with whom he’d like to have sex. It was supposed to be a term of endearment, a reference to moms or older women still having sex appeal and attraction.”

“I thought it would be fun to play on the MILF understanding and create a show around what it’s like to juggle my life as a standup, a wife for over 15 years, mother of three, social justice advocate, running a nonprofit, all of this in tandem, while my highest intention when I left my doctorate was to pursue my standup.”

Oh, right… I forgot to mention that she is a former doctoral candidate at Temple University.

The show not only covers a day in her life, juggling all of those hats, and what it takes to get to a performance, on any given day, but it is set during the Christmas holidays, with characters ranging from a preschool-aged Jewish boy to an elitist, country club-type mom, layering several additional sets of dynamics on the day’s journey.

“It’s a hoot to get through a full day as me, wearing all of those hats, and to see how, ultimately, I end up on stage, at the end of the day,” she says, laughing.

While Meshelle sees the humor in all of the juggling, she also understands how stressful it can be, which is one of the reasons she created Moms Nite Off “A Night of Comedy and Cocktails,” with another native Baltimorean, touring comic Larry Lancaster. Held at the Baltimore Creative Alliance’s Marquee Lounge, the event provides a space for Indie-Moms and others who may be stressed to unwind and enjoy a cocktail or two and some adult fun, standup comedy.

As an artist who usually works out of town, she says, “It’s a way to maintain a footprint in Baltimore, to keep the community aware of how things are shifting for me, not only on TV, but in the theater world with my one-woman show. A way to keep Baltimore in the loop, while still giving them some great entertainment…”

To further establish her footprint as an artist in Baltimore and to raise funds for her nonprofit organization, Goaldiggers The Sankofa Project, the 2010-2012 Open Society Institute Community Fellow has unearthed yet another hat, one that she’s worn all of her life, singer. On April 25, she will toss that hat up among the others and reintroduce that side of herself, at Creative Alliance, in a cabaret she created, “Funny, Fierce and Fabulous.”

“There was always a little girl in me who was in every musical production… Dorothy in the Wiz, Purlie, Dreamgirls… From elementary school to college, I’ve always been a gay man, drag queen, stuffed inside a heterosexual little girl’s body. I love everything about musical theater,” she says of her love for the genre.

Meshelle “The Indie-Mom of Comedy” may be the comedienne’s brand, but being an Indie-Mom touches every part of her life.

“I wouldn’t be an Indie-mom if it weren’t for my three children. They take precedence. It’s God, me, and my family… And, my art is the gift… This is who I am. I have to get on stage, and I have to perform. And, they show up on stage with me because those characters are from the authentic life if being a mom.”

The next Moms Nite Off “A Night of Comedy and Cocktails” is March 3 at the Baltimore Creative Alliance’s Marquee Lounge.

Business

From Historic Memories to New Possibilities: Oakland Celebrates Coliseum 60

More than 75 people gathered at Youth UpRising in East Oakland on Friday, September 18, for Coliseum 60, an event marking six decades of sports, entertainment, employment, and community memories at the Oakland-Alameda County Coliseum Complex. Held 60 years to the day after the Coliseum first opened, the celebration featured cultural performances and a mini-documentary highlighting its history. Speakers reflected on the venue’s significant role in the community and its future possibilities. Read more to learn about the individuals and stories honored during this special event.

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Quixote Atkins of VillageGIVE moderates a panel discussion at the Coliseum 60 celebration at Youth UpRising featuring Keith Brown, a member of IATSE Local 107; author, historian and former Black Panther Party member Tareka Lewis; and African American Sports and Entertainment Group President Ray Bobbitt.

More than 75 people gathered at Youth UpRising in East Oakland on Friday, Sept. 18, for Coliseum 60, a celebration honoring six decades of sports, entertainment, employment and community memories connected to the Oakland-Alameda County Coliseum Complex.

Held 60 years to the day after the Coliseum opened, the event carried the theme, “One Community. One Legacy. One Future. Forward Together.”

The celebration opened with the national anthem performed by sisters Anese Jade, Amina Benjamin and Zaza Benjamin. Diamano Coura West African Dance Company contributed African dance and drumming, bringing movement, rhythm and cultural expression to the program.

A mini documentary highlighted the Coliseum’s sports history and its broader role as an entertainment destination. Archival material recalled performances by Prince and Tina Turner, along with memorable games featuring the Warriors, Oakland A’s and Raiders.

“The Coliseum 60 is about much more than celebrating a building or looking back at 60 years of history,” said event organizer Quixote Atkins of VillageGIVE.

“It’s about the people who made that history possible: the families, workers, athletes, artists, community leaders, fans and generations who gathered there and created memories together.”

A panel exploring that history featured author, historian and former Black Panther Party member Tareka Lewis; stagehand and union representative Keith Brown; and Ray Bobbitt, president of the African American Sports and Entertainment Group AASEG. Lewis described her family as fourth-generation Bay Area pioneers.

“My family and Black families who arrived even earlier helped build the Bay Area, grew businesses and established culture here,” Lewis said. “This should be taught in the public schools.”

Lewis recalled Oakland’s influence on sports, music and literature, from the Raiders’ beginnings at Laney College to stars such as The Pointer Sisters and Rickey Henderson who attended Oakland public schools. She also advocated for school museums, historical timelines, entrepreneurship training and investments benefiting corridors such as Bancroft Avenue and High Street.

Keith Brown, a member of Local 107 of the International Alliance of Theater and Stage Employees (IATSE) who began working at the Coliseum in 2011, remembered the Ringling Bros. and Barnum & Bailey Circus, the Ice Capades, baseball bat giveaways and Nelson Mandela’s 1990 appearance.

“The special events are amazing, but it’s the workers that make the memories real for everyone,” Brown said. “They make the magic happen at the Coliseum.”

The program recognized longtime workers, including beer-stand manager Robert Preston, who served for 40 years, and Kenyatta Gentry, who worked as a vendor for 24 years and used her earnings to purchase her first apartment. Union workers Jose Gonzales and Carmen Sandoval were also honored. Speakers emphasized that Coliseum employment provided generations of residents with union wages and benefits.

Dr. Denise Saddler, the superintendent of the Oakland Unified School District (OUSD) was also honored. Saddler shared her family’s history of working at the Coliseum. 

District 7 Oakland City Councilmember Ken Houston discussed the complex ownership arrangements involving the city, county and private interests.

“This was the most complex deal of its kind in the country,” Houston said.

Prior to moving from the East Coast, Alameda County Supervisor and Coliseum Joint Powers Authority Chair Nate Miley recalled learning about Oakland through its three professional sports teams. As an elected official and public servant, Miley fought hard to keep the Golden State Warriors, Oakland As, and the Raiders, but he is hopeful for the future.

“The story is not over for the Coliseum,” Miley said. “We’re entering a new chapter.”

Bobbitt said the departure of three teams had once seemed unimaginable, but he maintained that Oakland’s future remains bright.

“Oakland is a cultural superpower worldwide,” Bobbitt said. “We’re going to write the future where we participate and drive the redevelopment.”

Bobbitt highlighted AASEG’s four-year partnership with Castlemont High School’s architecture program, which engages students in reimagining and creating redevelopment concepts for the Coliseum property. “The youth will always move us forward. They are the future.”

In closing, Atkins said, “September 18 is the celebration, but what we build together afterward is the legacy.”

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Oakland Post: Week of September 23 – 29, 2026

The printed Weekly Edition of the Oakland Post: Week of September 23 – 29, 2026

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Books

BOOK REVIEW: ‘Laws of Solomon’ Reveals Tender Heart of Former Child Soldier

The monsters that came to him early in his sleep were the easy ones. It was the later demons that stole Solomon Nangobi’s sleep, the spirits of all the people he killed when he was a child soldier in Uganda, and when he was a fixer in New York as an adult. Their ghosts called to him with urgent voices, though he left that life behind long ago.

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Book cover of “Laws of Solomon.” Courtesy of Poisoned Pen Press

Author: Eriq La Salle, Copyright: c.2026, Publisher: Poisoned Pen Press, SRP: $18.99, Page Count: 304 pages

Finally, after so much work, you’ve left your past behind.

That’s what you tell yourself: what’s done is done and you can’t undo history. It’s over. You try not to think about last month, last year, a decade back because what does it matter? As in the new novel, “Laws of Solomon” by Eriq La Salle, remembering is too full of pain.

The monsters that came to him early in his sleep were the easy ones. It was the later demons that stole Solomon Nangobi’s sleep, the spirits of all the people he killed when he was a child soldier in Uganda, and when he was a fixer in New York as an adult. Their ghosts called to him with urgent voices, though he left that life behind long ago.

Now, his days were filled working the soil in gardens near Malibu, and he loved the quiet life.

Still, he kept his guns.

And he was glad: when Solomon recognized two Zeta gunmen stalking a well-dressed man, woman, and child through the gardens, he couldn’t walk away. He stopped the gangsters with bullets, but not before the adults and their bodyguards were dead. The child, an 8-year-old boy named Gaby, was safe, but Gaby couldn’t tell Solomon what was going on.

What became quickly certain, however, was that Solomon was now Gaby’s guardian, and the Zeta crime boss wanted them dead, too.

When he was the same age as Gaby, Solomon saw unspeakable things, the murder of his parents, the destruction of his homeland, and the atrocities that Uganda dictator Idi Amin’s soldiers committed. He learned to kill, he observed, and he was hardened, understanding as a small boy that revenge was often necessary and needed, and that blood would shed at those times.

But Gaby was pure, an innocent, a child.

Solomon reached out to his contacts to try to get the boy to safety, but being a contact of a marked man was likewise a dangerous thing: the monsters outside were worse than the ones inside him.

Two words for you: ‘Whoo weee.’ That’s what you’re going to say when you close the back cover of “Laws of Solomon,” knowing that you’ve just been taken on a wild up-and-down, around-and-round ride.

La Salle makes it impossible not to like Solomon, an African man who has, over time, lost nearly everything dear to him and who has no faith in much of anything. Readers get that part of the story eventually, and there’s historical authenticity in some of it, but we never really get to know Solomon, which makes the book feel dark and dangerous. Along the way, we meet and get to know his helpers, which buoys Solomon’s chase to find safety for the boy, and your heart won’t stop pounding.

Keep in mind that this is a thriller partially set in 1970s Uganda, so expect lots of violence but don’t expect a lot of people to live. If you’re up for that, find “Laws of Solomon.” You won’t be able to leave it behind.

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