Laura Fegley, who earlier in her career served as creative director for JWT New York on the Nestle account, has joined BBH New York as creative director.
At her new roost, she will report directly to chief creative officer John Patroulis and will oversee creative for the global Vaseline account and for BBH Zag, the agency’s brand invention business.
Fegley comes aboard BBH New York after spending the past two years as a freelance creative consultant working with leading brands such as Dos Equis, Old Navy, Tide and Rembrandt. Previously, Fegley served as creative director at JWT New York for Nestlé, and has worked as a freelance brand consultant for Lifetime Television and a number of leading agencies.
She has also held positions at Cliff Freeman & Partners, where she worked on Fox Sports, among others, and Merkley+Partners, where she collaborated on Mercedes. Her work has been recognized at numerous award shows, including the Cannes Lions and the One Show.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More