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“She was always in predominantly white ensembles, in what I’d call marginal roles,” Moïse recalls. What resulted is a play that is an expressionistic examination of race, showbiz and friendship.

“Karla was able to bring something fresh and youthful to her approach to Alphine,” the author says.

She also taps into her femininity—a feat that Moïse notes seemed tough for the other black actors who auditioned for the part.

“They struggled very hard to their femininity,” she recalls.

Right now, she’s busy juggling Alphine as a complex, flawed person who still burns bright. Some of them are the dearest, most hysterical people I’ve known.

As for all the sex, drugs and rock & roll, she is intent on “not romanticizing it. They can shine so bright and be a gift to the world—and then they’re gone.” Not something she needs to worry about.

“When I came in to audition, I thought I’d be reading for [her best friend] Claudie,” Mosley explains.

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