Drama, Discovery & Learning
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Theater Central
Fela! Soars on Broadway
By Jeanette Toomer
An exciting mélange of Broadway musical and cabaret performance, “Fela!” soars as a uniquely inspiring theatrical experience. Jazzy African beats from the onstage band greet the audience as they take their seats. Dancers step onto the stage in African dance moves ingeniously created by the talented director and choreographer Bill T. Jones. The backdrop shows the corrugated walls of the “African Shrine,” Fela’s famous nightclub in Lagos, Nigeria. Fela, in a casual white suit appears centerstage, and the show begins.
Audience participation is very much a part of the opening of the play as Fela welcomes the audience to his last concert at the Shrine. Sahr Nganjah gives a towering portrayal of this world-renowned recording artist who was part composer/musician and part revolutionary. “Everything Scatter” has to be the most powerfully entertaining and enriching opening musical number in recent Broadway musical history.
The arms reaching and flailing, tightened fists, rolling rhythmic hips and searing choreography of Bill T. Jones is the brilliant attractive landmark of the Fela! musical. Arms swipe the air in fleeting movements, ensembles dance in tight electric formations, a tap dancer creatively stomps freeing rhythms, and the women move with steps rocking African beats and often peering with determination and pride. “Originality/No Artificiality” and “Black President” featuring Saycon Sengbloh as Sandra demonstrate expert dance execution.
Fela narrates his own story and relates his past in England and in the United States during a visit during the Black Power Movement years of the 1960s. At times, he plays trumpet and saxophone as well as direct the band. Nganjah expertly demonstrates the charm and talent of the late Fela Anikulapo-Kuti, his African pride and love for his mother who once served as an adviser to Nkrumah, but later died as a martyr under a corrupt regime. Lillias White sings with strength and valor as Fela’s late mother.
For Fela violence and incarceration are never far away as his lyrics and Afrobeat music continue to blast the corrupt government and the multinational corporations who reap the profits. Although the land is oil rich, Nigerian people go without water, as expressed in “Water No Get Enemy,” and the government spreads self-serving propaganda in “Teacher No Teach Me Nonsense.” The show utilizes protest-style accoutrements in its set, designed cleverly by Marina Draghici, borrowing from agit-prop theater with posters and flags hanging along the walls in front of the stage.
Costumes by Draghici and imaginative make-up by Robert Wierzel are beautifully multi-colored and fresh. Special projection effects designed by Peter Nigrini are a rare unexpected treat. Conceived by Bill T. Jones, Jim Lewis and Stephen Hendel with Sahr Ngaujah, Kevin Mambo and Saycon Sengbloh Fela! is a winner for all times and all people. Gelan Lambert deserves special mention for his fiery tap dancing.
Surely, there are Tony nominations waiting in the wings for Jones and its star. Topping the list of producers are Broadway theater newcomers rapper/entrepreneur Shawn “Jay-Z” Carter and celebrated t.v. and movie actors Will and Jada Pinkett Smith.
Fela! continues nightly and Wednesday matinees at the Eugene O’Neill Theater, 250 West 49th Street.
Broke-ology Triumphs with More Heart than Science
By Jeanette Toomer
Lincoln Center’s telling drama, “Broke-ology,” deals with much more than the science of being broke. With a finely-tuned cast directed by Thomas Kail, this tragedy, written by Nathan Louis Jackson, creates an insular world of warm laughter and brotherly love that hides a deeper break beneath the surface. The momentum steadily builds as two sons wrestle with the demands of an ailing father while the widowed father struggles with memories and unsettling grief for his late wife.
As catchy as the title is for this play, it is only a hook that testifies to the survival of this low-income black family in a tough Kansas City neighborhood. The dialogue between the brothers crackles with freshness and vitality. The first act features witty humor delivered by Ennis, portrayed brilliantly by Francois Baptiste, and his younger sibling, Malcolm, deftly played by Alano Miller. Baptiste delivers in all scenes with an an electric bravura performance.
The tension begins to mount after the youngest son who upon returning home from graduate school in Connecticut. He tells his father and older brother that he plans to return there after the summer. With growing unease Ennis copes with the emotional and financial demands of a newborn baby, wife and unfulfilling job. He tries to persuade Malcolm to stay while it becomes increasingly clear that their father turns more vulnerable every day from the crippling effects of MS.
As the father Wendell Pierce lapses easily into loving dream sequences with his wife who appears in his favorite dress to hug and relive happier times. As Mr. King Pierce lacks energy and limps convincingly about the stage. Pierce is credible as he feigns a genial face and smile to cover up his inner sorrow. Crystal A. Dickinson shines luminously as his perfect wife who reveals only one dream deferred but never fulfilled in her home life.
The challenges of directing on the thrust stage of the Mitzi E. Newhouse Theater present no problems to Mr. Kail who handily stages action and characters with good sightlines. From my seat I felt like I was eavesdropping on some of the more tense conversations between the brothers and Mr. King’s romantic interludes with his wife.
“Broke-ology” features some old school favorite hits by Earth, Wind and Fire and the Temptations which is a pleasant surprise. There are other enjoyable moments that require your presence. Effective lighting changes by Jason Lyons provide appropriate shading and mood for several scenes.
“Broke-ology” closed last fall after a long run at the Mitzi Newhouse Theater.
Ease Over to City Center to See "The Wiz"
By Jeanette Toomer
Top-notch direction, a brilliant score, a quartet of great performances and an energizing multi-talented chorus of singer-dancers all adds up to an engaging revival of the Broadway musical, “The Wiz,” now playing in midtown at the NY City Center. Produced by New York City Center Encore! and BET Networks this production, starring LaChanze, Dawnn Lewis, Joshua Henry and James Monroe Iglehart, brings this allegorical tale, based on “The Wizard of Oz,” to a new buoyant vitality.
There is much to rave about in this show. Let’s begin with the human storm that blows away Dorothy’s home. Dancers deconstruct the set in a building whirlwind of movement and musical swells as windows, frames, and clotheslines move away, blowing our Dorothy into a magical land. This is just one of the amazing transitions in the musical expertly directed by Thomas Kail with a fantastic mix of modern, jazz and hip-hop choreography by Andy Blankenbuehler. This energetic ensemble also forms the link for the trip down that yellow brick road and the invention of Emerald City.
Featured in this performance is Ashanti as Dorothy who technically delivers signature songs like “Home” and “Be A Lion,” but leaves much to be desired in her acting ability. On the other hand, there are several approving portrayals to make up for her weak performance.. La Chanze is loving as Aunt Em and the Good Witch Glinda when she wows the audience with her awe-inspiring renditions of “The Feeling We Once Had” and “If You Believe.” Joshua Henry steals several moments as the Tin Man with his perfect delivery, comic timing and his emotive styling in the plea-song for a heart. As the cowardly lion, James Monroe Iglehart, carries his weight. Christian Dante White is warmly amusing as the scarecrow who longs for a brain.
Three veteran t.v. and movie actors charm the audience in this limited engagement of “The Wiz.” Dawnn Lewis demonstrates playful musical comedy skill as the fumbling Addaperle. Tichina Arnold, most recently known for her recurring role in the t.v. series “Everybody Hates Chris,” is the loudly disgruntled Evillene, the witch, who proves that she can belt out a Broadway melody with ease and some nastiness, of course. Orlando Jones ably recreates the role of the wizard with an arrogant savvy, and later a humble reckoning.
The look of this amazing musical owes much to the colorful designs of their sets, costumes & hair, and lighting by David Korns, Paul Tazewell and Charles G. LaPointe, and Ken Billington, respectively. The music and lyrics, written by the late Charlie Smalls, remain timeless and very entertaining. Book by William F. Brown features breezy dialogue with a moral center. Original orchestration by Harold Wheeler (who has since worked on an Academy Awards production and several award-winning Broadway musicals including “Hairspray” and “The Life”) is mellifluous and exciting in sounds and execution under the direction of Alex Lacamoire.
Lastly, but importantly, the unique attraction of this bold revival owes much of its appeal to its hardworking ensemble totaling some 21 members, including Raymond Lamar Bennett, Tanya Birl, Darlesia Cearcy, Asmeret Ghebremichael, Angela Grovey, Ebony Haswell, Lauren Lim Jackson, Kevin Anthony, Carl Lation, Jennifer Locke, Amy McClendon, Kenna Michelle Morris, John Eric Parker, Herman Payne, Ryan H. Rankine, Levensky Smith, Ephraim M. Sykes, Adrienne Warren, Daniel J. Watts, Juson Williams and William B. Wingfield,
“The Wiz” plays at NY City Center on 55th street through July 5th, 2009
Wilson's "Joe Turner" Captivates Broadway Audiences
By Jeanette Toomer
The late playwright August Wilson has plenty of reasons to smile in his heavenly home. The gripping revival of his taut drama, “Joe Turner’s Come and Gone” is presently captivating Broadway audiences with riveting portrayals of his finely-wrought characters that carve a life out of an unsettling time for African Americans in 1911.
The set falls into place slowly once the curtain rises at the Belasco Theater. Against a grayish landscape with dark smokestacks of the steel mill in Pittsburgh, two wooden window frames, and a door drops out of the sky and a dining table rises out of the floor ingeniously depicting how African Americans made their living out of nothing after the Civil War. Indeed, well into the next century many lived a transitory existence.
. The setting of a boardinghouse perfectly mirrors these realities. A hardworking couple, Seth and Bertha Holly, played confidently by Ernie Hudson and Latanya Richardson Jackson, own and manage the premises. Their tenants, except for the rootworker, Bynum Walker, come and go. Veteran actor, Roger Robinson, gives a soft spoken, layered, but bravura performance as this shaman-healer who helps people “find their song” in a new land. Along comes Herald Loomis, a man torn from his home and in search of his wife, who is very troubled, ominous and dangerously silent. Chad L. Coleman as Loomis emanates a powerful foreboding presence that hints at a terrible unspoken burden.
Lighter moments between transient guests reveal more about the search to belong and partner with someone. Andre Holland is Jeremy Furlow who expertly adds comic touches to his wooing of Mattie Campbell (Marsha Stephanie Blake), and later moves on to another single female, Molly Cunningham (Aunjanue Ellis). Ellis is a sparkling gem as Cunningham and Blake deftly demonstrates her unrequited longing and denial of rejection by her former lover. Rutherford Selig, the “people finder,” is the only white character ably portrayed by Arliss Howard. Amari Rose Leigh is Herald’s obedient daughter and a youthful Michael Cummings plays her friend.
Near the end of the play Loomis finds his wife, now named Martha Pentecost, a born-again, bible-toting Christian. Dana Gurira is the spirited Pentacost who wields her bible with authority, but fails to reach Herald. It is only in the astounding climax that Loomis commits a dramatic liberating act that in the words of August
Wilsonenables him to, “accept responsibility for his own presence in the world.”
Direction by Bartlett Sher underscores the sense of lost and disconnection of a people striving to find their place. Sher has everything working to effect a tight creative vision that shows up the differences between the characters, but also underscores the cultural and spiritual significance of their journey.
Set design by Michael Yeargan is worthy of Tony award recognition. Sher’s seamless direction and featured actor Roger Robinson deserve honors as well from the annual Drama Desk and Tony voters. In fact, in many ways this revival has bested the original production that starred a towering Delroy Lindo as Herald Loomis. For that accomplishment and more, “Joe Turner” should win the Tony for best play revival.
Black Theater Alert! Wilson's "Joe Turner" On Broadway
By Jeanette Toomer
August Wilson's compelling drama, "Joe Turner's Come and Gone" returns to Broadway this spring. Set in 1911, Joe Turner's Come and Gone tells the story of Herald Loomis who, after serving seven years hard labor, journeys North with his young daughter and arrives at a Pittsburgh boarding house filled with memorable characters who aid him in his search for his inner freedom.
The play officially opens April 16th and runs through mid-June. The cast features Chad L. Coleman as Herald Loomis and movie/t.v. actors, Aujanue Ellis, LaTanya Richardson Jackson and veteran of stage and screen Roger Robinson. "Joe Turner's Come and Gone" was the second drama the late playwright, August Wilson, wrote that dramatized the lives of African Amercans during each decade of the 20th century. Wilson went on to garner two Pulitzer Prizes for drama for "Fences"in 1987 and another for "The Piano Lesson" in 1990. In addition, he was awarded the Tony Award for best drama for "Fences."
"Joe Turner" closed June 15th.
SIGNATURE tHEATER lAUNCHES nec rEVIVAL WITH "fIRST bREEZE"
"First Breeze" Shadows the Past
By Jeanette Toomer
Leslie Lee's "First Breeze of Summer" is a triumph for the Signature Theater Company in its revival of the Negro Ensemble Theater catalog of groundbreaking dramas from the 1960s and 1970s. Starring Leslie Uggams, "First Breeze" provides insight into the past life of the matriarch that casts a shadow on the present prosperity of a black middle class family.Through flashbacks the life of Gremmer unravels onstage beginning with her first love, Sam Green, portrayed by Gilbert Owuor. Yaya Dacosta as the youthful Gremmar, known as Lucretia, is winning as the gullible ingenue and blushing girlfriend who soon finds herself pregnant with Sam's child. Unfortunately, through an unexpected turn of events Sam loses his porter's job and has to leave the town to find work leaving Lucretia with the promise to return once he lands a permanent job.Switching back to the present, Gremmar enjoys the family life and solid Christian traditions of her adult son and his family with whom she lives. Jason Dirden as the youngest grandson, Lou, is eager to please his parents, but strongly defends his right to define a future for his himself outside the family business. The dialogue between him and his older brother, portrayed brilliantly by Brandon Dirden, points out the striking differences in their personalities.When the play returns to Lucretia, she is working as an in-house maid and cook pursued hotly by Briton, her white employer's son. Eventually, she bends to his will and becomes pregnant again. He will not marry her. The next turn of events proves even less hopeful. Next, we see Lucretia court a black man with the hopes of becoming a preacher. She passes herself off as a widow with two children.Meanwhile, in their present lives Lou stands up to his father and his right to pursue a career in medicine. Gremmar supports him, but makes Lou face an ugly truth about his self-esteem. In fact, in the climax it is the unspoken secret of her life that she hides only to resurrect it to force Lou to appreciate the full measure of his heritage and promise.This production featured a strong cast with standout performances from Jason Dirden, Leslie Uggams, Quincy Dunn-Baker (Briton), Marva Hicks playing Milton's wife and John Earl Jelks as Harper Edwards, Lucretia's last suitor. Brenda Pressley, Keith Randolph Smith, Harvy Blanks, Tuck Milligan and Sandra Daley capably filled in supporting roles.
Direction by Ruben Santiago-Hudson supported the unspeakable bonds between the past and the present that overshadowed this poignant drama. Original music by Bill Sims, Jr. uplifted early scenes and set design by Michael Carnahan creatively displayed an open house with playing space on the front porch, livingroom area and Lucretia's bedroom.Ossie davis endowment launch at 1199 crossroads
Ossie Davis Scholarship Campaign Launch at 1199
By Jeanette Toomer
The crossroads of culture, labor and politics evident at 1199 SEIU United Healthcare Workers East’s headquarters and art gallery proved the perfect backdrop for the launch of the Campaign for the Ossie Davis Endowment. On Friday, February 29th nurses, educators, health professional, actors and many well-wishers congregated in the first floor exhibit space for a reception that preceded the celebratory reading of Davis’ short historical drama, “The People of Clarendon County” by a famous cast of actors led by his wife Ruby Dee, Lou Gossett, Jr., Harry Belafonte, Jr., Alan Alda and Rev. James Forbes. This reading was the first of several events in major cities around the country to raise one million dollars for the Davis Scholarship.
On the walls of the art gallery hung portraits of activists, labor leaders and cultural artists. Since 1980 the 1199 union has sponsored a Bread & Roses series of posters, curricula and programs supporting a legacy of organized struggle for justice and equality. Rev. Dr. Martin Luther King, Jr., Malcolm X, Ruby Dee and Ossie Davis. The late actor, playwright and director died on Febuary 4, 2005 after a long career in theater (“Anna Lucasta,” “Purlie Victorious,” “I’m Not Rappaport”) and film (“Do the Right Thing,” “Cotton Comes to Harlem,” “Miss Ever’s Boys”).
Following the reception, George Gresham, president of 1199, welcomed the full capacity audience and spoke of the union’s “proud history of social justice,” noting that Rev. Dr. Martin Luther King, Jr. had told them that 1199 was his “favorite union.”
He credited the late actor, Ossie Davis, with helping to organize workers in a nursing home in 2001. He presented a short video showing Davis' involvement over the years and then announced that 1199 made a contribution of $25,000 to the Ossie Davis Endowment.
Dr. Haki R. Madhubuti, author, educator, founder of Third World Press and co-founder of three schools, recalled Davis as “always the human rights advocate.” His company published in book form Davis’ play The People of Clarendon County with additional essays memorializing the author/actor/activist. Furthermore, he said, “all the profits from the book will go towards the endowment. We will take up collections at our four schools.”
Afterwards, the cast took to the stage and read aloud the play which dramatized the beginning of an early case in South Carolina that later formed the impetus for the groundbreaking Brown vs. the Board of Education decision in 1954 that outlawed the “separate but equal” doctrine in public schools. In spite of threats and burning the local church, this small group of concerned black citizens agreed to be part of a larger decision that struck down injustice and unequal conditions in “colored” schools across the South. Folk singer and recording artist, Odetta, sang three soul-stirring revolution songs after the reading.
The National Heritage Foundation is receiving tax-deductible donations for the campaign and the United Negro College Fund (UNCF) will administer the endowment. The ultimate goal is a five million dollar endowment to support the Ossie Davis Scholars, African American college students charged with continuing his life of artistic activism. For more information call 212 491-9118 or visit www.OssieDavisEndowment.com
NBT Founder barbara ann teer passes
By Jeanette Toomer
One of the brightest lights in the national black theater, Barbara Ann Teer, passed on Monday, July 21, 2008. Her life and dynamic leadership created its permanent home --a modern three-story complex on 125th St. and Fifth Avenue--and launched the careers of many artists, playwrights, actors and directors.
On Sunday, July 27th, the National Black Theater will open its doors for viewing and farewells to Teer. Her legacy, however, lives on in the legions of artists who carry on the black theater tradition here and abroad.
Theater Central
DDL provides the latest news and advice on theater, and educational theater events in New York.
Check theater central regularly for updates.
At the Movies
If you did not catch "The Great Debaters" at the movies last Christmas, look for it when it comes out on DVD. This is real family movie with an empowering message for all young people.
Writing Tips for Teachers
Recommended by Jeanette Toomer
- Model first for students the writing technique or strategy that you are teaching them.
You can do this by either writing it as a model during the mini-lesson before the work period, or distribute copies of a it (for example, a summary) and read it aloud with the
the students showing how it captures the main idea, key words, topics and important details.
mark important facts, reasons, examples or details that they use as textual evidence when they write about the article or textbook passage.
“Writer’s Notebook”.
- Incorporate “Exit Writes” or “Quick Writes” so they can summarize
and/or write opinions about what they’ve learned in a lesson.
Example of Exit Writes: (Debriefing Tool)
What is one thing I learned today that I’d like to remember?
Why is summarizing a helpful writing skill?
- Make writing a group activity.
Have students work together in small groups and have each
student write a paragraph in a five-paragraph essay. Then
they read it aloud with their partners. Have them share with another
group.
Writing is a craft. To become good at it takes practice.
Incorporate a writing activity in each lesson. Praise their efforts!
- Have students use graphic organizers or charts to help them learn
how to prewrite in order to develop ideas for writing assignments.
- Teach the writing process. Take students through the four steps-prewrite, draft, revise, and publish--to create a finished, publishable essay or story.
Re-Verse Literary Conference at Hostos
By Jeanette Toomer
On Saturday, October 25th the Literary Freedom Project held its Literary Conference at Hostos Community College in the Bronx. It was a day of well-informed educational workshops and a resource for new ideas to engage teenagers and youth in reading modern literature and improving their reading and writing skills. Presenting partners were the Bronx Council on the Arts, Backlist and Hostos.
The Literary Freedom Project is a not-for-profit arts organization "that supports the literary arts through education, creative thinking and new media." LFP also publishes "Mosaic Literary Magazine." For more information visit LFP's website at www.literaryfreedom.org.
Trouble the Waters
By Jeanette Toomer
This is a riveting award-winning documentary of devastation and emotional trauma of Hurricane Katrina in August 2005. Filmed by Katrina survivors and novice filmmakers this film captures the damaging effects of Katrina on a black family and community in New Orleans.
Recently, I had the opportunity to view this compelling documentary at BAAD Theater in the Bronx. It disturbed me that so many people, predominantly black citizens, had to struggle to survive in the aftermath of Hurricane Katrina flooding New Orleans.
DDL maintains a blog at dramadiscoveryand learning.com/blog.html. Feel free to write in your response to queries or entries.
Join NCTE in Celebrating Literacy Education Advocacy Month
The NCTE Literacy Education Advocacy Calendarlists possibilities, from sharing NCTE positions with your colleagues to visiting your state lawmakers while they're home in April to taking part in NCTE's Advocacy Day in Washington, D.C., on April 23.
Using NCTE's 2009 Legislative Platform to Influence Literacy Education
by Kent Williamson, NCTE Executive Director
If there was any doubt that change was in the air on Capitol Hill shortly after the inauguration ceremonies, those doubts were blown away in the first hours of meetings between the NCTE Government Relations Platform Writing Team and key legislative staffers on January 29. After three days of meetings and careful drafting to zero in on the issues where Council action can prove influential, the 2009 Legislative Platformwas ready.
Platform Highlights: The thrust of our platform is to encourage Congress to take a comprehensive approach to supporting literacy learning. It is grounded in the need to provide every student with the kinds of rich learning challenges that will imbue them with the critical communicative and analytic abilities referenced in our definition of 21st century literacies. To accomplish this, it sets out ambitious literacy education reform criteria for Congress and other federal authorities in the areas of
assessment;
an inclusive definition of scientifically valid research;
writing and reading as equal, interdependent components of literacy development;
support for English Language Learners and the youngest literacy learners (those under age five); and
job-embedded professional development.
Making it Happen: With these powerful goals established, there are three primary pillars to our government relations strategy this year:
1. Work with allied literacy groups to put together a bill (either as a component of reform of the Elementary and Secondary Education Act or as a free-standing measure) that funds comprehensive literacy planning at the state and district levels.
2. Inform our members and their departments/districts of how the American Recovery and Reinvestment Act funding (stimulus monies) and other sources of federal support can be used to access NCTE resources and other high quality teacher learning materials.
3. Build broad support for a congressional measure to establish October 20, 2009 as the National Day on Writing.
For more information on the National Council of Teachers of English literacy education platform and activities, visit their website at ncte.org. Their annual conference is scheduled for mid-November in Philadelphia, Pennsylvania.
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