From Jamaica, West Indies to Jamaica, Queens

"Welcome To America"
reviewed by A.J. Muhammad

The wave of Off-Off and Off-Broadway theatrical productions about the immigrant experience continues with “Welcome To America,” a charming, lively and timely new musical by a trio of multidisciplinary artists -- Karl O’Brian Williams, Andrew Clarke, and Joel Edwards -- who are making their debut in this genre.

Rather deploying cynicism, the creative team are decidedly aspirational in telling their story of an optimistic Jamaican woman named Sabrina (a winning performance by Fitgi Saint-Louis), who gives up her stable career as an educator in Jamaica for New York City to pursue her dreams of being a performing artist. In Queens, New York, Sabrina stays with her no nonsense Aunt Prudence (Carlene Taylor) and gets an unfulfilling job while auditioning for roles. Sabrina reunites with friends from back home: the fast-talking and resourceful Cynthia (Rachael Washington); and the cautious Elijah (an assured Andrew Clarke), a possible romantic interest, who has tempered his dreams of being a film star for the more grounded role of working with local artists at a community center.

While waiting for her big break, Sabrina tries her hand at improv comedy much to her Aunt Prudence’s confusion. She also meets an actor turned manager, Barry (a polished Dominique Allen Lawson) who offers to represent and sponsor Sabrina who is applying for citizenship while he incurs Elijah’s distrust--especially after Barry convinces Sabrina to sacrifice her uniqueness to assimilate. When Barry gets an unforeseen opportunity, he leaves Sabrina in flux. There’s also a domestic violence subplot involving Cynthia and an unsavory character (Rafael Nadal, not to be confused with the pro tennis player) who extorts money from her because of her undocumented status. A reoccurring image of a mime artist (also an immigrant) dressed as the Statue of Liberty who comes to the aid of some of the women in the show is a clever device and symbolic of the show's upbeat message.

“Welcome To America” is a reminder of the untold stories missing from the mainstream theater and that leading roles for Black women actors in new musicals are still too infrequent. The musical also depicts the often perilous road that immigrants must face when deciding to uproot themselves for more opportunities abroad.

The catchy reggae infused score includes a mix of original music and songs and those by artists including Jimmy Cliff. The creative team have admirably circumvented organizations and institutions available for only a select few to develop and present their work and have produced it themselves in conjunction with York College’s Performing Arts Center. The tech credits and minimal scenery that evokes multiple locations are fine.

The musical could benefit from further development and being edited down to an intermission-less hour and a half. The show's composers and book writer may also need to collaborate with a director and choreographer who are more at home with staging large ensemble musicals for a future run. If the producers keep Saint-Louis, clearly a trained dancer, it would be a crime if they don’t highlight her footwork more by using it to advance the plot.

“Welcome To America.” Produced by Braata Productions. Music and Lyrics by Andrew Clarke. Book, Music and Lyrics by Karl O’Brian Williams. Music, Music Direction and Vocal Arrangements by Joel Edwards. Director/Costume/Set Designer: Yudelka Heyer. Costume Design: D’Marsh Couture. Choreography: Courtney French. Janel Scarborough: Dramaturg & Additional Book Contribution. Zoe Rhinehart: Stage Manager. Sound Design: Jordan Orth. Ran from April 20-April 30th, 2017 at The Milton G. Bassin Performing Arts Center at York College in Jamaica, NY.

El Coqui Espectacular and the Bottle of Doom

Reviewed By A.J. Muhammad

Image Sourced by Studio Edgardo, LLC

Marvel Comic's Luke Cage and Jessica Jones have set the stage for a Latino superhero in Matt Barbot's witty action adventure play: “El Coqui Espectacular and the Bottle of Doom.”

Alex (Michael John Improta), a young Nuyorican comic book artist from Brooklyn has created a Puerto Rican superhero named El Coqui that he pitches to publishers and is rejected for ignorant reasons. With no other prospects he moves back home to mom Patricia (Annie Henk), and older brother Joe (Omar Perez) who works in advertising. Not to be deterred by failure, Alex dons a mask and blue onesie with the logo of the Puerto Rican national symbol of a frog (el coqui in Spanish) on it and watches out for citizens in peril. As his alter ego El Coqui, Alex attracts the attention of a fast-talking photographer Yesica (Christin Eve Cato), who turns him into an underground internet sensation while Patricia pressures Alex to get a job.

After Joe almost loses an account for a soft drink campaign that he objects to because of the stereotypical way it is marketed to Latinos by his colleagues, he selfishly enlists Alex's invention in a Puerto Rican Parade scheme to save the campaign. Once El Coqui becomes a smash, Alex’s alter ego gets co-opted by corporate America which causes him to lose Yesica's admiration and at the same time he fends off his arch nemesis in his mind--the well read El Chupacabra who plans on using the soft drink (“the bottle” referred to in the play’s title) to wreak havoc on society.

Barbot has larger ideas at play besides a conflicted superhero. He adds in issues that impact Latino Americans -- health, economics, gentrification, and assimilation -- while critiquing racism in media and advertising. He also presents a stable and functional Latino family. The areas of El Coqui that could be tweaked for a return and bigger production are tightening the script, developing the scenes within-a-scene between Alex and El Chupacabra, and cutting the intermission. Also, are Joe's monologues about Spanish grammatical rules necessary? They’re supposed to foreshadow events but ultimately sap the pacing of the play.

The fresh face cast display good comic timing and turn in nice work. The low key tech design is fine including Ian McClain’s comic book background projections. With the upcoming "Black Panther" film and other projects featuring people of color as superheroes in the pipeline, the time is right for a play about Latino superheroes. Barbot is on the right track with “El Coqui Espectacular” and it could be a contender if he wants to branch out into a series or film.

El Coqui Espectacular and the Bottle of Doom. By Matt Barbot. Directed by Nelson T. Eusebio III. Stage Manager: Ayisha Hunt. Lighting Design: Burke Brown. Co-Lighting Design: Joe Thompson. Projections Designer: Ian McClain. Costume Designer: Caitlin Cisek. Sound Design: Luqman Brown. Fight Choreographer: Ray Rodriguez. Mask Designer: Sean Devare. Ran from Nov 3-Nov 13, 2016.  Julia de Burgos Art Center at 680 Lexington Avenue.  New York City.

Where Did We Sit On the Bus?

Brian Quijada in "Where Did We Sit On The Bus?"
Image sourced from Ensemble Studio Theater

Reviewed by A.J. Muhammad

In the solo show “Where Did We Sit On the Bus?” Brian Quijada convincingly dances, sings, spits rhymes on top of live looping of his voice, music instruments and beat-box sounds to tell his story of being the son of immigrants from El Salvador and navigating race, culture, and education while striving to carve out a career as a Latino-American performing artist.

Quijada was born to a parents who immigrated to the U.S. and settled in a working class suburb in Illinois and he is caught between two worlds as a bilingual child. The feeling of being divided recurs throughout the show. The solo show’s title comes from a response that Quijada received when learning about Rosa Parks in elementary school. He asked “Where did we (Latinos) sit on the bus?” to which his teacher replied Latinos weren’t there. This reviewer hoped that Quijada would’ve use that as a jumping off point to include a couple of accounts of lesser known but equally pivotal contributions that Latinos have made to American history. Instead, Quijada solely focuses on his own childhood and recalls being transformed by watching Michael Jackson’s footwork on TV which then sparks his desire to become a professional performer much to his parent’s disapproval. The most poignant segments in this section are when Quijada recounts being mesmerized by the work of a DJ at parties in his community and incorporating Michael Jackson’s choreography into traditional Latin dance styles which is symbolic of the pop culture patchwork that is America.

Recalling his teen years attending a predominantly Jewish high school, Quijada caught flack for befriending Jewish classmates by his Latino friends who accused him of wanting to be white. He also experienced being racially profiled and discriminated against. In a poem, Quijada directly responds to Donald Trump's hate speech and demagoguing by explaining why people from Latin American are fleeing their home countries and what America stands to lose by preventing them from migrating to the U.S.

Quijada is likeable and works hard to get his points across, however, other artists of color have mined similar territory in their solo work over the past two decades. There’s a universality to Quijada’s stories and it’s clear that Latino men remain underrepresented on stage despite the successes of “Hamilton” and John Legiuzamo (from whom Quijada borrows the scene in the solo show "Freak" where Leguizamo does the voices of his parent's lovemaking during which he is conceived).

Director Chay Yew may have served Quijada better by getting him to delve deeper and making Quijada's narrative more of a sensory experience than giving us quick highlights from his accomplishments as a young actor.  Quijada could’ve also expanded on a section of his upbringing for the entirety of the show as did Charlayne Woodard in her autobiographical solo show trilogy (“Pretty Fire,” “Neat” and “In Real Life”).  This reviewer is curious to see Quijada evolve as a storyteller and performer and where his career transports him to next.

Where Did We Sit On The Bus? Written & Performed by Brian Quijada. Directed by Chay Yew. Scenic Designer: Angelica Borrero-Fortier. Lighting Designer: Diane D. Fairchild. Sound Designer: Brian Quijada. Projection Designer: Liviu Pasare. Production Stage Manager: Lloyd Davis Jr.  At Ensemble Studio Theater at 545-549 W. 52nd St. New York, NY.  Runs from Sept 10-October 9, 2016.

Night of the Living N-Word

Reviewed By A.J. Muhammad

In full disclosure the busy Kevin R. Free and I are colleagues as we both are on the producing team of The Fire This Time Festival. I missed developmental readings of his play "Night of the Living N-Word" which received its world premiere in FringeNYC in August, so I viewed his highly anticipated play with a blank slate.

In "Night of the Living N-word," the n-word may be symbolically dead and buried, but like characters in the iconic film "Night of the Living Dead" on which Free riffs and borrows the names of his lead characters, the n-word can't stay buried for long. It keeps rising and wreaking havoc on an interracial couple and their family. Although the play is billed as a "slasher-comedy," it is less a slasher than it is a dark psychological comedy that's both campy and provocative.

Ben (playwright and actor Kevin Free) is an actor on cop TV show and his activist wife Barbra (Eevin Hartsough playing a parody of a white woman) is uptight and self-righteous. Barbra and Ben plan to celebrate their teenage son Channing's (Aaron Parker Fouhey) birthday on the island plantation estate that Barbra inherited from her parents whose ancestors were slavers. The family is joined by Ben's father, preacher Clayton (Stanley Wayne Mathis) who has previously received Barbra's support in his effort to symbolically bury the n-word. Clayton also has an unusual interest in Channing's sexuality and has hired a private investigator (the versatile T. Thompson) to go undercover to find out personal information about Channing.

Although Barbra is invested in killing the n-word and rebelling against her racist parents, she has no problems calling a Black long time family servant "Aunt" Jinny (T. Thompson again) and benefits from the material wealth generated by her slave-holding ancestors. It doesn't take long for the play to set up that "Something bad happens" when the n-word is spoken, but at whose hands? It is the unemployed Ben, whose acting career has tanked and is perturbed by the closeness between Clayton and Barbra? Is it Barbra who is too eager to resort to violence to prevent her family from uttering the n-word? Or Aunt Jinny, who goes missing after a boat ride early on and re-appears late in the play with a shocking revelation or two?

Free gives us a post-Obama, but never post-racial, take on mixed race America, how society views mixed raced people and how they identify themselves. Free revives the debate about who can and can't say the n-word as well as the intergenerational divides between African Americans. Through Ben, we get a glimpse of the dehumanizing of the toll that racism takes on Black men in America. Barbra is presented as a well meaning white woman who can't help prescribing how Black people should live, but is unable to help Channing who is torn between the worlds of his parents while trying to maintain a romantic relationship with another young man.

By setting the play in the south instead of urban American, Free reminds us that that beneath the idyll and splendor of the south lies the real terror which he uses humor to depict: slavery, miscegenation by rape and illegitimacy, and land theft (enacted in flashbacks with non-traditionally cast Romeo Lacandola as Barbra's ancestors). Free uses the motif of mirrors throughout the play including a scene in which Barbra looks into the mirror and white America's fears of a Black man (Channing) in a hoodie is reflected back to her.  The play's ending is true to "Night of the Living Dead" which resonates all the more in modern day America with the senseless shootings of Blacks by law enforcement.

In keeping with the FringeNYC's low tech and DIY style, the cast provide sound effects using different instruments which adds to the tongue and cheek quality of the production. Locations are established by the cast holding up prop designer Joshua Coakley's black and white drawings like cue cards and Coakley's clever prop weapons evoke a theatricality that fits nicely within Free's story within a story device.

The cast expertly play the physical comedy and slapstick moments, and shift to drama when called for with ease. Broadway musical theater veteran Mathis is smooth, convincing and displays great comedic chops. It's Aaron Parker Fouhey who steals the scenes he's in as a sulky iPhone obsessed teen going through a sexual awakening and this could be one of the first plays where the n-word is used as an afrodesiac in a highly charged phone call between Channing and his would be boyfriend. Director Nicole Watson stages Free's play efficiently and doesn't overdo the silliness or camp aspects. She finds the balance between the thornier subjects, humor, and cinematic qualities of the play. Though at times the fast pacing caused a few of the more truly chilling moments to seem glossed over and some of the transitions could have been clearer.

"Night of the Living N-Word" deserves a full production where Free and his team have the time to tease out and expand the complex ideas Free compresses into the play. Free has such a crowded funhouse of ideas that it's easy to get lost in subplots and gags and he can find more gradations to the characters of both Ben and Barbra and their relationship with Channing.  Overall, Free has delivered and "Night of the Living N-Word" is just the play that should be seen regionally to generate much needed post-show conversations about race, white privilege and why it's so hard to kill institutional racism -- particularly in American theater of all places.

"Night of the Living N-Word!!" by Kevin R. Free.  Directed by Nicole Watson. Lighting Designer: Laurren Parish. Sound Designer: Carl Riehl. Dramaturg/Graphic Designer: Todd Brian Backus. Properties Designer: Joshua Coakley. Stage Manager: Clarrisa Ligon.  Production Manager: Clara Antonia Reyes.  2016 FringeNYC at The Player's Theater.  New York City. Ran Aug 16-Aug 26, 2016.

Shuffle Along, or The Making of the Musical Sensation of 1921 and All That Followed

Reviewed by Daphnie Sicre

Towards the end of "Shuffle Along, or The Making of the Musical Sensation of 1921 and All That Followed," Harlem Renaissance era photographer and artist Carl Van Vechten (portrayed by Brooks Ashmanskas) sings to the teams who wrote the 1921 musical Broadway musical "Shuffle Along," Sissle (Joshua Henry) & Blake (Brandon Victor Dixon) and Miller (Brian Stokes Mitchell) & Lyles (Billy Porter) that no one will remember them; no one will remember the show; and, it will fade into obscurity. That song strikes a higher cord. With the surprise announcement from the producers that they would close the show as soon as six-time Tony Award winner Audra McDonald (Lottie Gee) left at the end of July, the accomplishments of the current "Shuffle Along" and its entire company felt unfinished.

When you are watching a musical about the struggles the creators that first African-American Broadway musical faced and then the musical is cut short of ever reaching it true potential on Broadway today, one wonders what will the future hold for this "Shuffle Along..." as well? How will it be remembered? Will it also fade into obscurity? I hope not.

Robbed from earning any Tony Awards, especially for best choreography, producers claimed poor sales after the announced exit of McDonald, and decided to close the show early, but in reality, they did not allow the show to speak for itself. The musical is strong even without McDonald. Although she was exceptional, so was her understudy Darlesia Cearcy. The story stands on its own, and with all the other powerhouse performances from the leading cast and ensemble, anyone who saw the show would agreed and question why did it close so early?

As I was watching these incredible gifted actors giving it their all through the stories of Sissle, Blake, Miller and Lyles, I could not help but wonder were they projecting their frustrations with the politics of Broadway onto their characters. And if so, I wouldn’t blame them.

Here you have a musical that speaks of the accomplishments of the original production of "Shuffle Along." Yes, the musical would be considered racist by today’s standards, of course, especially because of its use of Blackface. But as an audience member, you can clearly understand why that was relevant then. But more importantly, as an audience we should be able to see the historical significance of the first Broadway show to be produced, written and performed by Black artists, and that should take precedence. We should be able to look past the racial divide of those times and recognize the musical's accomplishments given the 1920’s. We should be able to see these stories on stage today and celebrate its influences and how far we’ve come.

"Shuffle Along" was truly a gift to Black Theatre today. With incredible choreography by Savion Glover, dynamic performances by all cast members, and a hard, but true story of strife and struggle that artists behind the original "Shuffle Along" faced, it did not get the credit it deserved.  Had "Shuffle Along..." opened next season, and had it not ran against its counterpart "Hamilton," I am sure it would have swept the Tonys.

"Shuffle Along, or The Making of the Musical Sensation of 1921 and All that Followed" Directed by George C. Wolfe. Music and Lyrics by Noble Sissle and Eubie Blake. Original Book by F.E. Miller and Aubrey Lyles; New Book by George C. Wolfe. Choreography by Savion Glover; Music Supervision and Orchestrations by Daryl Waters, Set Design: Santo Loquasto. Costume Design: Ann Roth. Lighting Design: Jules Fisher and Peggy Eisenhauer. Sound Design: Scott Lehrer. Production Stage Manager: Penelope Daulton. The Music Box 239 W. 45th Street, New York City. Ran from March 15 - July 24, 2016.

Daphnie Sicre is a full-time instructor at BMCC-CUNY, where she teaches courses in theatre, social justice, and advanced public speaking.  Some of her NYC directing credits include: "Shower Me" at FringeNYC, "Stranger" for Stage Black where she won a Best Director Award and the Audelco nominated "Not About Eve."

Turn Me Loose

Reviewed by Daphnie Sicre

For some reason, I was expecting to see Joe Morton in "Turn Me Loose" in which he portrayed the comedian and civil rights activist Dick Gregory with a Dick Gregory beard, even though the posters showed him without one. I thought to myself, how can you create a show about Gregory without his iconic beard? Let me assure you it can be done, because the moment Morton started talking, he was Gregory. His posture, his mannerisms and his voice were Gregory’s. Plus, the play switches back and forth from the 1960’s to present day and in the 1960s, when Gregory did not have his iconic beard he had his iconic presence.

In "Turn Me Loose" the audience is taken on a journey that exposes how little racism has changed in this country over the past five decades. Morton uses humor to discuss racism and then quiets down the audience to talk about prejudice, just like Gregory was capable of doing at his first iconic debut at the Chicago Playboy Club. Morton, relives that moment on stage where Gregory addressed a white southern audience and won them over through his humor and class. Morton also relives the moment Gregory was called to perform on the "Tonight Show" starring Jack Paar, but refused because Black comics would only perform, but were not allowed to sit on the coach and talk with Paar.  Thanks to Gregory declining the offer, the producers allowed him to stay after his performance and sit on the couch; a first on prime time for a Black comic. Through a beautiful internal monologue we understand how Gregory would later become a civil rights activist.  Gregory said, “You can not laugh social problems out of existence."

Morton’s physicality and voice of Gregory are right on. He is able to adapt, regardless of the time period, from young to old, and old to young with swiftness. For anyone who has seen videos of Gregory’s performances through time, Morton nails every moment of them.  Although the show can get preachy at times, the message is necessary as the play is relevant to today’s contemporary issues on segregation and race.

Produced on a minimalistic stage, with just three tables and a couple chairs, Morton's performance is the show. The Off-Broadway show was produced by singer John Legend, written by Gretchen Law and directed by John Guild.  It opened to great reviews, and extended its run for an additional month. Gregory was in attendance on opening night; he loved it and so did the audience.

"Turn Me Loose" by Gretchen Law. Directed by John Gould Rubin. Set Design: Chris Barreca. Costume Design: Susan Hilferty. Lighting Design: Stephen Strawbridge. Sound Design: Leon Rothenberg. Production stage manager: Erin Cass. At The Westside Theatre, 407 W 43rd St, New York City.  Ran from May 3 - July 17, 2016.

Daphnie Sicre is a full-time instructor at BMCC-CUNY, where she teaches courses in theatre, social justice, and advanced public speaking.  Some of her NYC directing credits include: "Shower Me" at FringeNYC, "Stranger" for Stage Black where she won a Best Director Award and the Audelco nominated "Not About Eve."

Macbeth

Reviewed By Karl O'Brian Williams

Image Sourced
by Classical Theatre of Harlem

With the temperature hanging hot and humid in Harlem it was perfect for a tropical re-imagining of Shakespeare’s “Macbeth” produced by the Classical Theatre of Harlem (CTH) and staged in the Richard Rodgers Amphitheater in Marcus Garvey Park. The stage design immediately took you back to the colonial West Indies, with its colors, window treatments, burlap draping, and intricate properties. However, director Carl Colfield, and his team keep the Caribbean aesthetic fresh with contemporary Jamaican, and Eastern Caribbean notes wafting through the music, the movement, the fabrics, taking liberties with the language, and even coloring the villainy that plays out before us. Hats off to all the creators for immersing us into a world that was easy to navigate as our imaginations went wild, but never too far off.

For those who maybe unfamiliar with the play, in short, Macbeth gets a prophecy from witches that he is to rule, but with the king being alive this poses a problem. He shares the prophecy with his wife Lady Macbeth. Thus is birthed not only a double ambition to get the crown, but a great plot, and a thirst for evil so relentless it’s legendary. The play remains one of Shakespeare’s most popular and quoted works.

CTH’s artistic director Ty Jones sits in the title role of Macbeth with ease, and though there were some questionable choices made, it was a strong performance. The stage however, belonged to Roslyn Ruff as Lady Macbeth. From her first entrance to her last exit she lifted the bars of the Bard’s muscular language and threw them at us with precision, passion, and painful purpose… she was on point, and you felt every piercing moment of it.  CTH favorite Anthony Vaughn Merchant once again satisfied his Harlem audience with his accessible sense of humor and charisma as the Porter. CTH followers will remember him fondly from last year’s “The Tempest.” 

The witches were a wonderful spectacle, and so too were the dancers. This had much to do with Rachel Dozier-Ezell’s costuming, and the smart choreography of Tiffany Rea-Fisher – a combination that enhanced Colfield’s overall concept, and the execution of Christopher and Justin Wader's scenic design. The music and sound, the lighting design, the projections, and the make-up aided in rooting the production to bloom at such a high level of artistry on stage that it was clear another success had been cemented for the CTH.  As it closes on July 31, run to see it!

Macbeth by Williams Shakespeare. Directed by Carl Colfield. Choreographed by Tiffany Rea-Fisher. Scenic Design by Christopher Swader & Justin Swader. Lighting Design by Alan C. Edwards. Sound Design by John McKenna. Projection Design by Katherine Freer. Props Design/Video SFX Makeup Artistry by Samantha Shoffner. Music Direction by Shayshahn MacPherson. Fight Direction by Emmanuel Brown. Stage Management by Haylee Scott. Production Management by Rachael Harris. Voice & Text Consultant by Michael Early. Assistant Direction by Amen Igbinosun. Assistant Stage Management by Chelsea Friday.  Runs July 8-31, 2016. www.cthnyc.org/macbeth

Karl O’Brian Williams is a playwright, actor, and director who currently lectures at the Borough of Manhattan Community College in the Speech, Theatre & Communications Dept. His play Not About Eve has received awards in his native country Jamaica, as well as 3 AUDELCO nominations including one for Best Playwright.