Monday, November 28, 2011
Presentation
Our section only held my group and one other so we only saw that other presentation. I liked it. Many of them were psych majors so they were very introspective. The topic was about memory and sentencing in prison. I think that both our groups could've talked for far longer than 8 minutes. I felt that I had so much more to say and I had to abruptly condense it and I really wanted to get my point across. I would've liked to have been in a larger group so I could have seen more presentations, but I was satisfied with the one I saw. My group did an amazing job putting ours together and it was an enjoyable experience all together.
Reflection
Freshman seminar as a whole is a class that I honestly would not take again if given the option. Don't get me wrong I learned a multitude of life lessons from the lectures from Carr and Beatty, but I greatly disagreed with some of the others lectures. I feel that a small level of supremacy is what I heard and it bothered me. There would be lectures when whites were blatantly out down and I feel that w don't need to put down another race to raise ourselves up. There would be kids in the class who were of caucasian decent and I would just see the uncomfortable looks on their faces and that angered me a bit. Freshman seminar was sloppily put together and though the idea of the course is understandable it should have been structured better.
Monday, November 21, 2011
"UNLEASHED" (Special Events #4)
My absolute favorite of all the shows Howard University Theater had this semester. This show far surpassed my expectations. There was high quality and tremendous talent both in the dancers and the choreographers. This Dance showcase entitled, “Unleashed: Inventive Explorations and Inhibitions” ran for too short of a time. November 18th and 19th 2011, was not enough time for the community to absorb this magnificence. I would love to see this staged again so that more can be inspired and motivated from it. The question and answer section after was a pleasant surprise for me. Seeing Interim Coordinator, Denise Saunder Thompson brought to tears by the actualization of this show thanks to a financial donor made me see the commitment she has to the excelling of her students and to the theater arts.
The ambiance created by light designer, TW Starnes was always in accurate alignment with the feeling of the piece that was being performed. It added heavily to the various moods intended by each dance. It evoked stunning when it needed to be so and soft when required and everything else in between. It was very clear that rehearsal director, Pat Thomas and assistant rehearsal director Christen Williams were dedicated. This was evidenced by the high quality of the entire performance. The last dance performed and choreographed by Kevin A. Harris was the only exception leaving me feeling a little disappointed that the quality and dedication to this last dance was lacking in passion and quality. This however was miniscule and took no glory from the magnificence of the entire show.
It was very hard to choose just one piece to focus on. I loved Alyse Johnson’s “The Cold Side of The Pillow”. This ballet spoke to me and evoked several emotions. The authenticity of this choreography was un-doubtable. I would defiantly attend her shows. However the dance that stood out in my soul the most was “The Real Cool” by Camille A Brown.
First there was blackness out of which came a blue light forming the background of the stage. The blue light was strongest at the bottom and fading into the powerful blackness of above. A silhouette was created by a powerful presence of one being on the stage. I was already pulled by the initial blackness but now a stronger force seemed to pull me. The being on stage seemed at first to be engaged in mime. This feature began to create a feeling of tension in me as the mime grew in energy. This growth was conveyed by the being’s increased speed in movement together with an intense breathing that also grew in speed juxtaposed by the music, “What a wonderful World”.
I use the word “being” because even though a “woman” is in the body fitted costume, which laced up in the back, she embodied the struggle of what seemed to be many humans consisting of both male and female. In the process of this daily struggle and repetitive motions of work and rest and work and rest and work and rest many are dislocated from their soul and humanness. In order to maintain the physical body however and all the other physicality’s that go along with this maintenance such as food, clothing and shelter most “must” be employed to gain money to pay for these things. Brown does an excellent job of portraying this struggle with abrupt rigid moves of her joints. I felt that she was a puppet on a few strings because her elbow would rise leaving her hand still dangling, then all of a sudden her head would arise and eventually her hands. The fact that the spotlight remained on her caused me to be even more engaged in the dance and to feel that I was also this being experiencing this emotion.
As the piece progressed the tension within me also progressed. I thought of the “rat race” that many in the US and other developed countries live daily. There was a repetition of her resting and then arising most times as if forced to arise. This made me think of the working human mindlessly “doing” a job with no real engagement of heart or soul followed by sleep only to be startled into action by an alarm clock the next morning with insufficient rest. As this progresses over a lifetime (and for some just a few months or years in enough) one becomes tiered and sad. The energy needed to continue to work becomes harder to find and so the resistance increases. She portrays this well with the panting breath that we hear. The resistance is seen in her face. Though her face seems to portray that of a puppet we see her human side just enough to know her anguished feelings.
As “What A Wonderful World” is playing, a haunting feeling arises in me and I am brought to tears as I feel her struggle. She seems to be building something every time she “arises”. This is conveyed with building movements she creates with her hands. Whatever she is building seems to have no true meaning to her. She seems to represent an enslaved person, a pawn in a bigger plot to which she is opposed, a puppet on a string whose body is controlled by another’s body and mind and a person opressed by a larger system.
The choreographer, Camille Brown did a superb job in conveying her intent of contradiction through music and action. In addition, the choice of costume by costume coordinators Michael Bradford and Jeleesa Greenley was well suited to this piece in which the ability to see all of her body enhanced and highlighted the intent behind the jerky movements of the figure. It also allowed us to see appreciate the rhythm of her movements.
By the end of the modern dance I am also very tiered and amazed at how much I am affected by this piece internally. My limbs even grew tiered as I anticipated an end that seemed never to come. Finally it did as the limbs of the being/puppet/dehumanized human got closer and closer to the floor in shear exhaustion. Just before the curtain fell, Brown left us with a haunting smile that was intentionally fake and highlighted by the very red lipstick. Her dramatic make up fit the performance, as we were able to see again the contradiction in expression and the real emotion of the being.
This fake smile was accompanied by a wave that left me disturbed but simultaneously stirred inside with the desire and commitment to be true to my own art and life. A renewed commitment to my own authenticity was then “Unleashed”.
The ambiance created by light designer, TW Starnes was always in accurate alignment with the feeling of the piece that was being performed. It added heavily to the various moods intended by each dance. It evoked stunning when it needed to be so and soft when required and everything else in between. It was very clear that rehearsal director, Pat Thomas and assistant rehearsal director Christen Williams were dedicated. This was evidenced by the high quality of the entire performance. The last dance performed and choreographed by Kevin A. Harris was the only exception leaving me feeling a little disappointed that the quality and dedication to this last dance was lacking in passion and quality. This however was miniscule and took no glory from the magnificence of the entire show.
It was very hard to choose just one piece to focus on. I loved Alyse Johnson’s “The Cold Side of The Pillow”. This ballet spoke to me and evoked several emotions. The authenticity of this choreography was un-doubtable. I would defiantly attend her shows. However the dance that stood out in my soul the most was “The Real Cool” by Camille A Brown.
First there was blackness out of which came a blue light forming the background of the stage. The blue light was strongest at the bottom and fading into the powerful blackness of above. A silhouette was created by a powerful presence of one being on the stage. I was already pulled by the initial blackness but now a stronger force seemed to pull me. The being on stage seemed at first to be engaged in mime. This feature began to create a feeling of tension in me as the mime grew in energy. This growth was conveyed by the being’s increased speed in movement together with an intense breathing that also grew in speed juxtaposed by the music, “What a wonderful World”.
I use the word “being” because even though a “woman” is in the body fitted costume, which laced up in the back, she embodied the struggle of what seemed to be many humans consisting of both male and female. In the process of this daily struggle and repetitive motions of work and rest and work and rest and work and rest many are dislocated from their soul and humanness. In order to maintain the physical body however and all the other physicality’s that go along with this maintenance such as food, clothing and shelter most “must” be employed to gain money to pay for these things. Brown does an excellent job of portraying this struggle with abrupt rigid moves of her joints. I felt that she was a puppet on a few strings because her elbow would rise leaving her hand still dangling, then all of a sudden her head would arise and eventually her hands. The fact that the spotlight remained on her caused me to be even more engaged in the dance and to feel that I was also this being experiencing this emotion.
As the piece progressed the tension within me also progressed. I thought of the “rat race” that many in the US and other developed countries live daily. There was a repetition of her resting and then arising most times as if forced to arise. This made me think of the working human mindlessly “doing” a job with no real engagement of heart or soul followed by sleep only to be startled into action by an alarm clock the next morning with insufficient rest. As this progresses over a lifetime (and for some just a few months or years in enough) one becomes tiered and sad. The energy needed to continue to work becomes harder to find and so the resistance increases. She portrays this well with the panting breath that we hear. The resistance is seen in her face. Though her face seems to portray that of a puppet we see her human side just enough to know her anguished feelings.
As “What A Wonderful World” is playing, a haunting feeling arises in me and I am brought to tears as I feel her struggle. She seems to be building something every time she “arises”. This is conveyed with building movements she creates with her hands. Whatever she is building seems to have no true meaning to her. She seems to represent an enslaved person, a pawn in a bigger plot to which she is opposed, a puppet on a string whose body is controlled by another’s body and mind and a person opressed by a larger system.
The choreographer, Camille Brown did a superb job in conveying her intent of contradiction through music and action. In addition, the choice of costume by costume coordinators Michael Bradford and Jeleesa Greenley was well suited to this piece in which the ability to see all of her body enhanced and highlighted the intent behind the jerky movements of the figure. It also allowed us to see appreciate the rhythm of her movements.
By the end of the modern dance I am also very tiered and amazed at how much I am affected by this piece internally. My limbs even grew tiered as I anticipated an end that seemed never to come. Finally it did as the limbs of the being/puppet/dehumanized human got closer and closer to the floor in shear exhaustion. Just before the curtain fell, Brown left us with a haunting smile that was intentionally fake and highlighted by the very red lipstick. Her dramatic make up fit the performance, as we were able to see again the contradiction in expression and the real emotion of the being.
This fake smile was accompanied by a wave that left me disturbed but simultaneously stirred inside with the desire and commitment to be true to my own art and life. A renewed commitment to my own authenticity was then “Unleashed”.
Sunday, November 20, 2011
“For Colored Girls Who Have Considered Suicide When The Rainbow is Enuf.” (Special Events #2)
Can I start this blog with an “Ouuuuuuuuuuuu”? The semi darkness, coziness, the leaves of the set and the bark of the tree along with the sad music provided an intimate vibration that was irresistible. Upon entry one could not help but be astounded by the realness of the tree and the leaves. The Environmental Theater Space was the perfect place for this play. It was hard for anyone to choose where to sit in this black box space. For everywhere was filled with various possibilities for different visual perspectives of the performance.
This space, though a black box, was made into a thrust stage also. The seats were arranged on three sides of the space and the back wall was used in the creation of the set as well as an entrance and exit of the performers. They also used the door the audience used.
The circle of stones in the middle of the set seemed to hold magical power, mystery and secrets. It seemed to represent a center for not only stage a spacing reasons but also as a local to bring the women and their experiences together. Throughout the play the women gathered around this at various points to share stories, to remember, to cry, to dance to commune. It was like a well of memories “…and magic” as lady in Blue would say.
There was so much to absorb before the play began. The audience sat with great anticipation as we all felt like part of what was about to take place. The blackness enveloped us and there was thunder. “Spirits of the wind I can feel you in my skin” was just the energy created by this production.
Sound designer, Cresent Haynes proved showed superb skill in this field throughout the entire piece. The choice of music and sound effects through out the production seemed to be precisely in tune with the mood of the particular moment. “Porcelain Doll” was an excellent choice for the beginning of this choreopoem by Ntozake Shange. The sound of trains during “I Used to Live in The World” was seamless and very appropriate. The sound effects gave strong support to this poem and helped bring it to life.
George H. Epting’s work together with the work of sound designer, Haynes, created an un-forgettable ambiance for this presentation. Light designer, Epting, showed his strengths many times. A few that stand out was at the beginning when he used the blue to create a felling of somberness and seriousness. As the dancers danced the lighting gently supported their expressions and was able to seduce us into becoming one with the spirit that they seemed to conjure. Other periods where he showed his expertise was during lady in Yellows first poem about “Graduation Night”. He put the spotlight directly on the ladies who transformed two benches into a car. The fact that he made everything else dark and focus the lights on only that spot the audience was also able to focus all their attention on only that one spot.
The costume design seemed to be wanting more. The all black skin fitting suits may have worked better had they fit the women better or had there not been so many obvious pins or loose threads. The all black worked well in terms of relaying the common thread among them all. The costume portrays the women’s obvious female bodies and the fact that they were all women of African descent. The addition of each ones color seemed to work smoothly on a technical level however they failed to accentuate the feminine energy each women possessed. Instead it hid the curves that could have added so much more especially with some of the moves they conveyed. The hair of all the women worked extremely well though. It unified the women’s story into one story with many parts and emotions. This hairstyle also highlighted the ladies faces and expressions. It also brought into play again the presence of the African link.
The Director contributed a little more than simply a good effort to this production. A lot of repeat imagery was implemented to represent and portray the pain and agony that these women often experienced. This was done with both the dancers at the beginning and repeated again with both lady in Blue, “Sachita” and Lady in Red. The presence of the hands near the genital region as the dancers lay on their backs on the floor with their legs open and feet together created a very jarring visual. They seemed almost in pain. When lady in Blue is recounting and reliving her abortion she again assumes a variation of this position when she in talking about her womb. “Sachita”, narrated by lady in Purple shows again a variation to this and so to does lady in Red. The reappearance of this position, that seems to represent agony in a unifying theme throughout the stories of the women. This piece is about beings with wombs that we know as women. African America women who are at varying stages of their life throughout the play and who at times are coming to accept their selves as such in a powerful way.
The Actors who stood out were lady in Yellow, lady in Green lady in Brown and lady in Red. Lady in Yellow was strong and powerful at every point. If they were doing a dance and stretching out their hands lady is yellow could be seen putting all her energy into her hands. When she laughed the audience laughed. Lady in Green gave a very powerful rendition of her “Stuff”. When portrayed Sachita she did not seem to exude much enthusiasm nor commitment to the piece but as lady in Green she capture the crowds attention and committed emotion. The audience was fully present in her piece. Lady in Brown did an excellent job in relaying poems that gave a lot of history. She was able to make this history fun and exciting. We learned a little about Haiti and Toussaint. She was loud enough for us and seems to embody the part.
Then there was lady in Red, who stole the show. Her piece where she was in the tub was very well supported by both the sound effects and lighting. As she washing her self the audience was able to hear the water as it trickled down the tub. She was precise in her words and actions and indeed she was a temptation to everyman. She brought to life her children and their father with out them being there physically. She was able to bring their spirits alive for us to see and feel them. This is evidence of a great actress.
The stage manager and assistant stage manager both did an amazing job with the entrances and exits of the entire show. It was seamless and the timings were perfect. The imagery at the ending with the Tree matched some of the last words by lady in red. They all found themselves “..in God and loved her fiercely” was indeed a powerful line and feeling.
Director L.A. Williams has a lot to be proud of. It was evident that the audience really listened and this was able to facilitate healing. Dramaturge, Otis Ramsey-Zoe, represented wonderfully the intended result of this play in his chosen work for the cover of the program. This intent is healing.
This space, though a black box, was made into a thrust stage also. The seats were arranged on three sides of the space and the back wall was used in the creation of the set as well as an entrance and exit of the performers. They also used the door the audience used.
The circle of stones in the middle of the set seemed to hold magical power, mystery and secrets. It seemed to represent a center for not only stage a spacing reasons but also as a local to bring the women and their experiences together. Throughout the play the women gathered around this at various points to share stories, to remember, to cry, to dance to commune. It was like a well of memories “…and magic” as lady in Blue would say.
There was so much to absorb before the play began. The audience sat with great anticipation as we all felt like part of what was about to take place. The blackness enveloped us and there was thunder. “Spirits of the wind I can feel you in my skin” was just the energy created by this production.
Sound designer, Cresent Haynes proved showed superb skill in this field throughout the entire piece. The choice of music and sound effects through out the production seemed to be precisely in tune with the mood of the particular moment. “Porcelain Doll” was an excellent choice for the beginning of this choreopoem by Ntozake Shange. The sound of trains during “I Used to Live in The World” was seamless and very appropriate. The sound effects gave strong support to this poem and helped bring it to life.
George H. Epting’s work together with the work of sound designer, Haynes, created an un-forgettable ambiance for this presentation. Light designer, Epting, showed his strengths many times. A few that stand out was at the beginning when he used the blue to create a felling of somberness and seriousness. As the dancers danced the lighting gently supported their expressions and was able to seduce us into becoming one with the spirit that they seemed to conjure. Other periods where he showed his expertise was during lady in Yellows first poem about “Graduation Night”. He put the spotlight directly on the ladies who transformed two benches into a car. The fact that he made everything else dark and focus the lights on only that spot the audience was also able to focus all their attention on only that one spot.
The costume design seemed to be wanting more. The all black skin fitting suits may have worked better had they fit the women better or had there not been so many obvious pins or loose threads. The all black worked well in terms of relaying the common thread among them all. The costume portrays the women’s obvious female bodies and the fact that they were all women of African descent. The addition of each ones color seemed to work smoothly on a technical level however they failed to accentuate the feminine energy each women possessed. Instead it hid the curves that could have added so much more especially with some of the moves they conveyed. The hair of all the women worked extremely well though. It unified the women’s story into one story with many parts and emotions. This hairstyle also highlighted the ladies faces and expressions. It also brought into play again the presence of the African link.
The Director contributed a little more than simply a good effort to this production. A lot of repeat imagery was implemented to represent and portray the pain and agony that these women often experienced. This was done with both the dancers at the beginning and repeated again with both lady in Blue, “Sachita” and Lady in Red. The presence of the hands near the genital region as the dancers lay on their backs on the floor with their legs open and feet together created a very jarring visual. They seemed almost in pain. When lady in Blue is recounting and reliving her abortion she again assumes a variation of this position when she in talking about her womb. “Sachita”, narrated by lady in Purple shows again a variation to this and so to does lady in Red. The reappearance of this position, that seems to represent agony in a unifying theme throughout the stories of the women. This piece is about beings with wombs that we know as women. African America women who are at varying stages of their life throughout the play and who at times are coming to accept their selves as such in a powerful way.
The Actors who stood out were lady in Yellow, lady in Green lady in Brown and lady in Red. Lady in Yellow was strong and powerful at every point. If they were doing a dance and stretching out their hands lady is yellow could be seen putting all her energy into her hands. When she laughed the audience laughed. Lady in Green gave a very powerful rendition of her “Stuff”. When portrayed Sachita she did not seem to exude much enthusiasm nor commitment to the piece but as lady in Green she capture the crowds attention and committed emotion. The audience was fully present in her piece. Lady in Brown did an excellent job in relaying poems that gave a lot of history. She was able to make this history fun and exciting. We learned a little about Haiti and Toussaint. She was loud enough for us and seems to embody the part.
Then there was lady in Red, who stole the show. Her piece where she was in the tub was very well supported by both the sound effects and lighting. As she washing her self the audience was able to hear the water as it trickled down the tub. She was precise in her words and actions and indeed she was a temptation to everyman. She brought to life her children and their father with out them being there physically. She was able to bring their spirits alive for us to see and feel them. This is evidence of a great actress.
The stage manager and assistant stage manager both did an amazing job with the entrances and exits of the entire show. It was seamless and the timings were perfect. The imagery at the ending with the Tree matched some of the last words by lady in red. They all found themselves “..in God and loved her fiercely” was indeed a powerful line and feeling.
Director L.A. Williams has a lot to be proud of. It was evident that the audience really listened and this was able to facilitate healing. Dramaturge, Otis Ramsey-Zoe, represented wonderfully the intended result of this play in his chosen work for the cover of the program. This intent is healing.
Sunday, November 13, 2011
Early Thoughts of Freshman Seminar
As a graduating senior this blog may be a bit different from most other blogs. I do however recall being excited my first week of college. After one week of class I thought college was going to be a platform upon which and from which many of my life dreams would be actualized.
I expect freshman seminar to very an integrated experience among academic fields that we the students would benefit from greatly. I expect that since the team is comprised of so many great and diverse people that it will be a powerful class. I expect to grow intellectually from this class and have a more integrated understanding of the world through African eyes. I also suspect that it will serve to reinforce a lot that I have been taught as a Howard University student. I also expect a lot of discussion.
The following lectures seem most interesting to me:
* Learning, Wisdom, and The African World Experience
* Abandonment and Dismemberment: “Something Torn and New
* “The Eloquence of Scribes”: Initiation, Expectations and Mastery – Continuing the Legacy of Howard University.
I feel most comfortable with the lecture “Research and Methodology: Inscription as Liberating Practice”. As an Anthropology and Art History double major student I have been through many a research project. I am looking forward to this lecture to hear if there is anything new that I can learn from it. One of my life goals is to write about Caribbean Artists and Spirituality. I have been doing research on the interconnectedness of many aspects of life including cultural and physical environment and its effect on art and Spirituality and also how these affect the cultural and physical environment.
I believe that even though I am a senior the goals of this class will meet and contribute greatly to my academic goals. The freshman seminar syllabus states that it “… encourages students to become engaged participants in the intellectual and cultural life of African peoples throughout the Diaspora by exploring this rich history and legacy and this legacy’s vibrant contemporary work and institutional life.” I am already very much an engaged participant and I believe this class will re affirm my commitment to the writing of histories from the perspective of the empowered Diasporas’ perspective.
I expect freshman seminar to very an integrated experience among academic fields that we the students would benefit from greatly. I expect that since the team is comprised of so many great and diverse people that it will be a powerful class. I expect to grow intellectually from this class and have a more integrated understanding of the world through African eyes. I also suspect that it will serve to reinforce a lot that I have been taught as a Howard University student. I also expect a lot of discussion.
The following lectures seem most interesting to me:
* Learning, Wisdom, and The African World Experience
* Abandonment and Dismemberment: “Something Torn and New
* “The Eloquence of Scribes”: Initiation, Expectations and Mastery – Continuing the Legacy of Howard University.
I feel most comfortable with the lecture “Research and Methodology: Inscription as Liberating Practice”. As an Anthropology and Art History double major student I have been through many a research project. I am looking forward to this lecture to hear if there is anything new that I can learn from it. One of my life goals is to write about Caribbean Artists and Spirituality. I have been doing research on the interconnectedness of many aspects of life including cultural and physical environment and its effect on art and Spirituality and also how these affect the cultural and physical environment.
I believe that even though I am a senior the goals of this class will meet and contribute greatly to my academic goals. The freshman seminar syllabus states that it “… encourages students to become engaged participants in the intellectual and cultural life of African peoples throughout the Diaspora by exploring this rich history and legacy and this legacy’s vibrant contemporary work and institutional life.” I am already very much an engaged participant and I believe this class will re affirm my commitment to the writing of histories from the perspective of the empowered Diasporas’ perspective.
Wednesday, November 9, 2011
Ms Evers' Boys (Special Events #1)
The cool air outside was pleasant. Not a perfect night for a play as heavy as “Miss Evers’ Boys”. Upon entering the lobby of Ira Aldridge Theater, I was greeted by a young lady whose personality seemed to blast through her attire. Like this young lady, director Danielle Drakes shone through this production of Miss Evers’ Boys. Knowing that a director has to honor the integrity of the written play while she creates her own vision within the intended vision already set forth by the playwright, Drakes presented a fantastic production.
Miss Eunice Evers’ character was played strongly by Mary Miller. Miss Millers performance was incredible. She was able to embody the character very well. Her tears and concern all seemed genuine. Willie Johnson was a very likable character. Stanley Jackson, III did an amazing job in pulling this character to life. His volume on stage alone was perfect and his feelings what ever they were at whatever time, were infectious. When Willie was excited over something the entire audience was too. Caleb Humphries with his overalls also was very good at engaging the audience. Edwin Brown III was vibrant in his performance and truly committed to his character. We saw this especially toward the end of his life where he was doing rituals in the moon light and kept chanting what seemed to be “Chaaaaaa”, in an effort to save his life from the “Bad Blood” (syphillis) that was now killing him on many levels including mentally. Adarius Smith played the character Ben Washington with a high level of integrity. Ben was a character that brought the audience closer to many feelings in the play and to the real experiences of the men who were part of this experiment.
The director took us into the lives of these four men and brought the play alive. I thought that Jeff Kirkman who played Caleb Humphries was not convincing in his character at the beginning of the play and at other points through out the first half of the play. His words were not very clear and at times, his volume low. This translated to the audience a seeming disbelief in his own acting ability. However things turned around when he was getting the spinal tap. He showed his amazing talent here. I actually had to look away to not feel the pain of the needle. He was very convincing in this scene. I thought that the director could have worked a little more with both him and Dr. John Douglas (played by Eric Humphries) to appear a bit more confident in their characters as well as their engagement with the audience. While one needs not stare into the faces of the audience at many points their blocking was at times unprofessional. Their backs were to the audience while they were talking. This caused a lot of information to be lost. An example of this was seen throughout the play with Dr. Douglas. As a result he seemed to have a problem connecting to the audience.
Dr. Eugene Brodus, indeed had a fiery personality filled with arrogance. This character was not very likable. Despite this, Henian Boone did a good job in delivering arrogance. Boone did not seem committed to his character. It was hard to feel authenticity. He seemed to know his lines very well but a little more sincerity may have helped his overall interpretation of the character which would have been conveyed smoothly.
The flow of the play was in tune with the subject matter of the play. There was a rhythm that kept the audience engaged. It was slow at times but just slow enough for the audience to connect to the lives of the men and the emotions and thoughts of Miss Evers. Then the speed would pick up again. Sometimes it was in the words of Miss Evers or in the dancing of Willie. Yet another rhythm was present. It was the light and dark of the stage: the narrow lighting focused on Miss Evers alone and then the expanded lighting on the men. The play also exhibited a range of emotions, which contributed to this overall rhythm. At times the audience would be laughing and at other times feel fear and cry.
The proscenium space was a good choice for this play. The props and costuming were excellent in conveying Alabama and the location of the “clinic”. The props came to life with the various lighting that was used. The blue light in the background gave a haunting and expectant feeling. When there was the red light the audience felt anxious. The lighting for the ritual scene was very good at capturing the idea of outside. This lighting together with the sound effects of crickets and the props, which conveyed “woods”, really brought this scene to life. The costuming was able to both convey the period of time as well as fit the personalities of the characters almost perfectly. The makeup artist did an amazing job overall but especially with Willie. His eyes popped out at the audience when he was sick. He looked pale and very sick.
I appreciated the symbolism created between the whiteness of Miss Evers nurse hat and the whiteness of the coats worn by the doctors and which she sometimes wore. This “whiteness” highlighted the racial bias of this experiment. It highlighted the unfair, biased and cruel role played by “whiteness” in this experiment. The fact that under her coat and on her body she wore black symbolized her blackness and her ability to connect with the men. This juxtaposition of black and white highlighted her own juxtaposition as not only a pawn in the plan but also as a pawn who knew and contributed to the dismemberment of these men’s lives.
The playwright and director were talented in showing the internal battle fought by Miss Evers in this play. She wanted to help the men but got in so very deep it was hard for her to maintain any integrity as a black person. She tried to hold on until the funding resumed and even argued with the “black” doctor for their lives. She however was made to reflect on the results of her actions in the scene where Willie is dancing for her with his sluggish legs and shouting at her to “watch!”
The audience left quite solemnly into the night. As they held their programs all were reminded of the Tuskegee Experiment as is symbolized by the white on the programs cover and the “Bad Blood” syphilis that these men endured by the red. Blood red and white were a good choice made by the dramaturge Ariel Danley.
Miss Eunice Evers’ character was played strongly by Mary Miller. Miss Millers performance was incredible. She was able to embody the character very well. Her tears and concern all seemed genuine. Willie Johnson was a very likable character. Stanley Jackson, III did an amazing job in pulling this character to life. His volume on stage alone was perfect and his feelings what ever they were at whatever time, were infectious. When Willie was excited over something the entire audience was too. Caleb Humphries with his overalls also was very good at engaging the audience. Edwin Brown III was vibrant in his performance and truly committed to his character. We saw this especially toward the end of his life where he was doing rituals in the moon light and kept chanting what seemed to be “Chaaaaaa”, in an effort to save his life from the “Bad Blood” (syphillis) that was now killing him on many levels including mentally. Adarius Smith played the character Ben Washington with a high level of integrity. Ben was a character that brought the audience closer to many feelings in the play and to the real experiences of the men who were part of this experiment.
The director took us into the lives of these four men and brought the play alive. I thought that Jeff Kirkman who played Caleb Humphries was not convincing in his character at the beginning of the play and at other points through out the first half of the play. His words were not very clear and at times, his volume low. This translated to the audience a seeming disbelief in his own acting ability. However things turned around when he was getting the spinal tap. He showed his amazing talent here. I actually had to look away to not feel the pain of the needle. He was very convincing in this scene. I thought that the director could have worked a little more with both him and Dr. John Douglas (played by Eric Humphries) to appear a bit more confident in their characters as well as their engagement with the audience. While one needs not stare into the faces of the audience at many points their blocking was at times unprofessional. Their backs were to the audience while they were talking. This caused a lot of information to be lost. An example of this was seen throughout the play with Dr. Douglas. As a result he seemed to have a problem connecting to the audience.
Dr. Eugene Brodus, indeed had a fiery personality filled with arrogance. This character was not very likable. Despite this, Henian Boone did a good job in delivering arrogance. Boone did not seem committed to his character. It was hard to feel authenticity. He seemed to know his lines very well but a little more sincerity may have helped his overall interpretation of the character which would have been conveyed smoothly.
The flow of the play was in tune with the subject matter of the play. There was a rhythm that kept the audience engaged. It was slow at times but just slow enough for the audience to connect to the lives of the men and the emotions and thoughts of Miss Evers. Then the speed would pick up again. Sometimes it was in the words of Miss Evers or in the dancing of Willie. Yet another rhythm was present. It was the light and dark of the stage: the narrow lighting focused on Miss Evers alone and then the expanded lighting on the men. The play also exhibited a range of emotions, which contributed to this overall rhythm. At times the audience would be laughing and at other times feel fear and cry.
The proscenium space was a good choice for this play. The props and costuming were excellent in conveying Alabama and the location of the “clinic”. The props came to life with the various lighting that was used. The blue light in the background gave a haunting and expectant feeling. When there was the red light the audience felt anxious. The lighting for the ritual scene was very good at capturing the idea of outside. This lighting together with the sound effects of crickets and the props, which conveyed “woods”, really brought this scene to life. The costuming was able to both convey the period of time as well as fit the personalities of the characters almost perfectly. The makeup artist did an amazing job overall but especially with Willie. His eyes popped out at the audience when he was sick. He looked pale and very sick.
I appreciated the symbolism created between the whiteness of Miss Evers nurse hat and the whiteness of the coats worn by the doctors and which she sometimes wore. This “whiteness” highlighted the racial bias of this experiment. It highlighted the unfair, biased and cruel role played by “whiteness” in this experiment. The fact that under her coat and on her body she wore black symbolized her blackness and her ability to connect with the men. This juxtaposition of black and white highlighted her own juxtaposition as not only a pawn in the plan but also as a pawn who knew and contributed to the dismemberment of these men’s lives.
The playwright and director were talented in showing the internal battle fought by Miss Evers in this play. She wanted to help the men but got in so very deep it was hard for her to maintain any integrity as a black person. She tried to hold on until the funding resumed and even argued with the “black” doctor for their lives. She however was made to reflect on the results of her actions in the scene where Willie is dancing for her with his sluggish legs and shouting at her to “watch!”
The audience left quite solemnly into the night. As they held their programs all were reminded of the Tuskegee Experiment as is symbolized by the white on the programs cover and the “Bad Blood” syphilis that these men endured by the red. Blood red and white were a good choice made by the dramaturge Ariel Danley.
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