When we think about history, we recall the old adage “Those who don’t consider history are doomed to repeat its mistakes.” But, as depicted in Reginald André Jackson’s History of Theatre, Black artists have been using theatre to do more than help us avoid our past blunders, we’ve been using it to be seen and heard. In the aftermath of George Floyd and “We See You White American Theatre,” both the nation and theatre industry continue to struggle with equity, diversity, and inclusion. Now playwrights are showing us that plays rooted in Black history and perspective may be our best shot at progress. Although our history has been heavily whitewashed, American and Black history are one and the same. The Black American experience has been omitted or filtered through a White lens for hundreds of years, and the ability to tell and benefit from our own stories has been stripped from us. These Black history plays push us to have the uncomfortable conversations in order to recover unheard people and forgotten history, acknowledge the contributions of Black Americans, and ultimately, reconcile these two histories. August Wilson set the bar for Black history theatre with his Century Cycle, and contemporary playwrights are following suit. Dominique Morisseau, Donja R. Love, Katori Hall, even myself (with the support of ACT’s commission) have all created bodies of work at the intersection of American history and Blackness. In this critical moment, Black playwrights are asking: “Who hasn’t had a chance to tell their story?” Seattle actor and History of Theatre cast member, Dedra D. Woods reflects, “The thing that is striking me the most…is how much I didn’t know…So much of my people’s history was held back from me. So I’ve been mulling over why they chose to teach me about Odets instead of Charles Galpin or Sissieretta Jones. How different my education could have been at that PWI if I saw myself in the work before August Wilson.” As I work on my own ACT commission, like Ms. Woods, I’m unpacking an enigma. As I’m researching the Reconstruction era, I wonder why my own public education left me with a vague “Lincoln freed the slaves and Black people struggled through the 1960s” version of history, instead of learning about the 2,000 Black men who held elected positions of power (from sheriffs, to mayors, to congressmen) in the twelve years following the Civil War. One positions a “white salvation of a helpless people narrative,” while the other reveals a people filled with optimism, strength, and drive who fought to free themselves, and demanded that the nation live up to its creed. These are the kinds of figures and heroes, and stories that move a people; that show us that we have done and will continue to do great things. This is why we need these stories, perhaps now, more than ever. We can never underestimate the power of seeing one's own culture and community represented on stage, nor the power of discovering a history of your people you never knew existed. That is a power that inspires a people. It bolsters pride and resilience. And in an industry (and nation) where we have fought to hold space, it creates a sense of ownership and belonging. When we tell these stories, we aim to fully acknowledge the wrongs of our past. We uplift and celebrate the contributions of Black Americans, restoring our rightful place in history. We foster empathy. And we create space for our communities to be seen in the full breadth of our talent, humanity, and rich history. That is how we progress. *Published in Encore program, January 2023 Download full program below
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AuthorI'm no different from anybody else--just a passionate person with opinions about the world. This is my platform to express them. Archives
May 2023
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