Arts Independent

Anne L. Thompson-Scretching’s Poignant and Essential Reminder of a People Destroyed by Hate

Everyone in the District of Greenwood in Tulsa Oklahoma is dead—brutally murdered by the Ku Klux Klan. The White Supremacists in the area took advantage of a lie to justify destroying the town and everyone in it. This is not fiction—this was the reality on the days of May 31^st and June 1, 2021, in what came to be known as the Tulsa Race Massacre. It is widely considered to be the worst incident of racial violence in Unites States history. But this atrocity has been often relegated to a footnote in the decades that followed, out of shame; and to perpetuate the often-false narrative of progressive unity and equality in 20^th Century America and beyond.

Anne L. Thompson-Scretching’s Resurrection is a fictional account based on the very real massacre, taking place during and after that horrific 48 hours of bloodshed. We meet the people of Greenwood in a limbo world after they have perished, furious that their lives have been extinguished over a lie, prejudice, and envy. A white woman’s claims of rape by a man of color were dismissed from court after her testimony held no merit—prompting the KKK to seek revenge by murdering everyone in the town. But the incident was merely an excuse to do what they always wanted—the supremacists of Tulsa were jealous of the prosperous district, which Booker T. Washington had nicknamed “Negro Wall Street.” As many of the white characters freely admit, they couldn’t tolerate the possibility of people of color doing better in life than they were.

In this afterlife we meet Alan (Courtney Everette), the town doctor who treated many of his white neighbors, only to be shot and killed by one of them; Bess (Sabyne Santiago), who was doused in gasoline and set on fire, her baby still in her arms—what happened next will stay with you forever. Kevin Leonard is charming and heartbreaking as the mash liquor salesman Pete, humiliated and slaughtered by one of his own customers, the revolting yet pathetic Blue (Travis Bergmann). Dave Hummel is Percy, an amiable townsman of mixed parentage brutally attacked by the Klansmen’s dogs in his own school. Ron (Moses Sesay) is the man falsely accused of rape simply because he happened to be in the wrong place at the wrong time; although charges were dismissed—or in truth, because they were—he is mutilated and hanged.

Each person in the doomed town gets an Aria to tell the harrowing story of what happened to them on those tragic two days. Thompson-Scretching makes sure that we remember that these were human beings with hopes and dreams, and the impact is appropriately devastating. We get to know and love these people over the course of the play, which makes their graphic, horrific murders all the more heartbreaking. No detail is spared, nor should it be. If we forget we repeat, an undeniable fact that looms ominously just a century later.

The cast’s performance is individually and collectively stunning, from Everette’s Alan, who also narrates from beginning to end; to Katie Trubetsky as Lula Noble, the desperate girl we meet in the closing moments, whose panicked false accusation brought death to an entire town. Santiago as Bess and Sesay as Ron will have you in tears as they describe how they died. Rommell Sermons is the cigar-puffing, stoic and steely lawyer Oliver Porter; Daniel Kornegay is the entrepreneur Marcus, furious that his dream to have a successful restaurant ended in getting shot to death. “Am I supposed to be thankful that I didn’t suffer?” he protests after hearing the stories of the others. Dan Brown is Carl, whose affair and ultimate rejection of elevator operator Lula was the catalyst for her heinous lie. Andrew Boszhardt is Alan’s murderer Ethan, whose jealous father basically ordered him to murder the town doctor; Harry Cooke is Poke, Blue’s associate who was in love with a woman of color; and Ashley Vigo is Bird in Flight, also known as Molly Brightwater, the Native-American teen who just wanted to be loved and seen. Boszhardt returns in Act II as Wille Poole, another companion of Blue who ends up dying and asking for help from the person of color he himself had just shot.

Every character gets a chance to tell their story, even the “villains.” Every actor shines, bringing so much emotion and anguish to their performances it’s as if they are guided by the spirits of the doomed people of a century ago. It is a triumph of Thompson-Scretching’s magnificent writing to incorporate such complexity and nuance to every single character—we get to know each and every one of them, and leave with the reminder that everyone we have met and will meet was someone’s child, parent, lover, friend; and that they all deserve to be seen and heard.

Resurrection is a masterpiece—a suitably uncomfortable, disturbing, heartbreaking, and rewarding watch; one that demands we face a reality that we simply must not turn away from. The play is must-see that goes a long way in reminding us that we have a lot of work to do and a lot of life to live, in honor of those who never got the chance.

Resurrection runs at the John Cullum Theatre at the American Theatre of Actors through Oct. 27, 2024.

Flying on Angel Wings 

The Powerful, Poignant The Buffalo Hero of WWI: The Wayne Minor Story Is Revisited and Reimagined at the ATA

Playwright and Director Kenthedo Robinson’s masterwork telling the story of the African American Buffalo Soldiers of the Great War has had several acclaimed NY runs over the years. Its latest incarnation at the John Cullen theatre might well be the definitive version.

Alton Ray returns to his signature role of Private Wayne Minor of Kansas City, imbuing the doomed legend with dignity and depth. He is re-joined by Nicholas Dodge as the revolting, over-the-top but still true to reality Captain Blu. Zsay Moore and the returning Ms D. alternate as Mama Minor, the emotional heart of the show. Wayne and Mama exchange letters throughout, and thus we get to know her, building up to a heart-shattering moment of stoicism and strength late in the story. Sharrell Williams is the effervescent and aptly named Angelica, the Florence Nightingale figure by day and singer/dancer by night, who provides needed lightheartedness but also displays flashes of steel. She is Red Cross “adjacent”, as she is not allowed official membership due to her skin color. Angelica dispenses the protective Angel Wing necklaces that all the men hold tight. The two women symbolize warmth and hope in the face of horror, both in war and at home, where other battles await. 

The mistreatment of the soldiers is portrayed even more sharply in this production, mirroring the suppression and degradation of people of color that has been perpetuated for centuries in civilian life. They get no training, no proper uniforms, no decent food; when the dismissive Blu finally acquiesces, he gives them out-of-date training manuals with pages torn out. The racist Blu is obsessed with delusions of grandeur and notions of glory, and freely admits that all he cares is about to ascending to the rank of major. He openly mourns the “social structures that are crumbling before my eyes” and the norms of yesteryear (i.e. white supremacy). Blu is the enemy for most of the story, until the men go to France and are faced with a new nightmare that they were deliberately sabotaged from being prepared for. 

The differing personalities and approaches of the three soldiers are vivid in this production, deftly realized by the incredible actors. Ray’s Wayne is doing his best in a horrific situation, wanting to do right by his Mama, by his partner Belle and by the version of himself he aspires to be. He is dedicated to fighting for the America he wants to see emerge. “Deeds not words” is the mantra he upholds to his dying breath. Shatique E. Brown returns as the heartbreaking Rucker. Missing his family and humiliated by Blu, the sensitive Rucker’s monologue about the fate of his beloved daddy is utterly devastating. James Oliver provides intensity as the justifiably raging Seymoure, a Howard University graduate who lost his whole family in the Camp Logan tragedy of 1917. His conflicts with Blu are electrifyingly depicted. Christopher W. Clayton is their firm but compassionate leader Lieutenant Clark, and his devotion to the men is particularly moving in this rendition, as he is torn between getting them under control and putting their monster of a Captain in his place. A sequence where Blu goes too far by surprising the men with a tear gas attack as a “training” is harrowingly staged, and one can feel the anger and disgust across the entire theatre. 

Blu’s treatment of the men has tragic consequences when the regiment finally ships out to France after a year of essentially no preparation. Minor’s climactic moment of fateful heroism in the face of everything collapsing around him is beautifully depicted and leaves very few dry eyes in the house. It’s a magnificent tribute to a man and a time that should never be forgotten. Because over a century later, many of the same battles are still being fought.

Jim Catapano is the lead reviewer at Five Star Arts Journals and has covered everything from Shakespeare to Hard Rock. He himself is a world class musician, writer and performer. ArtsIndependent, the site which carries his editorials, would like to pay a brief tribute to Jim by chatting with him about … HIM.

So when I research you to see what category to put your work as an artist in, I come up with every category to put your artistry in. Musician, writer, performer, commentator, and the list goes on. What kind of artist do you consider yourself? 

JIM: I guess I’m a Jim-of-All-Trades! A friend very sweetly referred to me as a “Renaissance Guy” which is very flattering, but really just a grand way of saying that I’m interested in everything. Which I think is important, it makes someone well-rounded and gives them a lot to talk about! I rarely need to discuss the weather or last night’s game, which helps keep the conversation exciting. And I’m always very interested in what other people are doing!

I often find, with artists like you, that you can’t be called a musician or a writer, you have to be called an artist because you’re so diverse. What makes you so diverse? What is it that gives you the desire to put out so many different kinds of art? 

JIM: I’m very grateful to say that to a large extent I’ve been able to make a creative contribution to everything that intrigued me as a kid. Which is all kinds of creative expression – writing, performing, drawing, acting, and also the tech side of things like audio engineering, mixing and mastering. I feel like I don’t exist if I’m not creating, which I think is a drive that fuels many artists. I love expressing my unique comedic perspective through my online comic character “Dave”, (The Dave Dimension) which my brother and I actually created when we were kids and then brought to our University Humor Magazine—we both collaborate on ideas for it.

JIM: Music will always be my next love after that, but I appreciate any opportunity to not only express myself creatively, but also promote other artists and friends in the Community who I believe in and often collaborate with. I’m also extremely blessed to have worked with so many inspiring and encouraging creative people who really helped me learn and grow. Recently I even did some singing and dancing in a musical for the first time, with some absolutely wonderful and encouraging talented people and a very appreciative audience, so that’s another check on my list!

Does each of your work feed others? Meaning does your writings fuel your compositions, does your blogs feed your more public writings, etc. Or is everything a simple moment of creation? 

JIM: I do think that my different interests complement each other. I bring a lot of humor to the projects I’m involved in, and people have been very kind to say that I contribute to the morale of all the group projects I’m involved in. I like to help maintain a positive, optimistic atmosphere, and having experience in so many different kinds of creative endeavors, problem-solving, troubleshooting, and riding out the rough waves has really helped me do that.

What’s next for the great Jim in terms of artistry?

JIM: I’m working with two bands right now, chiefly The Opposition, and we’ve been consistently posting new original music on Social Media. I’d like to play live more often and help jumpstart the live music scene in NYC. My favorite thing after performing live is seeing other people perform. I’m also going to continue being very active as a reviewer and have an ongoing Voiceover collaboration with two authors. And squeezing everything else in between! (I’ve heard of sleep but have personally never tried it.)

An Historic Moment Captured Through a Surreal Lens

Catherine Gropper Crafts a Gripping and Innovative Look at Events Leading up to the 2016 Election

The Meeting: The Interpreter is a Tour De Force of modern theater—what at first seems like a traditional two-hander becomes something far more unique and spectacular. It is centered around a notorious meeting at Trump Tower in 2016 that may have been the smoking gun in alleged collusion between the Trump Campaign and Russia, and the Congressional Hearings that followed. A large screen completely covers the stage as actors Frank Wood (Tony winner, Side Man) and Kelly Curran (HBO’s “The Gilded Age”) take their places; they appear first as images, with the backdrop of a Senate hearing room to introduce themselves and the setting in a blisteringly fast round of dialogue. The screen projection then slowly moves to the audience’s right, revealing the actors and stage crew behind it. Two crew members operate the camera on a railroad track that winds around the stage, zooming in on the actor’s faces, hands, and unexplored aspects of the set that all play a part in the unfolding story.

Wood is the International Interpreter of the title, a Russian-born man who sees himself as an American; he is the key witness in the events of the day who just wants to live in peace and quiet. Curran is a journalist, the Russian lawyer Natalia Veselnitskaya (believed to have had a dossier on alleged Clinton shenanigans), and many other pivotal players in the world-changing event. (Note: a quick review of the actual historical events prior to attending will greatly enrich any theatre-goers experience of the production. And be sure to study up on the Magnitsky Act of 2012.)

The set by Jim Findlay is like a third character in the production; it is full of surprises that the tracking camera slowly reveals—a sound booth in the back, an open locker filled with paraphernalia around a hidden corner. Puppets by Julian Crouch depict the players involved in the Trump Tower meeting (including the infamous Paul Manafort); their large, somewhat grotesque heads plopped on tiny naked bodies. There is interpretive dance (choreography by Orlando Pabotoy); many bizarre turns, such as Curran nailing her many neckties to a block of wood; there are even snippets of singing. It all paints a vivid and unforgettable look of a fateful moment in time that haunts our country and the world to this very day. 

Wood and Curran are astonishingly good in what is a very challenging production —switching characters, accents, and even wigs at a feverish pace—and using every device in the theatrical playbook to command the stage and tell the tale. Added power is provided by the lighting by Barbara Samuels and sound by Daniel Baker and Co., and it is all held together by the brilliant direction of Brian Mertes.

The Meeting: The Interpreter runs at the St. Clements’ Theater through August 25, 2024.

jim Catapano and the Shakespeare mountain

A Powerhouse King Lear Graces the American Theater of Actors

Under the excellent direction of James Jennings, King Lear is reborn for the modern stage in a gripping production at the ATA. 

Proceedings begin innocuously enough when the aging Lear (Alan Hasnas) decides to divide his kingdom among his three daughters. An unfortunate moment of overwhelmed speechlessness from one of them leads to disaster. From there the intensity builds and builds throughout the 3-plus hour story. It’s a tale of the human price of greed, an unfolding domino effect that leads to heartbreaking tragedy for all involved. 

Jennings has assembled a formidable roster of seasoned actors to breathe exciting new life into the classic Shakespearean drama. Alan Hasnas delivers a masterclass as the doomed Lear; his descent into madness is horrifying, but from a theatrical standpoint, also exhilarating. Jake Minter is an intense and magnetic Edmund, while Quinn Nguyen provides elegance and poignancy to the tragic Cordelia. Amber Brookes, sipping from a fancy goblet and resplendent in sparkly gowns of gold and later silky green, is delightfully serpentlike as Regan. Shakespearean stalwart Jane Culley matches her duplicity as the icy Goneril; her command of the material is majestic. Jake Smith is energetic and suitably mood-lifting as the Fool, cartwheeling across the stage and breaking into song at every opportunity. Travis Bergmann is a stoic, steady presence as the Earl of Kent. Phil Oeitiker is astonishing as the Earl of Gloucester, the subject of a violent but well-staged blinding at the hands of people of true darkness. And Sam Hardy is a revelation as the feral Edgar, dominating the stage and delivering every syllable with skill and relish. The cast as a whole is a joy to spend time with even as they depict a kingdom descending into darkness. 

The John Cullum Stage at the ATA is a perfect complement to proceedings, the large dark space of multilevels and staircases well utilized throughout the production. A backdrop of moving projections adds tremendous atmosphere—the brutal lightning storm that the quickly deteriorating Lear loses himself in; the crackling fireplace in the hovel; a symbolic eclipse as Gloucester is tortured. The fight sequences, all clanking swords and daggers, are intense and beautifully realized. It all makes for a memorable experience of thespians at the top of their game, expertly handling the most difficult and legendary of texts. 

King Lear runs at the ATA through August 25, 2024.

August 14 – 25 ( 7:00 PM (Wednesday through Saturday), 3:00 PM (Sunday) on the John Cullum Stage of the American Theatre of Actors. Purchase  here.

Directed by James Jennings himself, the production features Alan Hasnas (as KING LEAR) with Jonathan Beebe, Travis Bergmann, Amber Brookes, Jane Culley, Oliver Figueroa, Richard Fisher, Sam Cruz, Sam Hardy, and Jake Minter.

Lear, King of Britain, enters with his court, now an old man, decided to divide his kingdom between his three daughters. The criteria: how convinciningly they can express their love. Goneril, Duchess of Albany, and Regan, Duchess of Cornwall, both speak enthusiastically, but – ironically –  Cordelia, the youngest, says nothing because she cannot voice her deep love for her father. Misunderstanding her, Lear disowns and banishes her from the kingdom. He also banishes the Earl of Kent, who had taken Cordelia’s side against the King.

Needless to say, his eldest daughters both reject him at their homes, thus, madness and regret overtake him and he wanders through a storm. His banished daughter returns with an army, but they lose the battle and prompting the inevitable shakespearean fate.

At its core, Lear is a family drama offering condemnation for greed.

In this family drama, greed is a driving force and remorse comes too late.

To learn more about the cast, please visit this link.

AMERICAN THEATRE OF ACTORS

The ATA was founded in 1976 by James Jennings to promote the development of new playwrights, directors, and actors, and to provide them a creative atmosphere in which to work. The plays are dramas, comedies, musicals, and everything in between, dealing with the social and ethical problems of contemporary society.

More than 12,000 actors worked at the ATA including Dennis Quaid, Bruce Willis, Dan Lauria, Chazz Palminteri, Danny Aielo, David Morse, Edie Falco and Kathryn Hahn. ATA’s productions are sometimes grouped as ‘festivals,’ such as a Playwrights or Directors Festival. In 2016, ATA began an initiative to feature women in theater as directors and playwrights, today this is our WIT! (Women in Theatre) program.

For press inquiries or more information, please contact Kaitlyn E. Clark at
Jay Michaels Global Communications at info@jaymichaelsarts.com