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July 13, 1988, Portland Observer, Page 3
f
.V iN T E R T A IN M E N I
a
BROADWAY BOUND
REPORT
For tic k e t inform ation call the IFCC,
243-7930 or Connie Carley, Company
Manager, PassinArts, 282-0003.
By: Garland Lee Thompson
P layw rights in Dialogue
The PassinArtss Theatre Company
is currently offering the C ity of P ort
land, the only w orld w orkshop pre
miere of a new Black play o f the 1988-
89 season, "W ells, W is h e s , and
H e a rtfe lt D re a m s ," by the com
pany’s founder, Michael J. Grant.
The original play w ill run July 8th- 17th,
1988, at the Interstate Firehouse Cul
tural Center, 5340 N. Interstate (o ff
Killingsworth), 8 p.m . on Fridays,
S a tu rd a ysa n d 2 p .m ., Sundays.
'W e lls , W is h e s ," according to the
author, 'Is a re-creation o f African-
Am ericans w ho might be term ed as
ordinary people, w ho are directed by a
vision of the future, hard-w on, but
free. The story revolves around "Jo
shua, a m inister," w ho is w orking on
w ritin g his annual Juneteenthh sermon
(the annual black holiday of Black
Emancipation). W hile doing so, he
experiences various interruptions and
flashbacks in the course of completing
his scrip t.
The cast includes Henry Melson
("S plit S econd," "Ceremonies in Dark
Old M e n ," "Spell Number Seven"),
Wanda W alden ("Ceremonies in Dark
Old M e n ," "M a Rainey's Black B o t
to m ," and she is currently designing
the costum es for Langston Hughes
"Sim ply H eavenly" opening August
18, 1988, at Lincoln Hall Theatre,
Portland S ta te U niversity, Michael
Holiday ("L ittle Shop of H o rro r," "Split
Second"), Gennar For land ("S plit Se
cond"), and Korie Mayes.
A t the playw rights symposium,
w hich w as sponsored by the first New
York International Festival of the A rts
on Thursday, June 16, 1988, at the
graduate Center of the C ity Univer
sity of N ew York, the auditorium
w as crow ded w ith theatre fans w ho
had come to hear Tom Stoppard (w ho
w on the 1984 Tony A w a rd for "The
Real Thing"), A rth u r M iller ("D eath of
a Salesm an"), August W ilson (w ho
w on both a Pulitzer Prize and Tony
A w a rd last year in 1987 fo r "Fences"),
Athol Fugard ("M aster Harold and the
Boys") and Tina Howe ("C ostal Disur-
bances.")
Mr. Wilson was upset about
inadequate compensation for many
theatre artists. 'W hen you say you're
going to do a play on B roadway, in what
they call the "com mericial area," M r.
Wilson said, "Ithink of the Christians and
the lions. Everyone shows up w ith their
lawyer.
You take the w ord com-
merical, meaning commerce, and you
take the w ord artist, and when you try
to wedge the tw o together, you're going
to have problems.''
Mr. Miller asserted that if he were to
w rite "Death of a Salesman" today, it
would not succeed. The otehrs did not
agree because they felt that it is still a
good play.
Athol Fugard said that he would like to
believe his plays reflected a certain
comment on the Apartheid South
African society, on which he has been
writing for years (He is one of only a fe w
white South African playwrights whose
works have been presented successful
without protest in the U .S .A .). He
feels that this country is now more
educated about the subtleties and com
plexities of the situation in South A frica .
Mr. Stoppard had a somewhat more
optimistic view of other opportunities
provided by nonprofit and regional
theaters in America and the subsidized
theatre of Britain.
Ms. Howe said, "Audiences are dying
to see real-life emotion happen in front of
their eyes.
There is an enormous
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283-3171
N ew Book Available
Black Classic Press, the Baltimore
based publishing company operated by
Paul Coates and his w ife Cheryl
W aters, and specializing in obscure and
significant w orks by and about African
descendants, has recently published 100
Years o f Lynching by Ralph Ginzburg,
noted journalist, author, ecftor and
publisher.
First published in 1962, Ginzburg's 100
Years o f Lynchings uses primary
sources to accurately and vividy depict
a history of racial atrocities perpetuated
by whites against Black people in the
United States. Seemingly countless
newspaper articles selected from a wide
range of papers create a documentary
of lynchings that began in the early
Nineteenth Century and continued well
intothe Twentieth.
Incidences of racial violence against
Black people in the United States are in
creasing.
An understanding of the
nature and scope of this historical
problem as provided by Ginzburg's news
articles should offer a healing response.
100 Years o f Lynching is available in
paperback for $9.95 from bookstores or
drectly from Black Classic Press, P. O.
Box 13414, Baltimore, Md. 21203.
hunger. I think the challenge of writing
for the theatre has to do w ith facing your
ow n demons and decorating then^ in a
w ay that w on't be a profound em
barrassment to you. I don't think about
the audience; I think about w hat I'm
trying to dredge up. I think this is a w on
derful time to w rite for the theatre in this
age of V .C .R . and flickering images." (I
couldn't agree w ith her more. W rite
on...)
From the "I missed it" dept., it ran
here in Portland last season, but, "Ma
Rainey's Black B ottom ," by Black Pulit
zer Prize and Tony Aw ard winning play
wright, August Wilson ("Fences"), is
currently playing in Seattle, W a ., at the
Pioneer Square Theater Firststage, 107
Occidental S t., thru July 24th.
The Rank Silvera W riters Workshop
of New York, in its sixteenth season, is
launching a national search for a new
Executive Director for the coming 1988-
89 season. The workshop is one of the
leading black playwrights and women
playwrights developmental theatres in
the country that has presented such
writers as Charles Fuller (Pulitzer Prize
playwright, w ho w rote the play "A
Soldier's Play" and the film) and Richard
Wesley (who w rote the film "Uptown
Saturday Night" and "Native Son.");
Ntozake Shange (who w rote the play,
"For colored girls..."). More than 3,000
w riters and their works have been
presented to date by the FSW W . For
information contact the Search Com
mittee of the Rank Silvera W riters
Workshop, 317 W est 125th Street,
New York, Ny 10027, (212) 662-8463.
For reactions, comments or added
theatre information, please w rite to us
at
B ro a d w a y
Bound
R e p o rt,
P .O .B o x 3137, P o rtla n d , O r., at the
Portland Observer, (503) 288-0033,
(which by the w ay has moved into new
quarters on Killingsworth street across
from the Red Meyer Shopping Center
and Post Office) Congrats to the staff of
t
H a ir p ie c e s
and
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