Scholars call the era we live in now “the information age.” The digital revolution gave rise to a way of life that involves near constant immersion in a mediated world and its associated messaging. It is a world in which we can ask a question and get thousands of answers in seconds, but still have no real sense of which of those answers is correct. It’s a world in which self-presentation and social communication are tied to soundbyte advertising profiles. All of what you love and none of what you hate is very much a product of the information age. Characters introduce themselves through their Internet dating site profile answers or a laundry list of their Facebook likes. Friends appear on stage together yet only communicate though cellphones. Google searches are projected on large screens. At the same time, the play is pure theatre, exploring human experience and human emotion through physical movement and face-to-face interpersonal interaction as it tells the story of a 15-year old girl navigating the first few hours after seeing a blue plus appear on a home pregnancy test. Continue reading
I admit that when I first read that Mfoniso Udofia’s Sojourners was part of a 9-play cycle of works about the same Nigerian immigrant family in Texas, my first reaction was wariness. Would this story feel complete or would I feel like I had merely seen a prologue to an unfinished longer tale? Would the characters I was about to meet really be intriguing and complex enough that they’d warrant 8 more stories about them? I needn’t have been concerned. I left the Magic Theatre feeling very much that I had seen a play with a complete narrative arc, yet wanting to know more about the bright, ambitious Abasiama (Katherine Renee Turner), balancing a late-term pregnancy with full-time studies on a Student Visa, her charming but woefully unreliable husband by arranged-marriage Ukpong (Jarrod Smith), the aptly nicknamed teen-prostitute Moxie (Jamella Cross) whom Abasiama befriends at the gas station where she works, and Abasiama’s devout, devoted admirer, the equally aptly named Disciple Ufot (Rotimi Agbabika). Continue reading
Arts in Color recently had the opportunity to interview multi-talented playwright, librettist, lyricist, and screenwriter Cheryl L Davis, who impressively balances her day job as a partner in a law firm with her award-winning writing career. In 2005, she won the prestigious Kleban Prize in Musical Theater for her work as a librettist. The same year, her musical Barnstormer was recognized with a Jonathan Larson Performing Arts Award via the The Lark Play Development Center. More recently, a 2014 production of her play Maid’s Door was recognized with 7 Vivian Robinson/AUDELCO “VIV” Recognition Awards for Excellence in Black Theatre, including Best Playwright and Dramatic Production of the Year.
From now until March 6th, the Berkeley Playhouse is presenting the world premiere of Bridges, a musical by librettist Cheryl L. Davis and composer Douglas J. Cohen. Bridges is set in 1965 in Alabama during the Selma to Montgomery marches and in 2008 in the Bay Area, during a seminal election when Proposition 8 (making same-sex marriage illegal) was on the ballot and Barack Obama was in a race to become our nation’s first African American—and first biracial— president.
San Francisco’s A.C.T. (American Conservatory Theater) has inaugurated its new Strand Theater on Market Street with a pair of one-act plays based on the short stories of Bay Area author Lysley Tenorio. The first play, Remember the I-Hotel, begins in 1977 during the historically infamous evictions of long-time elderly residents from Manilatown’s I-Hotel. In a flashback to the 1930s the play reveals the backstory of two of these long-time residents, Vincente (played with believable magnetism by Philip Estrera) and Fortunado (played by the versatile Jomar Tagatac). The flashback introduces the pair as recent immigrants from the Philippines who meet for the first time in a San Francisco dance hall. Vicente and ‘Nado bond quickly and become the closest of companions at work, out on the town, and at home at the I-Hotel. They are inseparable until Vincente falls for the fresh from Wisconsin 18-year -old aspiring journalist Althea (Danielle Frimer), and embarks on an illegal interracial relationship with disastrous consequences.