Brown’s “R3,” Actors on Shakespeare

The complaints:

Ms. Winkler, why do we have to learn about Shakespeare?

This is way too hard. Why do they talk this way?  

Once they got the hang of hurling insults- “Thou art a craven, folly-fallen hedge-pig!”  Or showering compliments- “Thou art a bespiced, gallant-springing kicksy-wicksy!” They started having fun.

For me, as an 8th grade teacher in a public urban/suburban school, with a diversepopulation, I often had to convince students why reading this dead white guy would beworthwhile.  The unit culminated in a performances; students formed small acting companies, selected a scene, and created costumes and props.

Too bad I hadn’t heard of Carlyle Brown’s 1987 play,   “The African Company Presents Richard III.”   

Set in 1821, forty years before Lincoln ended slavery, and fifty years before black Americans earned the right to vote, the first black theatrical group in the country, the African Company of New York, was putting on plays in a downtown Manhattan theatre, attracting black and white audiences. The story unfolds when the company, about to open “Richard III,” is shut down by city police who, under pressure from a white producer, cite fire hazards.  Finding a new space next door to the white producer’s theater, the company rehearses, only to be arrested for presumably inciting a riot.

Based on the history of the African Grove Theater, considered the nation’s first black theater company, the play shows how early black actors gained credibility by performing classical plays with known plots and characters.

Every year, I told my students that every actor they’ve seen on television or in movies had at some time studied and most likely acted in some Shakespeare. I interviewed two African American actors I met through a theater agent friend- hoping this could eventually be a book.  Here are some excerpts:

Peter Francis James  

Peter Francis James began his acting career in 1979 when he appeared in Shakespeare’s “Coriolanus” with Denzel Washington and Morgan Freeman.

What draws you to Shakespeare?

He understood human beings. He shows us how we relate to each other.  There’s no other writer that consistently displays the entire range of human emotion.

Is there one experience that stands out?

I saw James Earl Jones play King Lear on at television program broadcast live from New York’s Central Park. I watched the entire three hours, glued. I realized that “we” could do this; James Earl Jones proved it to me.

*****************************

Keith David  

Born in Harlem, New York City, in 1956, David knew he was going to become an actor after playing the Cowardly Lion in a school production of  “The Wizard of Oz.”

What turned you on to Shakespeare?

I realized that Shakespeare in just 36 plays and his sonnets addresses every human emotion, everything in life. No other author has done that.  He expresses what all human beings go through, what it means to be human with all our complexities. And how we’re unique unto ourselves.

Shakespeare created more than 12,000 words. Rap artists make up words. That’s what makes it so exciting.

We live in a McDonalds society where you watch TV and everything gets resolved in half an hour. Well life isn’t that way. Shakespeare was the original soap opera writer.  He’s constantly reminding us who we are. You learn about yourself, how to relate to your family, your boss, your friends.

***********************

My interview with Carlyle Brown appeared in Education Update, in June 2009. Here are some excerpts:

Playwright Carlyle Brown got his training in drama as an Outward Bound instructor on Hurricane Island, Maine.  “I had 12 people on a boat for 28 days and I watched and saw human nature.  Writing is about watching people get what they want,” he said.

His plays feature aspects of African American history to “fill in the gaps” overlooked in textbooks and popular culture, and to emphasize that the existence of African Americans in history, is not peripheral to American society, but central to it. “There isn’t anything we have or anything we do that would exist without the presence of African Americans.”

Brown founded Mixed Blood in 2002, as “an act of rebellion” because he wanted to do things that “were not being done” in American theater, and he wanted to experiment as an artist, as well as provide African American actors a greater range of roles.

****************************

“The African Company Presents Richard III” runs through May 15th at the Theater Project, Union County College, Cranford, NJ.

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About cyclingrandma

I was a journalist (Danbury News-Times, Ct), before becoming a teacher, and continue to write for professional journals. I have written several study guides for Penguin Books and write for Education Update, a newspaper based in New York City. (www.educationupdate.com). I’ve interviewed many authors, college presidents, and scientists. I wrote “The Kentucky Derby’s Forgotten Jockeys” for Smithsonian Magazine's website, www.smithsonian.com. (April, 2009). Two essays have been published in book anthologies; one for Wisdom of Our Mothers, (Familia Books) and the other in “College Search and Parent Rescue: Essay for Parents by Parents of College-Going Students.” (St. Martin’s Press). I was a middle school Language Arts teacher for more than 10 years and have just completed a five year grant position under No Child Left Behind in Newark, NJ public schools. I have three children, two daughters-in law, and six grandchildren. I'm an avid cyclist, knitter, cook, and reader. I love theater, museums, and yoga.
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2 Responses to Brown’s “R3,” Actors on Shakespeare

  1. Nathan says:

    Interesting, I observed similar drama on NOLS as he describes on Outward Bound. I never made the connection to Shakespeare though.

    Like

  2. To be, or not to be: that is the question:
    Whether ’tis nobler in the mind to suffer
    The slings and arrows of outrageous fortune,
    Or to take arms against a sea of troubles,
    And by opposing end them? To die: to sleep;
    No more; and by a sleep to say we end
    The heart-ache and the thousand natural shocks
    That flesh is heir to, ’tis a consummation
    Devoutly to be wish’d. To die, to sleep;
    To sleep: perchance to dream: ay, there’s the rub;
    For in that sleep of death what dreams may come
    When we have shuffled off this mortal coil,
    Must give us pause: there’s the respect
    That makes calamity of so long life;
    For who would bear the whips and scorns of time,
    The oppressor’s wrong, the proud man’s contumely,
    The pangs of despised love, the law’s delay,
    The insolence of office and the spurns
    That patient merit of the unworthy takes,
    When he himself might his quietus make
    With a bare bodkin? who would fardels bear,
    To grunt and sweat under a weary life,
    But that the dread of something after death,
    The undiscover’d country from whose bourn
    No traveller returns, puzzles the will
    And makes us rather bear those ills we have
    Than fly to others that we know not of?
    Thus conscience does make cowards of us all;
    And thus the native hue of resolution
    Is sicklied o’er with the pale cast of thought,
    And enterprises of great pith and moment
    With this regard their currents turn awry,
    And lose the name of action.

    Like

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