Thought provoking, well conceived ‘BLUE DOOR’ at Dobama
Tanya Barfield, the author of ‘BLUE DOOR,’ which is now in production at Dobama, is one of the new breed of African American playwrights. She, along with such writers as Dael Orlandersmith, who wrote ‘YELLOWMAN,’ which got such a wonderful production at Karamu last year, have helped to transition the focus of plays about the Black experience in the United States.
Early African American playwrights such as Lorraine Hansberry (‘RAISIN IN THE SUN’ and ‘THE SIGN IN SIDNEY BRUSTEIN’S WINDOW,” and James Baldwin (‘BLUES FOR MR. CHARLIE’ and ‘ONE DAY WHEN I WAS LOST’) probed into the Black-white relationships, while looking at racism and integration.
Barfield and Orlandersmith have transitioned into looking at Black on Black issues. While recognizing that it’s still difficult to Black in “white America,” they appear to feel free to expose audiences to issues that African Americans experience intrapersonally, within themselves, and interpersonally, with other members of the Black, as well as the white community.
‘YELLOWMAN’ examined the conflict between light-skinned African Americans which sometimes causes social level distinctions, with their darker brethren. ‘BLUE DOOR’ looks at the crisis of a Black man’s self-identity and his cultural history.
Neither playwright is afraid to break the “rules” of political and semantic “correctness.” They use language that traditionally has been shunned and ideas that were hidden by historical avoidance. Barfield refers several times to the role of the ‘house nigger” (Blacks who worked in the houses of plantation owners) and uses language like ‘the white devil in black skin.” She draws attention to the concept that both whites and Blacks must realize that “you can’t look at the present without looking at the past.” And that look requires using authentic language, even if it jars the ears.
‘BLUE DOOR’ is a moving and searing script. It grabs and holds the viewer’s attention. We get on intimate terms with Lewis, an African American professor of mathematics at a prestigious university, who finds himself grappling with his personal devils, in the form of his ancestors and their roles on his present day life. He struggles with the effect of these people’s histories on who he is, or perceives himself to be. We watch as Lewis’s personal and professional life spins into turmoil as his “demons” emerge. His wife leaves him. He is suspended for calling one of his students a “nigger.” His ancestors come forth during his fits of insomnia. He struggles with the story of how his family, as is true of many African Americans, were transplanted, becoming the only major cultural group who were brought to the U.S. against their wills, rather than emigrating on their own.
The Dobama production, under the sure handed direction of Scott Plate, is both upsetting and mesmerizing. The pacing allows ideas to clearly develop, even with a script that is a little too long.
Rod Lawrence, who claims he is “stoked” to be in his first production at Dobama, is compelling in each of his enactments. Playing three of Lewis’s ancestors, he develops each as a distinct character. The multi-talented Baldwin Wallace College junior gives a top notch performance in which his acting, singing and dancing are all on target. He’s impressive, very impressive.
Though he had some focus and consistency problems on opening night, Geoff Short is properly torn as Lewis. His is a difficult task. He must walk the fine line between reality and illusion, sanity and depression. He basically succeeds.
Jeff Herrmann’s set design and Richard Ingraham’s sound design both enhance the production.
CAPSULE JUDGEMENT: ‘BLUE DOOR,’ is theatre of the mind. In this case, theatre of a Black man’s mind. It is a thought provoking script, given a fine production, that is a must see for local audiences.
‘BLUE DOOR’ runs through February 21 at Dobama. For tickets call 216-932-3396.
Dobama’s next production is ‘SPEECH AND DEBATE’ by Stephen Karma, directed by Plate.
Roy Berko's blog, which contains theatre and dance reviews from 2001 through 2010, as well as his consulting and publications information, can be found at http://royberko.info
His reviews can also be found on www.coolcleveland.com and NeOHIOpal (to subscribe visit http://mailman.listserve.com/listmanager/listinfo/neohiopal.)Thought provoking, well conceived ‘BLUE DOOR’ at Dobama
Roy Berko
(Member, American Theatre Critics Association)
--THE TIMES NEWSPAPERS--
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Tanya Barfield, the author of ‘BLUE DOOR,’ which is now in production at Dobama, is one of the new breed of African American playwrights. She, along with such writers as Dael Orlandersmith, who wrote ‘YELLOWMAN,’ which got such a wonderful production at Karamu last year, have helped to transition the focus of plays about the Black experience in the United States.
Early African American playwrights such as Lorraine Hansberry (‘RAISIN IN THE SUN’ and ‘THE SIGN IN SIDNEY BRUSTEIN’S WINDOW,” and James Baldwin (‘BLUES FOR MR. CHARLIE’ and ‘ONE DAY WHEN I WAS LOST’) probed into the Black-white relationships, while looking at racism and integration.
Barfield and Orlandersmith have transitioned into looking at Black on Black issues. While recognizing that it’s still difficult to Black in “white America,” they appear to feel free to expose audiences to issues that African Americans experience intrapersonally, within themselves, and interpersonally, with other members of the Black, as well as the white community.
‘YELLOWMAN’ examined the conflict between light-skinned African Americans which sometimes causes social level distinctions, with their darker brethren. ‘BLUE DOOR’ looks at the crisis of a Black man’s self-identity and his cultural history.
Neither playwright is afraid to break the “rules” of political and semantic “correctness.” They use language that traditionally has been shunned and ideas that were hidden by historical avoidance. Barfield refers several times to the role of the ‘house nigger” (Blacks who worked in the houses of plantation owners) and uses language like ‘the white devil in black skin.” She draws attention to the concept that both whites and Blacks must realize that “you can’t look at the present without looking at the past.” And that look requires using authentic language, even if it jars the ears.
‘BLUE DOOR’ is a moving and searing script. It grabs and holds the viewer’s attention. We get on intimate terms with Lewis, an African American professor of mathematics at a prestigious university, who finds himself grappling with his personal devils, in the form of his ancestors and their roles on his present day life. He struggles with the effect of these people’s histories on who he is, or perceives himself to be. We watch as Lewis’s personal and professional life spins into turmoil as his “demons” emerge. His wife leaves him. He is suspended for calling one of his students a “nigger.” His ancestors come forth during his fits of insomnia. He struggles with the story of how his family, as is true of many African Americans, were transplanted, becoming the only major cultural group who were brought to the U.S. against their wills, rather than emigrating on their own.
The Dobama production, under the sure handed direction of Scott Plate, is both upsetting and mesmerizing. The pacing allows ideas to clearly develop, even with a script that is a little too long.
Rod Lawrence, who claims he is “stoked” to be in his first production at Dobama, is compelling in each of his enactments. Playing three of Lewis’s ancestors, he develops each as a distinct character. The multi-talented Baldwin Wallace College junior gives a top notch performance in which his acting, singing and dancing are all on target. He’s impressive, very impressive.
Though he had some focus and consistency problems on opening night, Geoff Short is properly torn as Lewis. His is a difficult task. He must walk the fine line between reality and illusion, sanity and depression. He basically succeeds.
Jeff Herrmann’s set design and Richard Ingraham’s sound design both enhance the production.
CAPSULE JUDGEMENT: ‘BLUE DOOR,’ is theatre of the mind. In this case, theatre of a Black man’s mind. It is a thought provoking script, given a fine production, that is a must see for local audiences.
