Displaying items by tag: Kelvin Roston Jr

"Stokely: The Unfinished Revolution" a world premiere written by Nambi E. Kelley and directed by Tasia A. Jones, ambitiously attempts to capture the essence of civil rights icon Stokely Carmichael in a mere 90-minute play. The title, hinting at a deep dive into Carmichael's revolutionary ideologies, might mislead audiences expecting a detailed exploration of his political maneuvers. Instead, the play serves more as a biographical sketch, intricately weaving his personal and public life, spotlighting his relationships and the internal and external battles he faced.

The enormity of condensing Carmichael's life into such a brief performance is a challenge that Nambi E. Kelley undertakes with both reverence and creativity. Kelley is no stranger to tackling monumental projects; her play "Native Son," based on Richard Wright's 400+ page book, is currently receiving a formidable production at Lifeline Theatre. In "Stokely: The Unfinished Revolution," the narrative framework is structured around Carmichael's awareness of his impending death, prompting him to reflect on his life and legacy. This introspective journey provides a poignant lens through which the audience views Carmichael not just as a historical figure but as a man grappling with his mortality and the weight of his contributions to the civil rights movement.

While Tasia A. Jones has made quite a name for herself in Chicago theaters, this production marks her directorial debut at Court Theatre. Jones's direction shines with emotional depth, sharp focus, and a remarkable ability to elicit compelling performances from her actors. She adeptly handles a challenging script, showcasing her exceptional directorial skills. The ensemble's stellar performance is a testament to her distinct and impactful style.

Anthony Irons delivers a compelling performance as Stokely Carmichael. His portrayal captures the charismatic and fiery spirit of Carmichael, while also delving into his vulnerabilities and moments of introspection. Irons manages to convey the depth of Carmichael's character, balancing his revolutionary zeal with the emotional complexities of his personal relationships.

Melanie Brezill stands out with her portrayal of Tante Elaine, Stokely’s aunt, as well as Miriam Makeba and other influential women from the civil rights era. Brezill's performance is marked by a powerful presence and a keen sense of empathy, bringing to life the experiences and struggles of these women. Her versatility and emotional range make her scenes particularly memorable, adding depth and resonance to the play.

Dee Dee Batteast is versatile in her roles, including Cecilia Carmichael, Stokely’s grandmother, and other characters. She adds layers of historical and emotional context to the narrative, seamlessly transitioning between different personas. Her ability to inhabit multiple characters with distinct voices and mannerisms enriches the storytelling and provides a broader perspective on Carmichael's life.

Kelvin Roston Jr. is reliably excellent in his multiple roles, including Adolphus Carmichael, Stokely’s father, and significant figures like Martin Luther King Jr and James Baldwin. Rolston’s ability to embody such diverse and iconic characters with authenticity and gravitas anchors the play, providing continuity and a sense of historical significance.

Wandachristine, playing May Charles, Carmichael’s mother, offers a nuanced performance that highlights the familial tensions and deep love that defined their relationship. Her interactions with Irons are charged with emotion, revealing the often-complicated dynamics between a mother and her son, particularly when that son is a prominent figure in a tumultuous era.

The fluidity of the play’s structure is mirrored in its set design. Yeaji Kim’s creation of a massive chest of drawers, filled with books and papers, serves as a dynamic backdrop. This design not only symbolizes the vast repository of knowledge and history that Carmichael sought to preserve but also facilitates quick transitions between different times and places. The set is both functional and metaphorical, enhancing the thematic elements of legacy and memory.  The main set piece transforms in a surprising and unexpected manner I won't reveal here, preserving the thrill of discovery.

Daphne Agosin's lighting design and Willow James's sound design work in harmony to create a vivid sense of time and place. The lighting shifts subtly yet effectively, guiding the audience through various moments in Carmichael's life. Meanwhile, the sound design incorporates period-specific music and ambient sounds, grounding the narrative in its historical context and enhancing the emotional impact of the scenes.

Kelley’s script is a deft blend of personal reflection and historical narrative. The dialogue is sharp and evocative, capturing the essence of Carmichael's rhetoric while also revealing his personal struggles. The tension between Carmichael and his mother is a central theme, adding a deeply human dimension to the story. This relationship is portrayed with honesty and sensitivity, illustrating how personal bonds can influence and complicate one's public mission.

"Stokely: The Unfinished Revolution" succeeds in presenting a multifaceted portrait of Stokely Carmichael. The production humanizes him by portraying his strengths, flaws, public triumphs, and private tribulations. While the play might not satisfy those seeking an exhaustive examination of Carmichael's revolutionary strategies — I would have loved to have seen the transformation from Stokely Carmichael to Kwame Ture—it offers a rich, intimate glimpse into his life and legacy.

In capturing the essence of a man who was both a pivotal figure in the civil rights movement and a son, "Stokely: The Unfinished Revolution" provides a powerful theatrical experience. It serves as a reminder of Carmichael's enduring impact and the personal sacrifices that underpin the fight for social justice. The performances, direction, and design elements coalesce to create a compelling and thought-provoking tribute to a man whose revolution, indeed, remains unfinished.

Highly Recommended

When: Through June 16

Where: Court Theatre, 5535 S. Ellis Ave.

Tickets: $23.50 - $69.50

Info: CourtTheatre.org

Run time: 90 minutes, no intermission

Booming thunder unleashed by a violent storm marks a scene change in King Hedley II, the sound and fury expressing the clash of deep emotional confrontations playing out as the stage goes to black.

Under the direction of Ron OJ Parson, Court Theatre gives us what is surely a definitive rendition of August Wilson’s 2000 play.

Wilson gives vivid voice to the life of his African American characters, showing them hemmed in and struggling for opportunity accorded readily to others. In King Hedley’s 1980s setting, amid trickle down economics, Americans saw greater divides between rich and poor, and rising mass incarceration. And against this backdrop, Wilson’s characters live life – with all its glory, and all its monumental tragedy, which abounds in the play.

In King Hedley II, the action takes place in 1985 in the backyards of two modest brick homes. Following five years in prison, Hedley (Kelvin Roston Jr.) returns to the home where his aunt raised him, optimistic, and aiming to rebuild his life. He plans to marry Tonya (Kierra Bunch). His aunt died while he was away, and his birth mother Ruby (actress Taylar) is now living in the house.

Hedley plants flower seeds, a perfect metaphor for his aspirations to reclaim his life, then struggles to stop others from trampling his young plants, and dragging him down with pessimism. His mother warns him the soil is too weak. Tonya, already a single mom, rebuffs Hedley’s overtures.

“I got to make it whatever way I can,” says Hedley (Kelvin Roston Jr.). “I look around and say 'Where's the barbed wire?”
“You could cut through barbed wire,” says Mister (Donald L. Conner). “But you can’t cut through not having a job.”

The ninth in Wilson’s ten-part Pittsburgh Cycle, each play takes place in that city, and each in a different decade. A Pulitzer finalist, it earned Viola Davis a Tony in its original Broadway run. I had the chance to see it in 2001 at Goodman Theatre, and barely understood what I watched then.

But at Court I threw down my program and leapt to my feet to cheer and applaud, like the rest of the audience, even before the final spotlight ended. It is that good, and hopefully we the people are better audiences for Wilson than 20 years ago. 

Though August's womenfolk are more guarded than optimistic, there is a hopefulness brought to Hedley by his buddy Mister, who works in a nail factory. Characteristically, Mister is hoping for a raise, that never materializes, even though business is booming. Hedley is in line to work on a demolition job for the City of Pittsburgh, but his employer (presumed to be African American) was denied the contract because the bid was too low, and the city doubted his capabilities.

Hedley and Mister devise side jobs, including re-selling refrigerators and, as opportunities narrow, plan a heist at a jewelry store. The plan and execution will remind you of  David Mamet's American Buffalo.

Into this intriguing setting come two even more powerful dramatis personae: the neighbor Stool Pigeon (Dexter Zollicoffer), a quirky person who is a hoarder, and delivers thundering prophecies drawn in ominous tones from long Bible passages. 

The other arrival is Elmore (A.C. Smith), hoping to recapture his lost love Ruby, and aiming to unburden himself of a secret that Ruby wanted both of them to take to her grave. (No spoiler here.) 

Smith tears up the stage with his larger than life Elmore. But then so does Zollicoffer as Stool Pigeon, a haunting character impossible to forget. And Taylar, Conner and Bunch all deliver remarkably good performances. And Roston gives us a complex, and nuanced portrait of Hedley.  

Wilson, who died in 2005, loads his plays with high-octane dialog. These can be challenging to deliver, or watch – with extra hurdles in understanding the overtones for white people like me. Parsons, working with this great cast, keeps each performance in balance with the others.

This is no small achievement when you realize that any of these characters could be the main protagonist in any other play. And indeed some recur in other works in the Pittsburgh Cycle. Act I of King Hedley II runs 80 minutes; after a 10 minute intermission Act II runs 70 minutes. You will be amazed at how quickly the time passes. Highly recommended for those who like great performances, staging, and a complex play. See King Hedley II through October 13 at Court Theatre in Chicago.

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The live sounds of 30’s and 40’s jazz transform Court Theatre into a music venue in this production of Five Guys Named Moe. Written by Clarke Peters and directed by Resident Artist Ron OJ Parson, with Music Director Abdul Hamid Royal and Associate Director Felica P. Fields, this lively musical is a tribute to the great songwriter and saxophonist Louis Jordan (1908-1975), who went down in history as an innovator and popularizer of “jump blues,” a dance forward mix of jazz, blues and boogie-woogie, that paved the way for rock’n’roll in the 1950’s.

The uncomplicated plot provides the perfect canvas for Louis Jordan’s greatest hits and goes something like this: Nomax (Stephen ‘Blu’ Allen) is a clueless but perfectly lovable young lad who is broke and heartbroken because his girlfriend left him. Drinking at home one night and listening to Louis Jordan’s hits on the radio, depressed Nomax is whining about his life, when out of the blue (no pun intended) his radio erupts with five guys, who climb out one by one, introduce themselves as Big Moe (Lorenzo Rush Jr), Eat Moe (James Earl Jones II) , No Moe (Eric A. Lewis), Four-Eyed Moe (Kelvin Roston Jr), and Little Moe (Darrian Ford), and get the party started with ‘Five Guys Named Moe.’ Because five heads are better than one, The Five Moes are very helpful in trying to solve Nomax’s lady problem; the dynamic and superbly fun hits “I Like ‘Em Fat Like That” and “Messy Bessy” are prove of that. Not to mention “I know What I’ve Got” and “Safe, Sane and Single,” which were outstanding. Louis Jordan’s use of comedy in his songwriting had become one of the most prominent elements in his music, for he “laughed to keep from crying”. Besides, having been married five times, he most certainly contemplated the relations between the opposite sexes in his own life.

There was some great talent on that cleverly designed stage made to look like inside of an old radio (scenic design by Courtney O’Neill). Powerful voices, the most remarkable of them Darrian Ford’s [whose new original vocal jazz album, The New Standard, is set to release later this year], impressive dancing with occasional somersaults thrown in for a good measure (by James Earl Jones II), Lorenzo Rush, Jr’s commanding presence and hilarious relic, always on.

The band is no slouch either: led by the pianist/Music Director, winner of the NAACP Image Award for Broadway’s Five Guys Named Moe composer/arranger Abdul Hamid Royal, who had worked with many recording artists, such as Liza Minelli, Stevie Wonder, Natalie Cole, and Christina Aguilera, to name just a few; it produces a tight sound.

By the end of the First Act, the audience is playfully forced to sing the silly lyrics to “Push Ka Pi Shi Pie,” and some fortunate first row attendees are dragged onto stage to dance with the cast and then led to the lobby bar. Hey, “What’s the Use Of Getting Sober?”, right?

Second Act takes us to The Funky Butt Club, where the Five Moes have a gig to do. The sounds of old jazz are like an anti-anxiety remedy, taking us to a different time far, far in the past, it seems. What great 63rd Season opener for Court Theatre! “Five Guys Named Moe” is being performed at Court Theatre through October 8th. For more show information visit www.courttheatre.org.

*Now extended through October 15th

What drew me to this play is the powerful message around civil rights and the negative impact it had on the children of activist. Sunset Baby is about a women named after Nina Simone whose parents were a part of the Black Panthers. After her mother passes away, her father comes back into her life after what seems to have been a long stint in prison. playwright Dominique Morriseau, who landed the Edward M. Kennedy Prize for her previous work, Detroit '67, comes back with another fine effort Sunset Baby a story of generation gaps and healing old wounds.

As I walked closer to the stage at Timeline Theater, I saw large signs of many individuals who have contributed to the civil rights movement such as Audre Lorde, Bell Hooks, Malcolm X, Tupac Shukar, Nina Simone, and DeRay Mckesson who works with Black Lives Matter. The short descriptions of these individuals were informative and appreciated and also helped set the tone for this play.

The plays opens up with Nina, played by Anji White, getting ready to go hustle and make some money with her boyfriend, Damon (Kelvin Roston Jr.). As she is getting ready, she gets a buzz from downstairs thinking it was him but it is instead her estranged father Kenyatta (Phillip Edward Van Lear). Nina blames her father for the addictions her mother had which ultimately led to her death. What is uncovered through this encounter is Kenyatta's desire to locate unsent letters from Nina's mother, Ashanti X, while in prison. 

Although the play had a lot of ups and downs to keep the audience busy, I still left wanting more. There could have been more about the political activism around Kenyatta. I believe more details should have been explored a bit more as well as character development. The acting itself was very strong. Phillip Edward Van Lear's demeanor throughout the play was calm as Kenyatta but when he talked about his experiences, he did a great job of appearing physically agitated, making his role even more believable.

Sunset Baby will be at Timeline Theater from January 21st through April 10th. Visit http://www.timelinetheatre.com/sunset_baby/ for more details on obtaining tickets to see this powerful cast.