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review 2019-03-08 21:25
Review: "Cash Plays" (Seven of Spades, #3) by Cordelia Kingsbridge
Cash Plays - Cordelia Kingsbridge

1st read: September 21st, 2018

1st reread: March 8th, 2019

 

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

 

Nope. This wasn’t any easier the second time. Still heart-breaking, but also still brilliant and outstanding, and so very, very well-written.

 

 

And I officially declare this as one of my all-time Top 3 favorite series.

 

You can quote me on that.

 

 

 

~ 5 STARS ~

 

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review 2019-02-26 22:57
A Raisin In The Sun by Lorraine Hansberry | #BlackHistoryMonth
A Raisin in the Sun - Lorraine Hansberry

This groundbreaking play starred Sidney Poitier, Claudia McNeill, Ruby Dee and Diana Sands in the Broadway production which opened in 1959. Set on Chicago's South Side, the plot revolves around the divergent dreams and conflicts within three generations of the Younger family: son Walter Lee, his wife Ruth, his sister Beneatha, his son Travis and matriarch Lena, called Mama. When her deceased husband's insurance money comes through, Mama dreams of moving to a new home and a better neighborhood in Chicago. Walter Lee, a chauffeur, has other plans, however: buying a liquor store and being his own man. Beneatha dreams of medical school. The tensions and prejudice they face form this seminal American drama. Sacrifice, trust and love among the Younger family and their heroic struggle to retain dignity in a harsh and changing world is a searing and timeless document of hope and inspiration. Winner of the NY Drama Critic's Award as Best Play of the Year, it has been hailed as a "pivotal play in the history of the American Black theatre." by Newsweek and "a milestone in the American Theatre." by Ebony.

Amazon.com

 

 

 

 

Pulling its title from the Langston Hughes poem "A Dream Deferred", A Raisin in the Sun chronicles the lives of members of the Younger family, a black family living in Southside Chicago in the 1950s. All living together in one cramped, rundown apartment, each person in this family has their own dream of bettering their life.

 

Related image

 

 

Matriarch Lena Younger, recipient of a sizable insurance check following the death of her husband, wants to buy a house out in the predominantly white suburbs and get her family out of the city altogether. Her son, Walter, urges his wife Ruth to coax his mom into giving up some of the insurance money so he can put it towards a business startup that he hopes will enable him to quit his job as a chauffeur to rich white families. Ruth knows her husband though. He's always full of dreams and schemes that never quite pan out. She'd rather just put her energy into providing the most stable environment possible for their son, Travis. Then there's Walter's younger sister, Beneatha, who also has a bit of the dreamer bug, prone to flights of fancy, but has recently set her heart on becoming a doctor. 

 

The bulk of the play comes from the discussions that come up as each character tries to make their goals realities, and the harsh life truths that sometimes come about in the process:

 

* Walter doesn't really have the support of his family behind his latest get-rich-quick scheme, but he carries it out on the sly anyway, only to once again come up on disastrous results. 

 

"Sometimes it's hard to let the future begin." 

 

~ Walter 

 

* Beneatha wants to be a doctor, hopefully somewhere where it will really make a big impact, but she also finds her heart being captured by her African friend and teacher, Joseph Asagai, even though he irritates her when he teases her about being an assimilationist because she straightens her hair. 

 

* Lena gets the house she wants, but soon after goes up against a representative from the Claybourne Park "Welcoming Committee" as he ever so careful tries to explain to her that the neighborhood prefers "people with common backgrounds" ... aka no black folks wanted. 

 

 "Son, I come from five generations of people who was slaves and sharecroppers  --- but ain't nobody in my family never let nobody pay 'em no money that was a way of telling us we wasn't fit to walk the earth. We ain't never been that poor. We ain't never been that --- dead inside."

 

~ Lena to Walter

 

Originally produced for the stage in 1959, this play beautifully illustrates the universal drive, the craving for something better in life than what you currently have. Though the play focuses on an African-American family, many of the themes Hansberry incorporates transcend race differences. True, some topics mentioned are unique to African-American culture, but the beauty in this play is how in such a simple yet moving story it brings everyone in the audience together to root for the Younger folks. EVERYONE. Everyone knows the feeling of wanting to live in a better place, to wish for more respect from your boss, to have your interests and choice of educational path taken seriously, the extent of the sacrifices our parents make for us to get us to a better place, that we sometimes forget or ignore. As Lena tells her son, Walter, "I never owned, wanted or asked for nothing that wasn't for you."

 

Beneatha: Be on my side for once! You saw what he just did, Mama! You saw him -- down on his knees. Wasn't it you who taught me to despise any man who would do that? Doing what he's going to do?

 

Mama: Yes -- I taught you that. Me and your daddy. But I thought I taught you something else too... I thought I taught you to love him.

 

Beneatha: Love him? There's nothing left to love.

 

Mama: There is always something left to love. And if you ain't learned that, you ain't learned nothing. Have you cried for that boy today? I don't mean for yourself and for the family 'cause we lost the money. I mean for him: what he been through and what it done to him. Child, when do you think is the time to love somebody the most? When they done good and made things easy for everybody? Well then, you ain't through learning --- because that ain't the time at all. It's when he's at his lowest and can't believe in hisself 'cause the world done whipped him so! When you starts measuring somebody, measure him right, child, measure him right. Make sure you done taken into account what hills and valleys he come through before he got to wherever he is.

 

 

 

And it's not all hardships either. Yes, this family yearns for better, but what gives this story so much of its heart is the love and warmth that exists within this clan, regardless of where they live. There's humor, hugs, a dose of tough love now and then, and a "no matter what, we got you" vibe just washing all over the Younger residence! 

 

===================

EXTRAS

 

* In 1959, author Lorraine Hansberry was just 29 years old when she became the youngest American, first black playwright and fifth woman in history to win Best Play of the Year Award from New York Drama Critics!

 

*Sadly, Hansberry passed away from cancer just a few years later in 1965 at the age of 34. 

 

Image result for lorraine hansberry

 

Image result for lorraine hansberry

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review 2019-02-18 18:04
Fires In The Mirror by Anna Deavere Smith
Fires in the Mirror - Anna Deavere Smith

Derived from interviews with a wide range of  people who experienced or observed New York's 1991  Crown Heights racial riots, Fires In The  Mirror is as distinguished a work of  commentary on black-white tensions as it is a  work of drama.  In August 1991 simmering tensions in the racially polarized Brooklyn, New York, neighborhood of Crown Heights exploded into riots after a black boy was killed by a car in a rabbi's motorcade and a Jewish student was slain by blacks in retaliation.  Fires in the Mirror is dramatist Anna Deavere Smith's stunning exploration of the events and emotions leading up to and following the Crown Heights conflict.  Through her portrayals of more than two dozen Crown eights adversaries, victims, and eyewitnesses, using verbatim excerpts from their observations derived from interviews she conducted, Smith provides a brilliant, Rashoman-like documentary portrait of contemporary ethnic turmoil.

Amazon.com

 

 

 

On August 19th, 1991, the motorcade of a Lubavitcher Hassidic rebbe was traveling through Brooklyn. While driving through the Crown Heights neighborhood, at 8:20pm, one car in the motorcade drove up on the curb suddenly, the car striking and killing seven year old Gavin Cato and also leaving his older cousin with a broken arm. Word quickly spread that a black child had been killed by a Jewish motorist. Some witnesses even said the driver appeared to be intoxicated. Three hours later and five blocks away from the site of the crash, a visiting Hasidic history professor from Australia was stabbed, dying at the hospital some hours later.

 

The basic timeline of events:

 

* August 19th, 8:20pm -- Seven year old black child Gavin Cato killed by car that jumps a curb
* Same night, 11:30pm -- visiting Hasidic Jew professor Yankel Rosenbaum, with no connection to the death of Gavin Cato, is stabbed five blocks away from crash site.
* August 20th, 2am -- Rosenbaum dies at the hospital from his stab wounds; later that day, Trinidad-American teen Lemrick Nelson, Jr. is arrested in connection with the stabbing. By August 21st, he is charged with second degree murder (but by October 1992 is acquitted).
* August 21st -- funeral of Yankel Rosenbaum; that same day marks the start of days of rioting and looting throughout the Crown Heights community. That first day, 16 arrests and 20 police officers left injured.
* August 22nd -- the arrest count during the riots rises to 107, the police presence increased to over 1500 officers.
* August 24th -- 1500 protesters led by Rev. Al Sharpton and Alton Maddox march through the streets of Crown Heights.
*August 26th -- funeral of Gavin Cato; Rev. Al Sharpton delivers the eulogy.
* Violent acts and courtroom drama in connection with the deaths of Cato and Rosenbaum continue back and forth between the black and Jewish communities through 1992 and 1993, both sides wanting justice and vengeance.

 

Image result for Fires In The Mirror by Anna Deavere Smith

 

 

In 1993, Anna Deavere Smith crafted a one woman stage play depicting these events, compiled from the numerous interviews she did with more than two dozen Crown Heights community members, representing both sides of the story, as well as the impressions of high profile members of the black community such as Rev. Al Sharpton and writer Nzotake Shange. Smith pulls from the interview transcripts verbatim to create the monologues for the stage show, ending on the words of Carmel Cato, Gavin Cato's father.

 

The early portions of the play explore the political and emotional environment that existed prior to the events of August 1991, while the later monologues get more into the course of events on August 19th itself (I was surprised to see the text here included one of the actual crime scene photos under one of the passages). Smith, in her foreword, writes of how it was difficult to get a clear, unbiased look of the events at the time when there was media bias from nearly every angle. It was her hope and goal to use the interviews, and later the play, to give a more honest, balanced display of this tragic and emotionally charged time. Also, prior to the start of each monologue, Smith gives contextual history such as when / where each interview took place, even what the person was wearing. For example, in regards to the use of the interview with rapper Big Mo, Smith notes that the interview used in the text was actually one done in 1989. 

 

"Fires In The Mirror is part of a series of theater (or performance) pieces called On the Road: A Search for American Character, which I create by interviewing people and later performing them using their own words. My goal has been to find American character in the ways that people speak... my goal was to create an atmosphere in which the interviewee would experience his / her own authorship. Speaking teaches us what our natural "literature" is. In fact, everyone, in a given amount of time, will say something that is like poetry."

 

~ Anna Deavere Smith on her process

 

 

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While I appreciate Smith's unique approach to the subject matter, I'm not sure it entirely worked for me, personally. I was expecting for these passages to be more impactful. While some of them are quite good, there are others here where I was wondering about the relevance. The words themselves always didn't quite hit the mark for me, so I did a watch of the stage show itself. While better, even there something was falling short. Again, I can appreciate and acknowledge the work that clearly went into crafting this show, but the execution ... something was a little off for me. It didn't always strike me as unbiased a portrayal as Smith claimed she was aiming for and some of the acting did come off as at least a little bit too caricatur-ish. 

 

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review 2019-02-17 23:32
Richard II / William Shakespeare
Richard II - William Shakespeare,Roma Gill

I am going to have to see a more traditional version of this play before I will be able to give a true opinion of it. I went to see the Almedia Theatre version at my local movie theatre and I didn’t care for this staging of the play.

The setting was extremely spare. There was only one room and all of the actors were on set all of the time. No furniture, only a series of buckets, which puzzled me a first. No real costumes, either. All the actors were dressed in T-shirts and jeans or sweatpants. When not involved in a scene, the actors would stand by the wall of the one-room set.

The reason for the lack of costume became apparent as the buckets were brought into action. Containing water, soil, and stage blood, they were slung around with abandon and everyone ended up covered in something. Why bother with elaborate costumes when you’re just going to roll everyone in the mud and blood?

But what capped things off for me was the man in the role of Richard II. He had a nervous tic which distracted me beyond my ability to ignore it. Even while delivering emotional speeches, he was rubbing or scratching his butt. What I noticed (early in the play) I just couldn’t un-see and it made it next to impossible for me to concentrate on the dialog and plot.

So, nothing to do with the play itself or with Shakespeare’s writing, but I’m going to have to see another production in order to have an unbiased opinion of Richard II.

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text 2019-02-14 23:53
Christie Completists: Agatha's Plays
The Mousetrap and Other Plays - Agatha Christie
Black Coffee - Agatha Christie
The Unexpected Guest: A Play In Two Acts - Agatha Christie
Spider's Web: A Stage Play - Agatha Christie
Rule of Three - Agatha Christie
Murder on the Nile - Agatha Christie
Akhnaton: A Play in Three Acts - Agatha Christie
The Lost Plays: Butter in a Lordly Dish / Murder in the Mews / Personal Call - Agatha Christie,Ivan S. Brandt,Richard Williams,Full Cast

In my quest for Christie-related reading material, I've decided to work yet another series of reads into this year's program; namely, Dame Agatha's plays -- NOT The Mousetrap, Witness for the Prosecution and other blockbusters, however, but her lesser-known and forgotten ones; both stand-alones and adaptations of her own novels.  Most of the latter are collected, together with her aforementioned blockbuster successes, in The Mousetrap and Other Plays; the others are published individually by Samuel French.

 

The Mousetrap and Other Plays includes:

 

* Ten Little Indians

* Appointment With Death

* The Hollow

* Towards Zero and

* Go Back for Murder,

 

as well as a stand-alone play named Verdict.

(Go Back for Murder is the dramatization of Five Little Pigs, aka Murder in Retrospect).

 

Three of Dame Agatha's other plays were novelized by Charles Osborne: I've seen enough of those novels NOT to ever want to go near any of them ... but I am very much interested in Christie's original works:

 

* Black Coffee

* The Unexpected Guest and

* Spider's Web.

 

Then, there is a collection of three one-act plays collectively published under the title Rule of Three:

 

* Afternoon at the Seaside

* The Rats and

* The Patient,

 

as well as two plays set in Egypt: the dramatization of Death on the Nile and one of her final works, a history play set in Ancient Egypt published in 1973 but never produced in her remaining lifetime,

 

* Murder on the Nile and

* Akhnaton.

 

Finally, there is a set of radio dramas rereleased by the BBC a few years ago:

 

* Butter in a Lordly Dish

* Murder in the Mews and

* Personal Call.

 

I'm not planning to binge on these, but I'll be sprinkling them into my reading over the course of the year.  If anybody would like to join, please let me know -- I'm always up for a buddy read.

 


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