‘Certain Aspects of Conflict in the Negro Family’ Focuses on NJ History of 1967

Premiere Stages presents this new play at Liberty Hall Museum

Certain Aspects of Conflict in the Negro Family Premieres

Premiere Stages at Kean University presents a new play, Certain Aspects of Conflict in the Negro Family, by TyLie Shider. Mr. Shider is the recipient of the 2021/22 Liberty Live Commission. The Commission is awarded biennially, in partnership with Kean University’s Liberty Hall. It seeks to develop and produce new plays that celebrate New Jersey’s rich and diverse history. 

Directed by Othell J. Miller, Certain Aspects of Conflict in the Negro Family focuses on a family living in Plainfield, New Jersey. They are long time residents who moved to Plainfield in search of a better life than they were living in the south. In some ways, their dreams were realized but in other ways, they have not been met. Their conflicts rise to the surface during the “Long Hot Summer of 1967” when riots broke out in neighboring Newark and eventually to Plainfield.

The play skillfully examines the days before the violence breaks out and as it begins. We never see any of rioting or burning. Instead, the set which is the back porch of the family home, remains on stage during the entire show. However, we feel the tension through the dialog and reactions of this family who proudly own their home in Plainfield.

Background

In a recent interview with BroadwayWorld.com, playwright TyLie Shider discusses his background. This background is reflected in different formats in the play.

Mr. Shider was born and raised in Plainfield and is part of a family with a long history in the city. His maternal grandparents migrated there in the 60s and his paternal grandparents have roots there as far back as the early 20th century. His parents met and grew up together because their fathers sang together in a gospel band.

The interview discloses an important aspect of this play: Mr. Shider says, “there was very little coverage of what happened in Plainfield, because the focus was on Newark, because it’s the larger city.” After the riots ravaged Newark, there was concern for Plainfield because of its close physical proximity. There are mentions of this concern throughout the play which adds to the tension level.

Generational Differences and Family Matters

Four characters make up the cast for Certain Conflicts in the Negro Family. Clif (Eddie Blackman Gouveia) and Peach (Diane L. Parker) were previously married and but now are living in separate homes. They are parents to Junior (Kena Anae) who lives in the house with his mother. Ruth (Nicole Prothro) is a close friend of the family. Her father is a clergyman and she is involved in a relationship with Junior.

The play opens with Peach sitting inside the house at the window to the back porch. This is her spot for most of the play until the last scene. Early dialog gives potential indications of memory loss but that does not hold up at the end of the play either. Clif stops by frequently to look in on her. They appear to have a civil relationship despite the fact that Clif had another wife and son which is a source of discontent for Junior. Junior has a music studio in the house and he hopes to produce music that will sell well.

Kena Anae as Junior and Eddie Gouveia Blackman as Clif in Premiere Stages’ Certain Aspects of Conflict in the Negro Family. Photo by Mike Peters.

The Clif/Junior relationship is one of the earliest signs of generational conflict. Father continually criticizes Junior and his music. The fact that Junior quit a job at a record store because they would not put his record on their shelves is a major source of conflict between the two and a major issue for Clif.

Discussions about what happened in Newark bring different arguments out. Clif says nothing is accomplished by burning down stating “We have to live here.” However, when he goes to town to get coffee and a breakfast sandwich, he is met head on with the reality facing Plainfield when he gets frisked by the police.

Another generational difference is seen when Peach and Rose discuss the Afro hairdo that Rose wears. Peach says she doesn’t think she would ever wear one. But watch to see what happens in the play to that declaration. Rose writes a song and Junior does the music for it. He thinks they have a hit. Rose is as dedicated to her dream as Junior is.

A Turning Point

As we learn that downtown is on fire, Junior sees the need to put that fire into a record. But it is too much for Clif as decides to leave Plainfield and return to Stateboro. He wants Peach to come with him. After all that went on between them, she decides “It’s too late.”

At this point, the play moves to its conclusion. There are some surprises and signs of hope as well. Watch to see the strength that has come to Peach and see how Rose sets out on an amazing life path.

Final Thoughts

Congratulations to TyLie Shider for providing a play which gives us a look at a piece of history that has not had much attention. I grew up several towns away from Plainfield and it was one of the go to places for my family. We never really understood all that happened there. But this play gives some good insight into some of the factors at work.

A visit to the theater can create a memorable moment. These memorable moments can be ones that provide insight and learning especially when it comes to historic events. Certain Conflicts in the Negro Family is one of those memorable moments. It is well worth seeing.

The play is presented in the Tent on the grounds of the Liberty Hall Museum. It is well designed and the seating is comfortable. The outstanding Premiere Stages group has worked out heating arrangements so you should be comfortable as well.

Go and learn more about the rich history of New Jersey by seeing this play.

To Attend Certain Conflicts in the Negro Family

Certain Aspects of Conflict in the Negro Family runs October 13-October 23 under the Tent at Kean University’s Liberty Hall Museum. Performances take place Thursdays and Fridays at 8:00 pm, Saturdays at 3:00 pm and 8:00 pm, and Sundays at 3:00 pm. 

To obtain tickets, visit Premiere Stages website, https://premierestagesatkean.com.

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‘Scab’ – The Human Side of Job Changes and Loss

John Anthony Torres and Monica Wyche. Photo by Mike Peters.

Scab is a Study of What Happens When Jobs Change Hands

A new play titled Scab by Gino Diiorio focuses on the changes that occur when jobs change hands. It involves a U.S. based factory operation that is relocating to Mexico. Jobs in the U.S. side are lost but jobs in Mexico are developed. Each group of people go through major life changes because of this swap. The focus on what happens to them through this process produces an outstanding study in both the good and bad traits that come out in people.

Scab – A Finalist in the 2020/21 Premiere Play Festival

Scab is presented by Premiere Stages running now through September 25 in the Bauer Boucher Theatre Center on the Kean University main campus in Union, N.J. The play was selected as a finalist from the 2020/21 Premiere Play Festival. Because of CoVid shutdowns and restrictions, it is just now running.

Scab features actors John Anthony Torres as the Mexican (Eduardo) who will take over the job held by American worker (Gilda) played by Monica Wyche. Both of these actors turn in outstanding performances. Their concentration on the intensity building inside of them makes for critical moments in the play. John J. Wooten, producing artistic director of Premiere Stages, directs. Mr. Wooten includes some very powerful staging and acting techniques to bring this intensity to life.

The set has very little color to it because it features machines which are part of the factory. The machines appear to have seen better days, but that doesn’t seem to matter because the operation is leaving the site represented on the stage.

Character Development Central to the Story Line

The factory in Scab has been a working operation for many years in the United States. A union is firmly entrenched. However, as the factory prepares to move to Mexico, there is really nothing they can do to protect jobs. Longtime employee Gilda accepts an offer to stay on and train new Mexican employee Eduardo. She needs the compensation money promised to her to do this job. However, by union standards, she is considered to be a scab because she is walking over the picket line.

Gilda’s attitude is sharp and unforgiving as Eduardo enters for the start of his one week training process. Eduardo attempts to be friendly and tries to get to know Gilda but she puts up invisible walls of protection. The human characteristics are understandable for both people. But one cannot help but feel sympathy for Gilda because she has been pushed into a situation over which she has no control.

Gilda is focused on completing the assigned tasks so she can sign off on Eduardo and collect her compensation. She pictures the factory working like it did while she worked there. A major important moment occurs when she learns that Eduardo will be doing more than double the work she did and for less money. The light goes on in her head about what is really at stake here leading to a very rough scene on the last day of training. This action opens Gilda to the human side of what is occurring leading her to realize things about herself that really are opposite to what the union wants. She also recognizes the need to examine a new life for herself.

You will need to see how well this critical moment plays out on stage. It is very well done and all aspects of theatrical staging bring it to life. After this moment, the changes that both characters show about themselves demonstrate how much they have gone through.

NAFTA and Trade Politics

Photo – K. Nowosad

Located in the theater area lobby right next to the Box Office are large poster displays with topics that relate directly to the show. It is well worth coming in a bit earlier than curtain time to read these placards. They show a brief history of NAFTA (North American Free Trade Agreement). It also goes on to show how new enactments in 2020 (USMCA) passed to try to level the playing field. However, this play, written in 2018, shows how American factories are caught up in the allure of moving their operations to obtain less expensive labor costs.

A segment of a placard in the lobby – Photo – K. Nwosad

With that background in mind, the intensity of what happens in the play increases. Scab gives a look at what an employee might deal with when jobs move out of the country with no replacement work for them.

Performance Schedule and Tickets

Performances run Thursdays and Fridays at 8:00 pm, Saturdays at 3:00 pm and 8:00 pm, and Sundays at 3:00 pm.

To make reservations or to order a season brochure, call the box office at 908-737-7469 or visit Premiere Stages at premierestagesatkean.com.

Assistive listening devices and sign-interpretation are available upon request; please call 908-737-4077 at least two weeks prior to your desired performance.

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Laughs Abound at “Two Jews, Talking”

Hal Linden and Bernie Kopell in “Two Jews, Talking” – Photo credit – Russ Rowland.

In a word, the play “Two Jews, Talking” is funny. The audience at Theatre at St. Clements on a very hot August day laughed, applauded, and had a good time. There are several reasons why this play was so well received by the crowd.

“Two Jews, Talking,” written by Ed Weinberger and directed by Dan Wackerman, has a basic script which actually two one act plays. The first one is in the Biblical desert circa 1505 BCE. The time is late afternoon on a Tuesday. Why a Tuesday? We don’t have much evidence of what life was really like then, so we take Mr. Weinberger’s word for it. However, the second act is more fluid. It takes place in a park, “last week on a summer afternoon.”

The scenery is sparse; just enough to give a setting to the two time periods. The desert scene has rocks and boulders along with an anemic looking tree. The park has a bench and shrubbery.

The script has many funny lines in it. The lines come to life in a special way because of the performances of two very seasoned veterans of stage and screen. Hal Linden and Bernie Kopell know how to entertain their audiences. Their understanding of comedy and how to deliver it to their audience is what makes this show so entertaining to see. Their command of the stage and what needs to be focused on is superb. Watching them in this play is like attending a master class of good comedic techniques.

Act I – In the Desert

Hal Linden as Lou and Bernie Kopell as Bud in “Two Jews, Talking” – Photo credit Russ Rowland.

The first act shows Lou (Hal Linden) and Bud (Bernie Kopell) taking a break from the large group of people who are walking through the desert. Lou’s feet hurt him because he wears boots. He tells Bud that he waited in the sandal line but they did not have his size. The men discuss a number of topics related to that time period when the Jews left slavery in Egypt and wandered through the desert seeking out the promised land. Bud observes, “Maybe you say we’re going in circles. I say — Moses knows where he’s going.” But Lou replies, “Moses! You don’t get it, do you? The man is lost. L-O-S-T. LOST! And not once in 30 years has he stopped and asked for directions!”

Dialog continues as the two men talk about events related to their journey. One of the funniest moments in the play is the description of the “orgy” at Mount Sinai.

Lou attended Bud did not. And Lou has lots of details. He talks about the food including a large platters of liver. Bud asks, “Sliced or chopped?” To which Lou replies “Chopped. Naturally.”

However, Lou describes how Moses comes down from the mountain and ruins everything. “Children of Israel, you’ve turned away from the Lord. You have corrupted yourselves.” Bud says, “What did you expect? He was angry. He turns his back for a minute and all hell breaks loose.” Lou replies, “Four hundred years we were slaves — finally we’re free and we can’t throw a party? After that, it’s been one damn law after another. What to wear. What not to wear. What to eat. What not to eat. When to shave. When not to shave. When to make love. When not to make love.”

There are a number of exchanges in this act just as funny as these.

There is no intermission so when Act I ends, the two actors leave the stage and it is reset for Act II.

Act II – In a Park

Bernie Kopell and Hal Linden in “Two Jews, Talking” Photo credit Russ Rowland.

Act II is in modern day. Bernie Kopell plays Phil and Hal Linden plays Marty. These two men share a bench in what looks to be a park. A few mentions are made of CoVid 19 such as Marty’s entry when uses a hand-held “spritzer” and sprays the bench. Then with a handkerchief, he carefully wipes down the seat and backrest. Phil says, “It’s okay. I’m vaccinated. Pfizer. Twice. With two boosters.” And Marty says, “I’m Moderna twice — also with two boosters.’

For the most part, the conversation is general topics related to the lives the men live. Some sections of this part are topics related to growing older but others are emotional issues the men face in their lives. They talk about people who were in their lives but are now buried here where they are seated. Marty’s wife’s grave is the reason he visits and Phil’s son who died of AIDS is his.

The second act is more poignant than the first one. Perhaps the chance to use current events allows that to take place. One of the finest moments in the play is at the very end when the two men say a prayer together in Hebrew.

It is a beautiful way to end the play.

About “Two Jews, Talking”

The play runs through October 23 at the Theatre at St. Clements. The location of this venue is 423 W. 46th Street in New York City. Tickets are available through a link on their website.

The play runs approximately 70 minutes, Although it is a short production, it is high quality. Hal Linden and Bernie Kopell have a good synergy as they portray their characters. You will be pleased seeing this.

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