‘Colorblind’ Examines Racial Perception vs. Reality

Dana Harris and Wallace Demarria in ‘Colorblind’ now playing at the Actors Temple Theater Photo Credit: Kamal X

In a perfect world. the color of a person’s skin would not matter. All people despite race, creed, or religion should have equal rights and equal access to opportunities. That’s the law. But what about a person’s individual perceptions about color? The play Colorblind addresses this very issue. Playing Off-Broadway at the Actor’s Temple Theater, Colorblind uses a well developed story to address the issue of perception as it delves into a study of long-standing racial inequality in America. A strong cast turns in very fine performances as the story unfolds making this a show to be seen. There are questions that get answered but others that arise from what occurs in the play.

Colorblind comes from the New York based theater company Outside Studios. The show had a world premiere at The Meta Theater in Los Angeles in 2013. The four-week engagement extended to eight weeks due to the run’s sold-out performances. The successful run at The Meta Theater was followed by another successful eight-week run at the Santa Monica Playhouse  Currently, performances are in New York City at the Actors Temple Theater.

Strong Characters are Featured in the Story

Colorblind was written by NAACP Award-Winning Playwright Wallace Demarria who also plays the lead role and co-directs with Amanda Niqole. Demarria spent three and half years developing and writing the script. According to notes in the program handout, “He felt it was imperative to give each and every character a voice without demoralizing or victimizing anyone.” This comes through very well as the story unfolds because strong characters drive the story. The development of each of them is presented in a manner that moves at a quick pace thus enabling more understanding of what is at stake.

The story told in Colorblind centers on the concepts of a group named in the show as the Minority Empowerment Movement (MEM) and its very charismatic but controversial spiritual leader Clinton Muhammad. Wallace Demarria plays the outspoken advocate against “the oppression and discrimination” of minorities. He has his devoted followers who deem him a source of power for all. Mr. Demarria gives an outstanding performance throughout the entire play. His ability to shift from a source of strength to a man who shows internal fears is a tribute to the range of versatility he displays.

A staff member, Janet Smith, works in the MEM offices. Smith, who is played by Dana Harris, takes care of public relations issues as well as keeping the office running smoothly and calming Clinton at times. Because of all she does, Clinton says, “Black women are the closest thing to God we have on this planet.” Although he admires Janet, he is not able to return the affection that she has for him and this is disappointing to her. Ms. Harris’ performance is crucial to the play and she delivers a very memorable performance. In fact, one of the scenes towards the end of the show where she tearfully tells Clinton that she “cannot be #2” is one of the most moving scenes in the show.

Wallace Demarria and Dana Harris in ‘Colorblind’ Photo Credit: Kamal X

Violence Rears its Ugly Head

Appearances on television, at rallies, and press releases all keep Clinton teaching love of self. When asked if he loves America, he replies that he does love it so he doesn’t turn his head away from issues that indicate cries for help.

This notoriety brings a high price. There is discontent brewing with some of the MEM members. A plot hatches to remove Clinton which is done with an explosion to a car and his injuries are severe. He is transported to a facility but the location and name of the place is kept hidden from everyone. His followers continue to question why, especially Janet Smith who holds out hope for months that he is still alive.

At the health care facility, Clinton receives treatment from Dr. Yolanda Evans who is white. Jessica Catalano plays Dr. Evans who shows a very humanistic side of a physician as she allows herself to really get to know her patient. Clinton does not realize she is white because his sight was damaged in the explosion. As they get to know each other, his perception is that she is black because of the neighborhood where she grew up. But he eventually learns the reality.

Jessica Catalano and Wallace Demarria in “Colorblind” – Photo Credit: Kamal X

The two fall in love which leads to the major questions of this show: Can someone who holds such strong beliefs about his own race ever truly love and plan a life with someone who is a different race? How acceptable is the situation to people who are looking on?

The rest of this fine cast includes Joseph Salvatore Knipper, Greg Warren, Hank Dennis, Valence Thomas, and Jeremy Rosenblum. 

What are the Answers to These Questions?

Are there answers to these questions in this show? You need to see Colorblind and decide for yourself.

The play runs approximately 2 hours with one 15 minute intermission.

Learn more about the show and how to get tickets at the Actors Temple Theater website.

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“Little Girl Blue” Honors Nina Simone

Laiona Michelle plays Nina Simone in “Little Girl Blue” now at New World Stages
Photo credit to Julieta Cervantes

Little Girl Blue – A Review

A new musical is now playing at the New World Stages. Little Girl Blue is a retrospective of American singer, songwriter, arranger, pianist, and civil rights activist Nina Simone. The production informs, entertains, and engages the audience. The excellent direction of this show is by Devanand Janki. Before opening in NY, this show premiered at George Street Playhouse, New Brunswick, NJ in February 2019. In summer 2021, it was part of the Goodspeed by the River series.

The multi-talented Laiona Michelle plays the leading role as Nina Simone. She also wrote the book for the show. Her performance embodies the spirit of the artist and makes you feel like you are actually at a Nina Simone concert. She captures her audience with passion and outstanding vocals when she sings. Michelle also plays the piano very well on several songs. She turns in a first rate acting performance portraying Nina Simone. This is a performance you will long remember seeing.

In addition to Laiona Michelle, the show brings the band onstage with her. Mike Fifer plays Keyboard and Conducts. He also serves as the show’s Music Director and Arranger. Kenneth Salters plays Drums and Saadi Zain plays Double Bass/Electric Bass.

Story and Music

The stage is set to be a cabaret club with a piano and musical instruments on stage. But Nina Simone and her band enter from the back of the theater escorted by two police officers. The police stand at either side of the stage. Eventually they leave only to return at a tense point in the performance.

It is 3 days after Dr. Martin Luther King’s assassination and concerns about rioting taking place are in the air. Mention is made that Simone has to be careful about what songs she performs and what she says on stage. She’s been told not stir things up. Well written dialog in this Act allows her character to express how she is feeling about losing Dr. King. She has stood by his side and she expresses what a loss his death is.

The show begins with the song “Feeling Good.” This song, a fervent call for freedom, is a perfect way to begin the show that evening with all that is gong on and the obvious despair Simone feels. As the performance continues, she tells stories between songs about significant events in her life. Born Eunice Waymon in North Carolina, she tells of taking piano lessons as a child. Her lifelong desire is to be a classical pianist and she was a staunch admirer of Bach’s music. A devastating life event was when she was turned away from entering the Curtis Institute of Music in Philadelphia. Instead, she tells of performing “jazz,” writing her own music, and covering the music of others composers always with her own unique interpretation.

Songs accompany the stories the character tells such as her relationship with “My Father.” She meets a man who becomes her controlling husband and we hear “I Put a Spell on You” and “Little Liza Jane.” As the show continues, tension mounts as Simone is reaching a point where she expresses anger. The police return. That leads to the final song of the act, “Angry Black Woman.”

A Scene from Act II of “Little Girl Blue” now at New World Stages
Photo credit to Julieta Cervantes

“Angry Black Woman”

In a recent interview with Playbill.com, Laiona Michelle recounts that Nina Simone was often called an “Angry Black Woman.” She says, “I wanted to give Nina’s anger context. I wanted to remind people why she was angry, why she wrote protest songs like ‘Mississippi Goddamn.’ Here she was, supposedly a citizen of this country, and yet she and her people had to march and demand human rights in a country that hailed itself the ‘Land of the Free.’  She wasn’t free in her own country.”

Michelle then explains that she wrote the song “Angry Black Woman” with Musical Director Mark Fifer. The song opens with a few chords from “Mississippi Goddam” which closed the first act in the New Brunswick run of this show. This new song closes the First Act. It is powerful and it makes a strong impact as she leaves the stage using the same route as she came in on.

Second Act Little Girl Blue

This act takes place in Mintreux, Switzerland also in a cabaret club venue. It opens with the title song of the show “Little Girl Blue.” It is 8 years later and much has happened in Simone’s life. We learn that her husband became violent and she lost a child she was carrying. Her marriage is no more and she experiences mental challenges which plague her throughout the rest of her life. She moved to Europe and travels to many places including a trip to Liberia. Several songs in this Act that really standout are Jacques Brel’s “Ne Me Quitte Pas,” and “Don’t Let Me Be Misunderstood.” The final song provides a positive ending to the show as Simone, dressed in a beautiful gown adorned with fine accessories, sings “My Way.” Her regal appearance well portrayed by Laiona Michelle solidifies the heights she reached in her lifetime.

Going to See Little Girl Blue

I reviewed this show when it ran at George Street Playhouse and thought it was sensational. It was a thrill to see it again at New World Stages this past week. It was very good in New Brunswick (sorry I missed CT) and now with some changes and additions, it is sure to be a hit.

As a very young girl, I remember some of the music of Nina Simone. I did not understand the deeper levels of her music then. I could sing along to the words and think they sounded good. But what the words actually meant to Nina Simone, well, I’m still learning that. This show is a good step in that direction for me. I hope many will feel the same way because there are a lot of Civil Rights struggles still going on. Can’t help but wonder what Nina would think today.

To read more about Little Girl Blue, or to purchase tickets, go to the official website for the show, littlegirlblue.nyc . Ticketing is through Telecharge.

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Baipás Examines Life vs. Death Issues

(L to R) Maggie Bofill and Jorge Luna in Baipás. Photo by T. Charles Erickson.

Baipás – A Review

What happens when a person is in a coma or is under anesthesia during an operation? Are they aware of the state their body is in; do they have any sense of whether they will live or die? Can they see and view their life? These questions has been debated for years with few substantial facts offered to provide answers. The play Baipás, written by Jacobo Morales, now at George Street Playhouse, centers around these issues. Under the direction of Julio Monge, the production provides a fascinating look at two people waiting to hear their fates. In addition to the cast of two delivering very poignant performances, the production uses special stage effects and directed lighting to make the tale come alive.

(L to R) Maggie Bofill and Jorge Luna in Baipás. Photo by T. Charles Erickson

Baipás A Romantic pas de deux and More

This run of Baipás at George Street Playhouse marks the premiere of the American English-language production. It is billed as a romantic pas de deux as it showcases two characters who enter a sort of waiting room between life and death. Lorena, played by Maggie Bofill, comes from the back of the stage and takes a step up onto the empty stage space. She spots the shadow of a couple who appear to be together as they leave the room and head for the side opposite of where she entered. As she watches, they disappear somewhere. Antonio, played by Jorge Luna, next enters the empty stage from the same direction that Lorena entered.

The two begin talking about where they are. Lorena mentions the couple she saw and points to where they went to not sure of what it means. Lorena and Antonio begin to talk about their individual lives and cover the basics like the work they do, marital status, and relationship statuses. Still plaguing them is the question of why they are here and where they are at.

At some point, the couple put the conversation aside and hold each other as they dance. An attraction between them surfaces.They start to talk about having a future together. At some point, the audience learns that Lorena and Antonio are patients at a hospital fighting for their lives. So the calm that radiates from the production is only broken by the sounds of heartbeats and flat-lining. Reality sets in but very calmly.

There is no way I want to ruin the series of events that bring the show to a climax and the end. You will need to see for yourself what happens to these two characters who demonstrate they have learned a great deal about themselves.

Stage Effects and Lighting

Impressive but subtle stage effects and lighting are an important part of developing the story. Although there is a sense of confusion at points in the play, there is also a sense of calm that comes through due to these elements. The sounds of the heartbeats, the light at the area where the shadowy couple went to, and even the basic sounds and music are all effective in helping establish a sense of acceptance and peace. The side panels on the stage come alive with ocean and floral scenes helping Lorena and Antonio to realize what they might have if they live.

This play runs 90 minutes without intermission. The pace is very even throughout and only Lorena and Antonio are ever heard or seen. Admissions about what makes a life enjoyable as well as acceptance of mistakes made are important parts of what takes place. But the fate each life takes may surprise you.

Ticket and Safety Information for Baipás

Baipás plays at George Street Playhouse through March 20. Tickets are available through the theater’s website.

The following statement is on the theater website about CoVid safe practices:

Beginning March 1, 2022, all patrons attending a performance at the New Brunswick Performing Arts Center (NBPAC) must show proof of vaccination, including a booster if eligible, and a photo ID.

Check the website for more information about health policies.

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