MoLoRa: Revenge or Forgiveness?

Jabulile Tshabalala as Elektra

I recently saw MoLoRa (Ash, in SeSotho). I'm glad I did not miss it. 

Yael Farber's most recent work, Helen Saw writes, "reimagines the ancient Greek Oresteia to tell the story of her own country's painful and extraordinary transition to democracy. As Klytemnestra and Elektra--mother and daughter, perpetrator and victim--sit to face each other in an open hearing, MoLoRa reenacts a watershed moment in world history, illuminating the universal and excruciating choice for any victim: to seek revenge or choose forgiveness."

It was not lost on some critics, nor on me, that this story suggests we have the power to end cycles of revenge instead of repeating them in perpetuity as in Greek tragedies. More important, that is exactly what Nelson Mandela accomplished in South Africa. There's a sad commentary here that the US embraced only 'groupthink revenge' after 9/11.

One small observation: some audience members, despite the pre-show warning, seemed extremely annoyed about the smoke. I remember thinking, they can't stand a little smoke for five minutes? Do they understand how their discomfort pales in comparison to what black South Africans endured for lifetimes under the apartheid regime? And no, I don't think I'm being unsympathetic. 

Back in the summer of 2006, Yael Farber brought us Amajuba: Like Doves We Rise, another incredible theatre piece. I can barely wait to see what she brings us next.

The Scottsboro Boys: Tony Forgot

This year’s Tony awards show offered no surprises, and I desperately wanted to be surprised. I know most of the theatre-loving community realized ahead of time that The Book Of Mormon would walk away with most of the awards. Fine. 

But, The Scottsboro Boys received 12 nominations. And they received not one award! Not even the award for Best Score? Really? Insane! This is a completely listenable score. I know. I had it on my iPod on repeat for a long time.

This show is one of the ballsiest, gutsiest, most heartbreaking, heartwarming shows offered on Broadway this past season, and...nothing. I want to believe that times are changing; that diversity in the theatre is more than just a concept we toss around; that our theatre-loving hearts could open wide and embrace the beautiful tapestry. I’m losing faith.

The more things change, the more they stay the same. That’s okay, I guess. The Scottsboro Boys will embark on a national tour and the show will get the respect it deserves. I’m happy about that. I imagine, so are they.

I hope they kick ass out there!

The Scottsboro Boys: Tony Remembered

The recent Broadway production of The Scottsboro Boys received 12 Tony nominations this week. That makes me happy. This unforgettable show began at the Vineyard Theatre and ended up on The Great White Way. I fondly  called it "the little musical that could". Then, it closed.

This powerful production tackled one of the most shameful, painful stories in recent memory, and managed to make it thoughtful, engaging, and entertaining. The minstrel show motif added nuance and served to heighten the irony and pathos of this haunting and heartbreaking, but true, story.

Susan Strohman's direction was flawless. The entire cast was a joy to watch. I don't want to single anyone out. The singing was gorgeous, nearly celestial at times. The lyrics were powerful and moved the story along exactly like a good musical should. I listen to the soundtrack regularly, and it never disappoints. The stunning choreography, presented against a minimalist set design, popped. I didn't feel, as some did, that the actors were dressed in white to make the characters seem angelic. It's more complex than that.

The Book of Mormon will probably get the Best Musical award. If The Scottsboro Boys get any awards, I will be ecstatic. For now, it's gratifying that Tony remembered.

The Motherf**ker With The Hat: I Know That Guy!

I’m no prude. Nor am I easily offended. I can embrace salty language, controversial themes, even simulated sex on the stage, as long as I feel it is not gratuitous.

The Motherf**ker With The Hat by Stephen Adly Guirgis is a badass play. Hands down, it is one of the most assaultive experiences I have ever had in a theatre. I loved it. As I said in the title, I know that guy. In my brief experience with the world of recovery from substance abuse, I met men just like him. Women, too. 

We often assume that people in recovery have achieved some spiritual enlightenment. That’s a dangerous assumption. The truth is, to attain spiritual enlightenment, a person must make significant changes in outlook and behavior. It is not enough to simply stop “using” and change nothing else. The Motherf**ker With The Hat brought that point home with a knockout punch. It was hard-hitting, sometimes uncomfortable to watch, but excruciatingly honest.

It would have been easy for the playwright to change the title so as not to offend some theatregoers. I’m glad he didn’t. The title is just right.

Hello Again: Pleased To Meet You

Last night, a friend and I attended The Transport Group's revival of Hello Again staged in a SoHo loft in New York City. I was hungry for a fresh theatre experience that would engage and intrigue me. It did not disappoint.

This revival, inspired by Arthur Schnitzler's controversial 1897 play La Ronde, was written by Michael John LaChuisa and directed by Jack Cummings III. I watched beautiful actors with mostly gorgeous voices portray 20 love-challenged individuals involved in 10 affairs -- one for each decade of the 20th century.

The exceedingly intimate atmosphere, lush score, and libretto oozing with lust and longing made this immersion theatre at its most delicious. Throughout the production, I only blushed twice. I can barely wait to see what LaChiusa and Cummings cook up for their next offering!

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