Dalton Kirk lives in the not too distant future, and his life is overrun by digital interaction and mood balancing medications. When he logs into the computer network of his employer, it evaluates his state of mind before allowing him to work. His virtual assistant Sapien, an enhanced version of Alexa or Google Home, monitors his sleep, reminds him of the details of his life and, to engage him, throws shade like a cast member of the “The Real Housewives of Atlanta” or a drag performer, says Cameron-Mitchell Ware, author of “The Wake-Up Call.”
It’s one of the shows in the InFringe Fest, which presents three original dramas beginning Sunday, Dec. 20. All are by Black writers, in a showcase meant to highlight work by artists of color.
Beyond the corralling of his daily life by snarky artificial intelligence, Dalton is living in a trade-off he long has left unquestioned. Dalton, who is Black, provides online services purporting to guide clients on how to interact with Black people, and for a fee, he’ll impersonate Barack Obama critiquing Michelle Obama’s outfit.
Dalton lives during the second President Joe Biden/Vice President Kamala Harris administration, in a world in which things like the COVID-19 vaccine have further polarized the nation. While it sounds like the drama was written in response to the recent election, Ware has been thinking about the concept — partially inspired by James Baldwin — for some time.
“There’s always been a thin line between white supremacy and white liberalism in America, and what does that actually do for the Black body in a 21st century understanding if left to fantastical devices?”
“The Wake-Up Call” is framed by high tech and politics, and Dalton struggles to break out of his bubble of isolation and online connections and reconnect with people.
Ware was a member of the now disbanded Cripple Creek Theatre Company and starred in its productions of “Ragtime” and “Sueno.” While there are contributions by actors voicing Sapien and online and phone callers, “Wake-Up Call” is basically a solo show, similar to Ware’s preferred performing style, cabaret. “The Wake-Up Call” combines drama and dance, directed and choreographed by Polanco Jones Jr.
Holiday funk
InFringe, like its predecessor fringe festivals, focuses on less traditional approaches to theater, experimental projects and genre mashups. With its different styles of dance and pointed use of music in transitions, “The Wake-Up Call” may be the most visually expressive entry in the festival.
Candace Robertson’s “A God Called Bitch” follows Amaya through a series of vignettes. Amaya is a young Black woman who is pregnant and struggles over whether she wants to have a child. Her mother died in childbirth, and she grew up without contact with her parents. Though Amaya doesn’t have a good relationship with her aunt Vivian, she tries to learn more about her mother and her past. She also negotiates the politics of reproductive rights and images and stereotypes about Black women. The cast of six includes Ariel Lucius as Amaya and Nita Cherise as Vivian.
Robertson grew up in Kenner and has written several short plays for local theater companies. She’s also a veteran of a local sketch comedy group.
Obediya Jones-Darrell is the musical composer for Cleveland Public Theatre in Ohio. His drama “Speak Easy” was supposed to debut at the theater in spring, but that was canceled due to the pandemic.
It’s set in current times, and partially inspired by Cleveland’s underground bar scene. In the play, Bernard, who’s out of work, heads to a speak easy tucked behind a barber shop to drink away his last few dollars. There he meets Jenny, who as an undocumented immigrant has to work in an illicit joint, and Ricky, a carefree and eccentric patron. With a few drinks in their secluded spot, their conversation gets candid as they talk about work, choosing their own paths and the meaning of success.
“The speak easy as a secret place worked as a metaphor for looking within yourself,” Jones-Darrell says.
Jones-Darrell has written radio plays. He also worked on the music for this piece, which features songs and is grounded in jazz and Broadway styles.
Even during the pandemic there are holiday shows and attractions. Here are some of the upcoming live and virtual productions.
All three works were filmed at the AllWays Lounge & Theatre in November. They’ve been edited for presentation online, but are filmed theater productions, not movies with different sets or heavy special effects.
The shows are available individually for $10 or as a package for $27. They’re available online for a month beginning Dec. 20. Visit infringefest.com for details and viewing links.
"original" - Google News
December 14, 2020 at 08:00PM
https://ift.tt/381TuSj
InFringe Fest presents three original plays by Black writers - NOLA.com
"original" - Google News
https://ift.tt/32ik0C4
https://ift.tt/35ryK4M
Bagikan Berita Ini
0 Response to "InFringe Fest presents three original plays by Black writers - NOLA.com"
Post a Comment