Community Actors Theatre (CAT) opens 2012 with “Strange Land Strange Brand,” a narrative play with music by Curtis W. Long. While opening night had a few slight glitches, the production must be commended for its powerful, talented cast, its educational value, and the support of an always warm, courteous staff.
Four narrators depict the African imprint on North America in four acts which mark four time periods: 1619-1787, 1787-1860, 1860-1960, and 1960 to the present. The stage is stark, and four chairs with stands make up the set; the piece appears more like a staged reading than a full production. Pre-recorded music segments the acts, which consist of each narrator taking turns recounting the highs and lows of the era. Starting with a violent upheaval from Africa and coming to terms with a new nation rife with cruelty, the play moves through the U.S.’ battle of north and south, providing facts about legislation that kept black voices in chain even after the Civil War, highlighting historical figures along the way, and marching on into the last fifty years, reminding that though African American triumph is great, challenges still remain. The four cast members are CAT veterans. Portia Burnette as Narrator 1 instantly mesmerizes; a vocal powerhouse, she bellows out her lines with pipes that rock the mid-sized theater—I would love to hear this woman sing. Leo Phelps as Narrator 2 plays his part effectively, articulating himself with clear diction and a reflective calm; Corliss Chandler’s Narrator 3 expresses a demeanor fraught with the dismay inherent in enduring such trials of the day. And I am impressed with Robert A. Moore as Narrator 4—not the loudest of the ensemble, his method of storytelling, however, was the most natural, perhaps drawing me in the most.
Four narrators depict the African imprint on North America in four acts which mark four time periods: 1619-1787, 1787-1860, 1860-1960, and 1960 to the present. The stage is stark, and four chairs with stands make up the set; the piece appears more like a staged reading than a full production. Pre-recorded music segments the acts, which consist of each narrator taking turns recounting the highs and lows of the era. Starting with a violent upheaval from Africa and coming to terms with a new nation rife with cruelty, the play moves through the U.S.’ battle of north and south, providing facts about legislation that kept black voices in chain even after the Civil War, highlighting historical figures along the way, and marching on into the last fifty years, reminding that though African American triumph is great, challenges still remain. The four cast members are CAT veterans. Portia Burnette as Narrator 1 instantly mesmerizes; a vocal powerhouse, she bellows out her lines with pipes that rock the mid-sized theater—I would love to hear this woman sing. Leo Phelps as Narrator 2 plays his part effectively, articulating himself with clear diction and a reflective calm; Corliss Chandler’s Narrator 3 expresses a demeanor fraught with the dismay inherent in enduring such trials of the day. And I am impressed with Robert A. Moore as Narrator 4—not the loudest of the ensemble, his method of storytelling, however, was the most natural, perhaps drawing me in the most.
One cannot help but feel some things during “Brand”: shame for the sins of our nation’s past, pride in people that worked together through adversity to foster support for one another. Personally, as a child of the 80's born in a Los Angeles suburb, I feel fairly far removed from experiencing racial inequality in my day to day; which does not negate the fact that it did exist. What I mostly feel is twofold: a) impressed with the playwright, who as a blind older gentlemen has written an important, informative work and b) confused with who the message is for, the intended audience. Nonetheless, even though many of the facts presented are well known to an adult audience, it is important for us to realize how far we have come as a nation. Although the play lacks a concrete story line, it effectively chronicles the African-American struggle. This would be a wonderful piece presented to school children, who are still exposed to Anglo-centric versions of history. It is my hope that “Strange Land” runs again as a reminder to adults of the African-American experience on this continent and to children of all colors, perhaps during the day when classes occur, as they might, then, be able to come see the show.
Additionally, as a venue, CAT should really not be overlooked. Tucked in an enclave of Oak Park not far from the SDSU campus, CAT puts on several fine productions in an inviting space. Jennie Hamilton kindly welcomes patrons, as do the board members, who give personalized greetings as well as talk backs at select shows.
Shameless self promotion here: Next up is “Norman, Is That You?” a comedic piece about a couple coming to terms with their son’s homosexuality, written by Ron Clark and Sam Bobrick and directed by George Bailey and yours truly. Bailey and I saw success last year with both “The Octette Bridge Club” and “Come Back Little Sheba,” also performed at CAT. “Norman,” having just read the script again, is sure to be a hoot—it all begins April 6.
Strange Land Strange Brand
January 6/7, 8 p.m.; January 8, 3 p.m.
Community Actors Theatre
2957 54th Street
San Diego, CA 92105
619.264.3391
http://www.communityactorstheatre.com/
January 6/7, 8 p.m.; January 8, 3 p.m.
Community Actors Theatre
2957 54th Street
San Diego, CA 92105
619.264.3391
http://www.communityactorstheatre.com/
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