‘Patriot Acts’ will open minds to new possibilities

2 November 2005 at 2:26 am (Press, Shows, Spoken Word, Theatre) (, , , , , , , , , , )

“Patriot Acts” will open minds to new possibilities
by Lydia Howell

Theater for the 21st century is being born, with Pangea World Theater as midwife. The “Bridges Project” unites different artistic mediums—spoken-word, filmmaking, music, dance and theater—in fresh collaborations. “Patriot Acts,” made by 22 diverse artists (both local and international), crescendos beyond convention to take on today’s crucial post-9/11 issues.

“The theme is freedom, drawn from conversations about the world we live in and where our voices are in the dialogue and where they aren’t,” says co-curator/actor Sha Cage, best known as co-creator of Mama Mosaic, the TC women of color theater group.

“All we knew is we were going on a journey and we’d meet fellow travelers. We’d break bread together, have dialogue. The project would be fragments of—artifacts from—that journey,” Cage’s co-curator and director e.g. bailey elaborates.

Cage and bailey spent time in Europe engaging in political and creative dialogues, bringing back insights and artists’ work for “Patriot Acts.”

A rehearsal of “Patriot Acts” is an exhilarating evolution: Drea Reynolds’ resonant singing; Amanda Furches’ stark dance; Cage as the Statue of Liberty carrying a flag-covered baby; TC hip-hop icon Truthmaze riffing with videotaped Leeds, England, poet Swan; exhilarating poetry performed choral-style. “Characters” range from BBC reporters and the latest racially-profiled people labeled “terrorists” to historical figures like Harriet Tubman and a 15-year-old African-American girl, Kismet.

“Aesthetically it’s like jazz. Group improvisation. Process is the thing itself,” said “Bridges” curator J. Otis Powell, as he explains the “open space” philosophy “Patriot Acts” emerges from.

“The conversation around war—those three letters—is broader than the United States. Being in Bosnia, talking about the effects of war still happening: separation of families, lost neighbors—it’s visceral,” Cage says. “Talking with artists about how they continue their art during war and other subversive ways we might employ here.”

“How is someone in London, Paris, Belgrade dealing with all these issues?” bailey says, as he explains the aims of what he calls “transcontinental collaboration.” “We were pointed to not like the French—but, what are French people on the street talking about? What we see of Americans presented in the media, we know that’s not us!”

“Patriot Acts” is rebellious art that dares to cross artificial boundaries made by traditional theater and the growing national security apparatus. These artists liberate the term “freedom” from being a pro-war slogan to becoming unleashed creative expression and vigorous dissent. Artistic firepower of this magnitude could be both the mightiest weapon against violence and the transformative means towards reconciliation.

$12. Mon-Wed. Nov. 7 to 9, 7:30 p.m. Varsity Theater, 3808–4th St. SE, Dinkytown, Mpls. 612-203-1088.

Originally posted on Pulse of the Twin Cities.

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‘Myths Morph Into Intriguing Theater

15 September 2003 at 9:00 am (Press, Theatre) (, , , , , , )

MYTHS MORPH INTO INTRIGUING THEATER
by Renee Valois, Special to the Pioneer Press

Most best-selling novels are forgotten a generation or two after their debut. But the myths of ancient Greece are still famous thousands of years after they were first uttered. Some say that’s because their universal archetypes make them eternally relevant.

No doubt the overdramatic plots are a big reason for their enduring popularity, since it would be hard to find a collection of stories filled with more passion and violence, including, rape, murder, cannibalism and people being torn limb from limb.

Now Pangea World Theater has added its own mark to a script by Supple and Read that was adapted from English Poet Laureate Ted Hughes’ adaptation of the Roman poet Ovid’s adaptations of the myths in his Metamorphoses. In other words, this is heavily transmuted material, which is apropos given that the theme of the stories is transformation.

However, there can be difficulties in converting poetry into theater. Here, the scriptwriters have ignored the traditional adage to “show, not tell.” Characters spend a lot of time talking about their feelings before acting on them. There is also little dialogue, since the stories are mostly narrated.

Often a character will help tell her own story — in the third person. This makes portions of the show drag, giving it a leisurely feel strangely at odds with compelling moments of profound horror and violence.

On the plus side, director Dipankar Mukherjee takes some risks that make for an intriguing piece of theater. The production begins with singing and a sense of ceremony as candles are lit on the sides of the stage.

Diverse actor genders, races, body shapes and accents weave colorful threads into the tapestry of tales, and the cast occasionally adds lines of dialogue in different languages (which are not translated). Male and female actors sometimes play opposite genders, for instance, King Midas is played by a woman and the nymph Echo is played by a man.

The dozen cast members heighten the drama in a chorus not of words but of gestures. The moving sculpture of their bodies illuminates the tales.

When Midas discovers his mistake in wishing everything he touches will turn to gold, the cast in the shadows wrap themselves in skeins of metallic gold material. One man completely encircles his head until it’s a faceless blob. The symbolism is unmistakable.

A mythic feel is conveyed by little touches, such as glitter on the faces of the cast and an undulating flute that hauntingly signals transitions between stories along with the actors’ simultaneous exhalations — an audible “whoosh” of change.

There is some fine acting in the dozen-strong ensemble, with members all playing multiple roles, but there is also some over-the-top emoting. Given that the stories deal with such visceral events, that may not be a bad thing.

“Tales from Ovid” is an ambitious piece of theater that largely succeeds in making myths vivid; it is more unsettling to see incest and dismemberment acted out than merely to read about it. But it would have been a stronger play had the scriptwriters been less faithful to Hughes’ poetry and more faithful to the power of the original myths.

What: “Tales From Ovid” by Pangea World Theater
Where: The Playwrights’ Center
When: Thurs.-Sun. through Sept. 28
Tickets: $13 advance, $15 at door, $10 students/seniors
Information: 612-203-1088

Capsule: An interesting enactment of violent myths that is alternately dampened by long poetic monologues and enlivened by creative touches and a colorful cast.

Renee Valois is a freelance critic. Originally printed in St. Paul Pioneer Press.

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‘No Longer at Ease’ a thrilling dramatic journey

7 May 2001 at 9:00 am (Press, Shows, Theatre) (, , , )

‘No Longer at Ease’ a thrilling dramatic journey
By Jaime Meyer

“No Longer at Ease” begins with a seemingly endless frenzy of blessing. Obi Okonkwo is being sent from his home in Nigeria to England to become educated. His relatives and friends, who are paying his way, praise him, embrace him and pour protective chants over every inch of his being. Obi stands rigidly in his smokestack-gray European suit, a swirl of dancing, clapping Afrikaans encircling him, all dressed in the colors of sunrise. Some new creature is being born amid this glorious cacophony: not quite African any longer, not quite European, ever. Nigeria is at the dawn of independence from Britain, and Obi is the image of that new day. But, bit by bit over the next two hours onstage, Obi’s life splinters, then cracks, then shatters.

e.g. bailey’s adaptation of Nigerian author Chinua Achebe’s novel is a big-hearted, thrilling theatrical experience. Pangea World Theater’s production, directed by Dipankar Mukherjee, is sonically and visually overcrowded, and the acting is often underpolished. But the sheer force of bailey’s — and Achebe’s — storytelling, the emotional commitment of the actors and the power of luminous ideas leaping up from the text like solar flares coalesce into an extraordinary evening of theater.

Obi’s story may be specifically Nigerian in context, but it is universal in content. As he becomes educated and moves out into the world, he takes up residence in the rift between modern Western culture and ancient tribal values. Is he becoming absorbed into — or possessed by — the European mind? Or is he rightfully shedding outdated tribal customs? He falls in love with an educated woman who, it turns out, carries a generations-old ancestral curse. Marrying her would bring shame not only to his living family, but also to generations of his children not yet born. For him, this is nonsense; but for his family, it is unquestionable truth.

The beauty of Pangea’s production is in its evenhanded depiction of these burning dilemmas. A story that could become an easy harangue about white people, Europe, Christianity and colonialism becomes instead an intricate, magnetic dance of energies — social, political, religious, ethical and personal.

In the role of Obi, James Young II moves through the play like a single powerful muscle flexing and contracting again and again. As Clara, Obi’s cursed fiancee, marie-francoise theodore fills her character with a modern sexiness and ancient torment. Ronnell Wheeler’s ebullient African dance at the top of act two is a joyful highlight.

Mukherjee likes to direct the living daylights out of a show. Drums pound from above; actors hum and click their teeth and wave their arms in vaguely ritualistic motions; lights undulate across long banners hung from the ceiling, each painted with Seitu Jones’ symbolic visions.

Sometimes it’s all gorgeous, but too often, you feel you need to hack your way through the jungle of theatrics to make your way to the play. Still, it’s stimulating theater.

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Jaime Meyer is a local free-lance reviewer. Originally printed in Saint Paul Pioneer Press.

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Pangea takes on an African classic

4 May 2001 at 9:00 am (Press, Shows, Theatre) (, , , , , )

Pangea takes on an African classic
by Rohan Preston (Star Tribune)

Chinua Achebe is a titan of African literature who lives a quiet life in upstate New York.

Pangea World Theater is a small, ambitious Minneapolis company interested in humanitarian issues. Somehow, the two connected; Pangea will produce the world premiere of the stage adaptation of “No Longer at Ease,” Achebe’s landmark 1960 novel about the conflict between tradition and modernity.

For Pangea, which has staged such heavyweights as “Ajax,” “Rashomon” and Athol Fugard’s “Playland,” this is another opportunity to tackle a world classic.

“No Longer at Ease” is a milestone in the history of literature, and producing it makes us a little nervous,” said Pangea literary manager  as she broke from a pre-rehearsal circle in Waring Jones Theater at the Playwrights’ Center in Minneapolis, where the play opens today. “We want to stage it with clarity, so that we can honor its achievement and bring some of its points into sharp, dramatic focus.”

“No Longer at Ease” is the second Achebe book to bring wide recognition to African literature. The main character in “Ease,” Obi Okonkwo, is a grandson of the protagonist in Achebe’s 1958 debut, “Things Fall Apart.”

Set on the eve of Nigeria’s independence from Britain, “Ease” revolves around Obi, a young man whose Ibo people have raised money to send him to school in England. After completing his education — he becomes a poet instead of, say, an engineer — he has returned, full of idealism. He is eager to help usher Nigeria into a new era.

Obi confronts the deep-seated traditions of his countrymen. His mother would rather commit suicide than permit him to marry the woman he loves, who is from a class of untouchables. The ethically and morally upright Obi eventually succumbs to the things he condemns: He takes a bribe and is arrested.

Securing the rights to stage this world premiere was the easy part for Pangea’s creative team. Through a mutual friend, the company got in touch with Achebe, a professor at Bard College in New York. Natarajan then made contact with Achebe’s agent in London.

FINDING THE FOCUS

The hard work was narrowing a sprawling, epic novel for the stage. E.G. Bailey, who adapted the book, and director Dipankar Mukherjee use 11 actors, many in a chorus, to play all the parts.

Bailey, a Liberian-born poet, playwright and performance artist, had other challenges while working on “Ease.” Shortly after he did a first draft of the play in June 1999, he returned to his homeland for the first time since his youth.

“The big danger for me was not making this my own story,” he said during a rehearsal break. “This is really a story of change and tradition. Obi went away to school, like I did. He owes something to the community. He wants to bring enlightenment, but he has too little appreciation for tradition.”

Bailey and Mukherjee brought in leaders of Twin Cities Nigerian organizations to work on accents and to talk about the play’s themes. The Pangea creative team discovered many complexities; for example, the bribery that is so pervasive in the book and in much of contemporary Africa is rooted in a benign traditional practice of gift exchange.

Bailey and Mukherjee also delved into the conflict of values that Obi embodies. Because of his English upbringing, Obi sees bribery as more of a crime than abortion. When his girlfriend — the same one his mother has forbidden him to marry — becomes pregnant, he seeks money for an abortion.

In traditional Ibo culture, to have an abortion is to undo your chi, or spirit, Bailey said. “That is the worst thing you could do, killing your soul,” he continued. “Obi cannot see that. He is a good man, full of righteous, ethical fire. And the things he wants to change will change. But not on his timetable.”

The play’s conflicts have universal applications, Mukherjee said. “We’re talking about Nigeria as much as India,” he said. “In both cases, different mini-states were forged together into a nation, and the traditional values continue to clash with the legacy of colonialism and the possibilities of the future.

“The brilliance of Achebe is that we can see our own struggles here as we try to find a progressive vision of how to live. We want to stay true to his broad vision and ours.”

What: Adapted from Chinua Achebe’s novel by E.G. Bailey. Directed by Dipankar Mukherjee.

When: Opens 7:30 p.m. today. Runs 7:30 p.m. Thu.-Sun. Thru May 27.

Where: Waring Jones Theater, Playwrights’ Center, 2301 E. Franklin Av., Mpls.

Tickets: $14-$16. 612-343-3390.

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Pangea World Theatre presents No Longer At Ease

4 May 2001 at 9:00 am (Shows, Theatre) (, , , )

No Longer At Ease
by e.g. bailey
based on the novel by Chinua Achebe

May 4-27, 2001

No Longer At Ease is the story of Obi Okonkwo who returns to Nigeria from England filled with romantic idealism and finds a society full of conflicting demands. Set on the eve of Nigeria’s independence from Britain this is an ironic story about the clash between tradition and modernity as represented by the forces of colonialism. e.g. bailey’s stage adaptation brings to life all the emotional force and poetry of this journey into self-hood.

Co-presented by the Playwrights’ Center’s NewStage Directions program

This project is made possible in part by funds from the Metropolitan Regional Arts Council (MRAC) by an appropriation from the State Legislature.

“You got into Achebe’s head.” – Audience Member

“…a big hearted, thrilling theatrical experience.” – St. Paul Pioneer Press

“…Pangea World Theater has adapted the book, titled No Longer at Ease, into a first-rate play, featuring a sparkling performance by James Young II as Obi, the grandson of the hero of Things Fall Apart, newly retuned to Nigeria on the eve of independence.” – City Pages

“If you like economical and evocative theater, go see “No Longer at Ease,” Pangea World Theater’s adaptation of Chinua Achebe’s novel.” – Star Tribune

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Final Words: Playwright’s Statement

4 May 2001 at 9:00 am (Family, Shows, Theatre, Work Notes, Writings) (, , , , , )

No Longer At Ease
Final Words: Playwright’s Statement
e.g. bailey

Achebe is our Elder. For many of us, he is the famed griot teaching us our history, while telling us a great story. Nearly every Afrikan I spoke with about the play said they had read Achebe, perhaps not all his works but the least of all Things Fall Apart. For some, he was mandatory reading. And he should be, at least for all of us of Afrikan descent. Achebe’s goal, which he fully accepts, is to help us reclaim our stories, to help us to understand that our history was rich, and our stories beautiful before our subjugation at the hands of Europe. He states, “Here then is an adequate revolution for me to espous–to help my society regain belief in itself and put away the complexes of the years of denigration and self-abasement.” But he is fully aware that this reclamation is not simply a glorification of what we were and who we are, and perhaps even who we want to be, but dealing fully with our past, even facing up to our hand in the matter. Earlier in the same essay he says, “What we need to do is to look back and try and find out where we went wrong, where the rain began to beat us.” In his most recent essay, he writes, “I know that such a tremendously potent and complex reinvention of self–calling, as it must do, on every faculty of mind and soul and spirit; drawing as it must, from every resource of memory and imagination and from a familiarity with our history, our arts and culture; but also from an unflinching consciousness of the flaws that blemished our inheritance…” For him the greatest danger is not remembering the agonies of the past but forgetting them. Though he was speaking about Nigeria after the Biafrian War, I think that statement strikes a deep cord in the consciousness of Afrikans and Afrikan Americans alike. In order to accept our selves and our beauty, we must also be able to accept our scars. And the story of Obi Okonkwo not only celebrates our culture but also forces us to face the difficulties our own culture can present us as we try to evolve into the future, as we try to negotiate and synthesize our existence in an everchanging world and yet hold on to our traditions. An epigraph from Antonio Gramsci’s Prison Notebooks, could serve as a apt summary of the conflict in No Longer At Ease, and even a metaphor for the current state of many Afrikan countries: “The old is dying and the new cannot be born; in this interrengnum there arises a great diversity of morbid symptoms.” Obi’s tragedy is that he finds himself at the epicenter of this rift. And it is these rifts in our history and encounter with Western culture about which Achebe writes: The arrival of Europeans in Things Fall Apart and the dawning of independence in No Longer At Ease. But these are not simply historical and physical rifts, but primarily psychological ones.

The journey of creating this work has been incredible and a blessing, but not without its struggle and at times exasperation. However, within it, I have discovered a great deal about myself and my people. I have felt in many ways like an apprentice in the company of a profound elder. Yet also, I have discovered that Obi’s story is in many ways my own. There is no conflict that Obi deals with that I have not encountered in one form or another in my experiences both in Afrika and here. These are dilemmas that all of us as Afrikans in America must deal with in our prodigal relationship with our home. But it is not our province alone, even my eldest brother residing in Ivory Coast deals with it as he struggles with his acceptance of Christianity and the traditional spiritual beliefs of our Grandfather, who reared him.

In the Igbo culture there is a tradition called the Mbari celebration. With this tradition, representatives from the community are chosen to prepare a festival of images in honor of Ala, the Earth goddess. The chosen representatives, ordinary citizens of the community and artists alike, go off into seclusion to create their works of art, which they present to the community during the ceremony. They are left alone to create, supported and fed by the community, sometimes for two years. That in many ways is what I see as the role of the artists that have come together to create this work, that speaks for and about the community, with its beauty and flaws. We can only hope that you enjoy our “home of images” as much as the villagers enjoy the Mbari ceremony.

Thanks enough cannot be given to Pangea World Theater for this incredible opportunity, for their faith and trust. Abundant thanks to my future wife, Sha Cage, without whose support, love and input this work would not be. And love and thanks to all the artists involved in this project for their brilliant gifts, from crew to cast, to support network to the whole Pangea family. Thanks to Chinua Achebe, for his work and for giving us permission to bring it to stage. To the Igbo community and Ummune Cultural Association. Special thanks to Hannatu Tongrit-Green, Onyebuchi Njaka, Larry Ubani and Flora Okwa. Also to Susan Robeson, Mimi Girma and J. Otis Powell!. The Playwrights’ Center for their development support. To parents: George and Ginny Bailey. To friends and family. I dedicate this work to my grandparents: Vaslekey and Mayamu. And to my mother, Massa Vaslekey Sirleaf. Without “We” I am nothing.

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