Smithsonian showcases theater’s rich history
Last fall when touring the Smithsonian’s National Museum of African-American History and Culture in Washington, D.C., I was impressed by its fascinating exploration of AfricanAmerican arts within the Culture Galleries, saluting contributions in music, theater, film, television, visual arts and more.
The marvelous exhibition “Taking the Stage” specifically pinpoints the transformative influence of black artists from vaudeville to ballet to Broadway. Fittingly, the exhibit first and foremost recognizes the enduring legacy of playwright August Wilson (1945-2005), the Tony and Pulitzer Prizewinning Pittsburgh native who wrote an acclaimed 10-play cycle chronicling the African-American experience in the 20th century.
Wilson’s richly distinctive language, grounded in comical reflections of neighborhood lore to poetically riveting examinations of family dynamics and racism, have kept works such as “Fences,” “The Piano Lesson,” “Gem of the Ocean” and “Jitney” in steady rotation across the country. In fact, evidence of Wilson’s craft is apparent today in the flavorful perspectives of prominent black playwrights such as SuzanLori Parks, Lynn Nottage, Danai Gurira, Dominique Morisseau (whose drama “Blood at the Root” will have its local premiere at Sinclair Community College in April), and Tarell Alvin McCraney. Academy Award for Best Adapted Screenplay for “Moonlight” who will make his Broadway debut next season with his outstanding coming-ofage boarding school drama “Choir Boy”).
In addition, the exhibition enjoyably showcases “The Wiz,” one of the longest-running Broadway musicals and among the first to feature an all-black cast. The show won seven 1975 Tony Awards including Best Musical and Best Featured Actor for Dayton favorite Ted Ross’ portrayal of the Cowardly Lion, which he reprised in the 1978 film version.
“The Wiz” stands as a testament to the colorful, outside-the-box vision of director/costumer Geoffrey Holder, whose bold progressive insight to bring a soulful African-American spin to a classic story of Americana changed the theatrical landscape. The musical paved the way for “Ain’t Misbehavin’” “Dreamgirls,” “Jelly’s Last Jam,” “Five Guys Named Moe,” “Bring in ‘Da Noise, Bring in ‘Da Funk,” “The Color Purple,” and, yes, “Hamilton.”
Along with original costumes from “The Wiz” and “Gem of the Ocean,” notable artifacts and displays within the exhibit include:
■ An 1857 advertisement of a performance by Ira Aldridge (1807-1867), the first black actor to achieve fame overseas, particularly in England.
■ A poster from a 1945 production by the American Negro Theatre, founded in Harlem in 1940 for emerging black actors, directors and playwrights.
■ The piano from “The Piano Lesson.”
■ A look at Lorraine Hansberry’s “A Raisin in the Sun.”
■ Three dresses from Ntozake Shange’s 1976 drama “For Colored Girls…”
■ A section devoted to Alvin Ailey American Dance Theatre.
■ A study of Paul Robeson’s acclaimed portrayal of Othello.
■ A look at minstrel shows and the career of Bert Williams.
■ Sheet music from the landmark 1921 musical “Shuffle Along.”
■ Bios on unsung creative talents such as Vinnette Carroll (the first African-American woman to direct on Broadway – 1972’s “Don’t Bother Me, I Can’t Cope”) and Charles Gordone (the first African-American to win the Pulitzer Prize for Drama – 1970’s “No Place To Be Somebody”).
“What the black actor has managed to give are moments,” said author James Baldwin. “Indelible moments, created, miraculously, beyond the confines of the script: hints of reality, smuggled like contraband into a maudlin tale, and with enough force, if unleashed, to shatter the tale to fragments.”
Fantastic, educational, thought-provoking and inspiring, “Taking the Stage,” and the National Museum of African-American History and Culture overall, is a must-see retrospective for all Americans. It is worth celebrating not only during Black History Month but throughout the year. For more information, visit nmaahc.si.edu.