"NOBODY KNEW WHERE THEY WAS"

NOBODY KLNEW WHERE THEY WAS, written by Roger Parris and directed by one of Harlem's most celebrated directors, Arthur French, and produced by Gertrude Jeannette and the H.A.D.L.E.Y. Players, premierred Sunday Afternoon, February 27th at the Harlem School of the Arts Theatre on 647th St. Nicholas Avenue off 142nd St. in New York.

This is one of those plays that is "pregnant" with pretense. It is the "unsaid," the "unseen," and the "undercurrents" that we, as an audience, immediately become attuned with.  We must be very careful and watchful of plays or productions that present us with everything, leaving nothing to the imagination from its audience (fortunately, this isn't one of those plays).

At the opening of act one, the convicts' interpersonal relationship is what "color" our perception of what's presented. It is at this early phase of act one and, progressively gathering momemtum until the end of the act, that it becomes clear what the premise is.

 Although the script's plot seems simple and the play "simply written," herein lies the genius: To illustrate something as complex as interpersonal relationships in a span of little over an hour and a half-and do it "simplistically," is Mr. Parris' unique gift as a playwright. There's more to this play than meets the eye. Its layers are deep and "deeply rooted"

Arthur French made sure that, through the men's interactions, "personality and character" of each man was delineated for us to see. But aside from the obvious, the men represent prisms or aspects of the "lower self"

which always rise to the surface in "primal situations." Mr. French makes good use of lighting and "sparse staging" not only to show us the "disconnectiveness" in each of the men, but also their own disconnection to their inner center. In reference to lighting-there is very little, only shadow effects which brilliantly sets the "mood" and creates an atmosphere of uncertainty, mystery, and darkness (within the men),the environment  and very "telling" of culture and period they find themselves in.

This entire production, from the set design (by Marshall Mitchell), to costume design (June Terry) and sound and light designs (Mlon sole and Delonte Smith), to casting; there's an overall "impression" which, on an "altruistic level" reveals a particular "truth". Truth can be liberating, enlightening, and beautiful, but it also has its shadow right beside it. No more is this "truth" exposed than in the "personality and character" of each man.

We are complex mamals, supposedly more consciously evolved and moral than our lower primates, or are we?

The performance of the actors was animated, dynamic and colorful. Each of them was believable, redeemable, and dark. Especially impressive was the performance of Albert Eggleston (as Coacoa) who totally took us all by surprise the more we were drawn to his "character." The ending was just as cryptically huanting as its beginning. I was on the edge of my seat right until the very end!

I give this production 3 1/2 stars!