Veteran Actress Gloria Sauve gave a phenomenal performance as the faithful and devoted slave governess, Bella Charles, in Arnaud d' Usseau and James Gow's DEEP ARE THE ROOTS, presented by The Metropolitan Playhouse Theatre in the East Village, New York. The Play is currently running until April 1st-and it's a must see!
Deep Are The Roots is a disturbing play which portrays one of American's darkest chapters in history-that of slavery (as if that wasn't bad enough), and the unspeakable "crimes against humanity" which accompanies such a sadomasochistic philosophy. Like an onion with its multiple layers-so too, is the unfolding of such peversity and monstrocity which, with each successive act and scene, becomes all too (and uncomfortably so) apparent to the audience.
Although many reviews (and good ones) were written about this production, one element of the reviews received, seemed to have been omitted (wether this was intentional or not is left to the reader's judgment), and that is the "reaction" of the audience to the subject matter (which is two-fold). And also, the audience's reaction to each individual member of the ensemble cast (and what a cast!).
The men, especially Caucasian men, reacted quite differently then the women members of the audience.
I attended this performance more than once, and on each occassion there were a good number of teenages, of both sexes. This group's reaction to this play was also very interesting (and so were the comments they shared afterwards).
Younger audiences (especially females) seem (through their eyes and body language) to suggest an identification with the character of Genevra Langdon (played by actress Caitlin Mc Ewan).
The older women in the audience also reacted quite powerfully, with tears in their eyes, hands over mouth, looking down, and exasperant breathing being observed (also, paralytic "stillness"). It was an intense three hours, to say the least.
The men (Caucasian) looked unsually "abhorred" and "aghast" in witnessing the "isolative monster" racism has been portrayed on stage. The tension increased to uncomfortable levels-especially when the character of Brett (played by actor R.J. Foster) was being beatened by the sheriff's (played by actor David Burfoot) "cronies" (played by actors William J. Allgood as 'Deputy Izay', and John Detty as 'Chuck Warren') in the livingroom of the Langdons. It was a psychologically painful scene to watch and sit through-and it seemed (if only for a nanosecond!) that we all became "one consciousness" in our "dissent" to such acts of inhumanity and breech of civil (not to mention human) rights.
Black Men, as I spoke to most of them after the production, were not "exempt" (myself included) from the "uneasiness" and the "objectified" view of how inhumanely, to the point of being reduced to an aminal (and animals have been treated better), we "felt" and "appear to be" to outsiders. It felt like being placed under a "microscope" or "singled out."
No doubt many ethnic groups have had similar experiences and therefore, each and every one of us in that audience was able to "relate" to such experiences (whether in this generation or in previous ones).
The Director, Micheal Hardart, has done us all a huge service-far more valuable than the price of admission! The cathartic effect that ran as an electric magnetic wave of "energy" or "curren", was absolutely "beyond intellect". It was a "birthing moment" which took the audience COMPLETELY BY SURPRISE. I believe many people were "transformed" those nights I attended. One walks away feeling "freed" somehow or "liberated". Mr. Hardart has reminded us (whether this was his intent or not) where we came from as a society, and how much we have to look forward to in redescoverying each other as individuals first, and then as a collective group-working together towards a better future. This was strongly emphasized in the ending when Ms. Alice Langdon (played by actress Teresa Kelsey) and Brett (Foster), voiced; "Ms. Alice, we're on the same side"?
There are two actors that I must mention separately because I was so enraptured by their performance; that, during the course of the run, I realized how important and clever the interaction between these two actors had become (and grown during the "timeline" of the play). Actor Micheal James Anderson (who played the some-what idealistic suitor to Ms. Alice; Howard Merrick, from New York), and actor J.M. McDonough (Senator Ellsworkth Langdon), a 'relic', as Mr. Merrick referrs to him, had a very interesting "dynamic" of polarization of identities and roles-however subtle, but very clever. It is also interesting that their "relationship" helped fuel the entire produciton.
Honorable mention goes to actors Niralyn Wilcox (Honey), and Stepphen Pelletier for excellent supportive roles (who can forget Honey's famous words, " I really am a good girl, just not a very bright one", almost broke people's hearts!)
Of course, this reveiw would not be complete wtihout mentioning the "muse" behind every production. Niki Armato (stage manager), ran a very efficient house with grace, swiftness, and absolute professionalism, making you feel like you were sitting in your own livingroom.
As far as the theatricality, realiness, and periodicity of this produciton, Emily Inglish should be nominated for a New York Inovative Award for her excellent depiction of the rural south (or Jim Crow era) through her tasteful design and decor-the entire set is an "old pastime" to a dying (thank God!) suppremist idealogy, which hopefully, we should never experience again as a nation (she got my vote).
The costume design was equally functional and historically accurate-right down to the patterns of the fabric. Excellent work by Mr. Sidney Fortner, his assistant mrs. Hanah Kwak, and Matt Valen (wardrobe).
This production is right on time politically. And just might be "instrumental" in this nation's coming presidential elections.
Deep Are the Roots receives FIVE STARS!
Deep Are The Roots is a disturbing play which portrays one of American's darkest chapters in history-that of slavery (as if that wasn't bad enough), and the unspeakable "crimes against humanity" which accompanies such a sadomasochistic philosophy. Like an onion with its multiple layers-so too, is the unfolding of such peversity and monstrocity which, with each successive act and scene, becomes all too (and uncomfortably so) apparent to the audience.
Although many reviews (and good ones) were written about this production, one element of the reviews received, seemed to have been omitted (wether this was intentional or not is left to the reader's judgment), and that is the "reaction" of the audience to the subject matter (which is two-fold). And also, the audience's reaction to each individual member of the ensemble cast (and what a cast!).
The men, especially Caucasian men, reacted quite differently then the women members of the audience.
I attended this performance more than once, and on each occassion there were a good number of teenages, of both sexes. This group's reaction to this play was also very interesting (and so were the comments they shared afterwards).
Younger audiences (especially females) seem (through their eyes and body language) to suggest an identification with the character of Genevra Langdon (played by actress Caitlin Mc Ewan).
The older women in the audience also reacted quite powerfully, with tears in their eyes, hands over mouth, looking down, and exasperant breathing being observed (also, paralytic "stillness"). It was an intense three hours, to say the least.
The men (Caucasian) looked unsually "abhorred" and "aghast" in witnessing the "isolative monster" racism has been portrayed on stage. The tension increased to uncomfortable levels-especially when the character of Brett (played by actor R.J. Foster) was being beatened by the sheriff's (played by actor David Burfoot) "cronies" (played by actors William J. Allgood as 'Deputy Izay', and John Detty as 'Chuck Warren') in the livingroom of the Langdons. It was a psychologically painful scene to watch and sit through-and it seemed (if only for a nanosecond!) that we all became "one consciousness" in our "dissent" to such acts of inhumanity and breech of civil (not to mention human) rights.
Black Men, as I spoke to most of them after the production, were not "exempt" (myself included) from the "uneasiness" and the "objectified" view of how inhumanely, to the point of being reduced to an aminal (and animals have been treated better), we "felt" and "appear to be" to outsiders. It felt like being placed under a "microscope" or "singled out."
No doubt many ethnic groups have had similar experiences and therefore, each and every one of us in that audience was able to "relate" to such experiences (whether in this generation or in previous ones).
The Director, Micheal Hardart, has done us all a huge service-far more valuable than the price of admission! The cathartic effect that ran as an electric magnetic wave of "energy" or "curren", was absolutely "beyond intellect". It was a "birthing moment" which took the audience COMPLETELY BY SURPRISE. I believe many people were "transformed" those nights I attended. One walks away feeling "freed" somehow or "liberated". Mr. Hardart has reminded us (whether this was his intent or not) where we came from as a society, and how much we have to look forward to in redescoverying each other as individuals first, and then as a collective group-working together towards a better future. This was strongly emphasized in the ending when Ms. Alice Langdon (played by actress Teresa Kelsey) and Brett (Foster), voiced; "Ms. Alice, we're on the same side"?
There are two actors that I must mention separately because I was so enraptured by their performance; that, during the course of the run, I realized how important and clever the interaction between these two actors had become (and grown during the "timeline" of the play). Actor Micheal James Anderson (who played the some-what idealistic suitor to Ms. Alice; Howard Merrick, from New York), and actor J.M. McDonough (Senator Ellsworkth Langdon), a 'relic', as Mr. Merrick referrs to him, had a very interesting "dynamic" of polarization of identities and roles-however subtle, but very clever. It is also interesting that their "relationship" helped fuel the entire produciton.
Honorable mention goes to actors Niralyn Wilcox (Honey), and Stepphen Pelletier for excellent supportive roles (who can forget Honey's famous words, " I really am a good girl, just not a very bright one", almost broke people's hearts!)
Of course, this reveiw would not be complete wtihout mentioning the "muse" behind every production. Niki Armato (stage manager), ran a very efficient house with grace, swiftness, and absolute professionalism, making you feel like you were sitting in your own livingroom.
As far as the theatricality, realiness, and periodicity of this produciton, Emily Inglish should be nominated for a New York Inovative Award for her excellent depiction of the rural south (or Jim Crow era) through her tasteful design and decor-the entire set is an "old pastime" to a dying (thank God!) suppremist idealogy, which hopefully, we should never experience again as a nation (she got my vote).
The costume design was equally functional and historically accurate-right down to the patterns of the fabric. Excellent work by Mr. Sidney Fortner, his assistant mrs. Hanah Kwak, and Matt Valen (wardrobe).
This production is right on time politically. And just might be "instrumental" in this nation's coming presidential elections.
Deep Are the Roots receives FIVE STARS!
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