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Darkness sheds light in 'Yellowman'
(by Bob Abelman - November 18, 2009)
THEATER, BY BOB ABELMAN
Darkness sheds light in 'Yellowman'
In a recent interview with American Theatre magazine, contemporary playwright Dael Orlandersmith was asked to comment on her propensity for portraying lives torn apart by poverty, racism and substance abuse. "There is humanity within a bleak story," she suggested. "We find that humanity by exposing the darkness."
Exposing the darkness is, quite literally, at the very heart of her critically acclaimed play "Yellowman," currently on stage at Karamu Theatre. The characters that fill this drama are black, yet it quickly becomes clear that they are either too black or not black enough.
This play reveals the racial prejudice that exists within the African-American Gullah culture in the Sea Islands of South Carolina. Self-loathing is ingrained in generations of darker-skinned blacks, who cannot escape the genetic ties to their slave stock. They despise themselves but have a particular hatred for lighter-skinned blacks -- the "high yellows" -- who they believe are afforded privilege because of their lightness and see themselves as superior as a result.
Although "Yellowman" is a drama, this play is written as if it was a musical. It consists of richly descriptive monologues that are variations on a common theme: the dark side of darkness. The monologues alternate between characters, woven together by connective dialogue and written as if they were jazz riffs.
Each has its own underlying rhythm -- a musicality, a def poetry -- that entices its performers to almost sing their lines. Words and phrases, often repeated for emphasis, are delivered as if they are half-notes and quarter-notes and come adorned with melodic Geechee accents that add their own unique cadence.
Director Fred Sternfeld -- no stranger to musical theater -- is sensitive to these rhythms and the creative potential of their synchrony. He allows them to play out and masterfully orchestrates the pieces and parts of this production.
His actors, Kyle Primous and Kristi Little, are both accomplished choreographers. As the light-skinned Eugene and the dark-skinned Alma, they move gracefully and unabashedly on stage, as if engaged in dance.
Mr. Primous and Ms. Little play multiple parts as they narrate Eugene and Alma's progression from childhood to adulthood, from being friends to becoming lovers. They are brilliant. Every emotion rings true. Every character is complex and distinctive. Their depictions of alcoholic, psychologically abusive parents are particularly riveting, and their Eugene and Alma are thoroughly endearing and engaging creations.
This play is about the African-American Gullah experience. Yet, who has not at some point in their lives attempted to physically distinguish themselves from their heritage? Who has not sought an identity that does not share a mother's voice, reflect a father's posture or repeat a family's embarrassing immigrant inclinations? Who has not learned the hard way that escaping the darkness -- whatever that darkness might be -- is just not possible?
"Yellowman" is a beautifully written tale told on a bare stage with care and creativity. It is a wonderful piece of theater that continues until Nov. 22 at the Karamu Performing Arts Theatre in Cleveland's nearby Fairfax neighborhood.
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