Good Works
Sandra Adell Releases Ten Contemporary Plays by African American Women
I’ve already deemed 2016 the year of #BlackGirlMagic. 2015 gave us a plethora of Black women shattering glass ceilings in the arts (Misty Copeland! Viola Davis! Danai Gurira!) and I have hope that it will get even better in the new year. We have shows with more women of color gracing the screen and stage, both in front of audiences and behind the scenes.
Which is why Broadway Black has no choice but to share the release of Contemporary Plays by African American Women: Ten Complete Works by Sandra Adell. If there is one voice that’s been undervalued on stage, it’s that of the Black woman. That’s what makes this anthology so great. It’s a combined work that includes prominent Black female playwrights and some up-and-coming writers.
It features works from contemporary Black female playwrights including Blue Door by Tanya Barfield; Levee James by S. M. Shephard-Massat; Hoodoo Love by Katori Hall; Carnaval by Nikkole Salter; Single Black Female by Lisa B. Thompson; Fabulation, or The Re-Education of Undine by Lynn Nottage; BlackTop Sky by Christina Anderson; Voyeurs de Venus by Lydia Diamond; Fedra by J. Nicole Brooks; and Uppa Creek: A Modern Anachronistic Parody in the Minstrel Tradition by Keli Garrett.
The description reads:
African American women have increasingly begun to see their plays performed from regional stages to Broadway. Yet many of these artists still struggle to gain attention. In this volume, Sandra Adell draws from the vital wellspring of works created by African American women in the twenty-first century to present ten plays by both prominent and up-and-coming writers. Taken together, the selections portray how these women engage with history as they delve into–and shake up–issues of gender and class to craft compelling stories of African American life. Gliding from gritty urbanism to rural landscapes, these works expand boundaries and boldly disrupt modes of theatrical representation.
Sandra Adell (Ph.D., UW–Madison) is a professor of Literature in the department of Afro-American Studies at the University of Wisconsin–Madison, Comparative Literature. Her other works include Confessions of a Slot Machine Queen, Literary Masters: Toni Morrison, Dictionary of Twentieth-Century Culture: African American Culture, and Double Consciousness/Double Bind: Theoretical Issues in Twentieth-Century Black Literature.
Contemporary Plays by African American Women: Ten Complete Works was released December 15th and is available for purchase in hardcopy, paperback, and digital copy at Amazon here.
What if you had to relive the same day over and over and over AND over again? Would you try something new every time to get a different outcome? Would you drive yourself crazy trying to figure out how to stop it? Now a two-time Olivier Award-winning new musical, Groundhog Day takes us on a whirlwind of adventure and misery through the eyes of a jaded weatherman forced to relive the same day, every day.
Funny enough, Groundhog Day is actually based on a film with the same title, starring Bill Murray and Andie MacDowell, and co-written by the show’s book writer Danny Rubin, about a weatherman caught in time and forced to relive the same day over and over and over again.
The concept seemingly feels like dangerous ground for a musical or a play, for that matter, as it forces the audience to watch the same moments over and over AND over again. Yet, somehow Groundhog Day manages to make what could be dangerous territory and turn it into a brilliant masterpiece of a musical. Largely in part to the catchy, fun music of the brilliant Tim Minchin, Groundhog Day makes deja vu seem kinda… cool.
Like the 1993 film, we meet our snarky protagonist Phil Connors (Andy Karl), a weatherman sent to Punxsutawney, Pennsylvania, to cover the annual prediction of spring, as predicted by “Phil the Groundhog.” Naturally, Phil feels nothing but disdain for the ritual, Punxsutawney, and everyone who celebrates it, including his producer Rita Hanson (Barrett Doss), who he tries to woo while acting like a complete prick to her.
As the Groundhog Day version of Ebenezer Scrooge, Connors needs to deal with the consequences of his terrible, often hilarious, actions. Cue the deja vu, where he must relive the same day over and over.
While he initially spends his days in self-loathing, also encountering a massive groundhog mascot that hilariously hits him on the head as he passes by every day (and he totally deserves it too), he eventually comes to his senses and looks to turning over a new leaf as he tries to win Rita over.
But not before indulging in his share of booze, women, and crime. Repeatedly, of course.
Karl’s charm really comes to play here, as we can easily grow to hate Phil Connors. After all, he’s literally the worst. Yet somehow, watching him suffer this forever purgatory, you can’t help but both root for his liberation and also hope he’s stuck there for all eternity. Karl’s performance in the West End run of the show earned him an Olivier for Best Actor in a Musical last week.
It helps that Broadway newcomer Barrett Doss is an excellent match for Karl, their chemistry undeniable, like her talent. The role (and some of the songs) hint that she’s more than the boring, hard-working producer that we’re led to believe (largely in part to her interactions with Connors), but, underneath the surface, a quirkier soul searching for love. Doss plays that side of Rita with enormous heart and playful charm and wit.
The show also offers a few solos of other Punxsutawney citizens, who express their own joys, worries, and troubles of life in the small town.
Minchin, director Matthew Warchus, Rob Howell (set design), Hugh Vanstone (light design), Paul Kieve (illusions), and Peter Darling (choreography) prove that when the creative team shares the same vision, magic can happen, as evident in the first act’s amazing car-chase number with Phil, two idiot bar patrons, and the Punxsutawney police — one of the most fun sequences I’ve seen on Broadway since … everything in Matilda, which featured the same creative team behind this musical.
All in all, I was pleasantly surprised with how much I enjoyed Groundhog Day, and, honestly, wouldn’t mind being stuck in a suburban purgatory with Phil and company again… and again.
Groundhog Day plays at the August Wilson Theatre.
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