Atiyyah Radford

OnyxFest: Police State

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This play is part of OnyxFest 2022, a production of Africana Repertory Theatre of IUPUI (ARTI) and IndyFringe, “Indy’s First and Only Theater Festival Dedicated to the Stories of Black Playwrights.” Initial performances were the weekend of Nov. 3-6 at the Basile Theatre in the IndyFringe building. The second weekend of performances are Thursday through Saturday, Nov. 10-12, at the IUPUI Campus Center Theater, 420 University Boulevard, Indianapolis. Recordings of performances will be available at ButlerArtsCenter.org. For more information, see OnyxFest.com.

By Wendy Carson

The saying, “An eye for and eye and a tooth for a tooth will lead to a world of the blind and toothless,” kept running through my head while watching “Police State,” written and directed by Rain Wilson. This play asks one of the most difficult questions of our current climate: What will it take to get people, especially police, to stop threatening and killing Black men out of fear of their skin color?

There is no easy answer. The scenario Wilson presents shows direct revenge is certainly not the solution, but what is?

The plot revolves around the death of a young man, *Amadi, shot in the back several times by a police officer while trying to walk home. B.J. (Atiyya Radford) tries to get his friend Mo (Deont’a Stark) to attend a justice rally he is organizing. Mo says the protest won’t solve anything and will probably lead to more violence at the hands of the police.

The victim’s father Abu (D’Anthony Massey) and mother Gloria (Shakisha Michelle) argue about how they should proceed in order to recompence their loss. Gloria knows that nothing will bring her son back, so in her eyes justice will never be gained. Abu feels that killing the officer responsible will show everyone that changes to the system need to be made, even declaring it a form of community “self defense.” His white brother-in-law Mark (Bryan Gallet) tries to be supportive but is no help at all, saying all the wrong (yet familiar sounding) things.

 I don’t want to spoil the ending but here’s what I can say: Much heated and important discussion occurs; another man dies; and no solution presents itself. 

Wilson’s story is tough to watch, as it evaluates much of the current ideology regarding this situation and clearly shows that there are no easy answers. However, it does offer a jumping off point in which to start a dialogue to try to find some beginning steps towards a solution.

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*”Amadi” (primarily meaning “free man”) is fictional, but reminiscent of numerous victims of police violence. A quick web search by this name brought up Amadou Diallo, shot more than 40 times by New York police in 1999 when the unarmed man reached for his wallet. Also fresh in local memory is the killing by police of Dreasjon Reed in Indianapolis in 2020. Black lives matter.

OnyxFest: A Noise in the Attic

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

This play is part of OnyxFest 2022, a production of Africana Repertory Theatre of IUPUI (ARTI) and IndyFringe, “Indy’s First and Only Theater Festival Dedicated to the Stories of Black Playwrights.” Initial performances were the weekend of Nov. 3-6 at the Basile Theatre in the IndyFringe building. The second weekend of performances are Thursday through Saturday, Nov. 10-12, at the IUPUI Campus Center Theater, 420 University Boulevard, Indianapolis. Recordings of performances will be available at ButlerArtsCenter.org. For more information, see OnyxFest.com.

By Wendy Carson

Abuse of a loved one doesn’t have to be physical, success sours when it’s not shared, and sometimes things that go bump in the night aren’t so bad, as revealed in “A Noise in the Attic,” by OnyxFest executive producer Vernon A. Williams.

Mr. Adams (ShaQuan Davis) appears to be the perfect husband and father, appropriate for a lawyer with a promising political career. But his daughter Cathy (Vae Savage) is an absolute brat who gets anything she wants from him, including silent permission to bully her stepmother Rita (Selena Jackson-King).

This situation, and the fact that her own desires have to be put on the back burner yet again, has Rita frustrated beyond belief. Plus, rather than do it himself, Adams is making her search the attic to discover the source of the strange noise that has been occurring over the past week.

However, a chance encounter with down-on-his-luck singer Walker (Atiyyah Radford) helps put things into perspective, awakening Rita to the truth about herself and her situation.

In the end, everyone gets exactly what they deserve.

Jackson-King does a great job balancing her character’s compassion for Walker’s plight against her struggles with propriety and devotion to her family, brought to focus by aspiring poet/performer Rita’s brave verse. Davis brings forth all the slick, playboy moves to reflect his character’s selfish attitude towards women. Savage portrays Cathy’s attitude so well, you will fight the urge to show her discipline and what true respect is. With a wry smile, Radford brings us the story of someone struggling his way to the top; his aspirations were crushed by the Pandemic, but not his spirit.

Angela Wilson-Holland is a comical delight as Rita’s Aunt Helen, who tries to talk her out of an obviously crazy plan. Jamillah Gonzalez does a great job of portraying Adams’ secretary, looking to make moves of her own.

Director Debora Farrell has done an excellent job of bring William’s script to life, making each character so realistic you will revel in the karma of the climax, as well as the revelation of what exactly is in the attic.