Asante shows ‘Glory’ of Attucks team

By John Lyle Belden

The word “asante” is an expression of gratitude used in much of Africa. Here in central Indiana, we are grateful for Deborah Asante and the Asante Art Institute (expanded from her established art and theatre programs in 2018). This treasured local institution helps guide self-discovery and celebrate the African American experience through creative programs and performances.

With the current climax of high school and college basketball under way downtown, Asante focuses on the program that helped change the game far more than most people realize. The historical drama “A Touch of Glory” by Laura Town, directed by Ms. Asante, tells the story of the Crispus Attucks Tigers, the first all-black team in America to win a public high school state championship, taking the title in 1955 and 1956, a team that featured future hall-of-famer Oscar Robertson. It was also the first state title for an Indianapolis squad. This is well known, yet far from the whole story.

We are guided through this story by the “Angel” spirit of Willie Burnley (played by Joshua Short), whose hoop dreams ended after high school, getting his wings from cancer a few years later. He has not only a story to tell, but also an important role in it. He notes that Robertson was known to get a triple-double – double-digit points, rebounds, and assists – nearly every game.

Willie will tell us about Oscar’s two greatest assists.

At the heart of the story is the Tigers’ coach, Ray Crowe (Reggie McGuire), who worked his way up from school janitor and built a team in a school that didn’t even have a proper gym. His determination, confidence and optimism help to win over reluctant and cautious principal Russell Lane (Ennis Adams Jr), as well as his fiancé/wife of saintly patience Betty (Clarissa Michelle), and the boys who played street ball in “The Dust Bowl” – Burnley, Robertson brothers Bailey (Joshua Bruton) and Oscar (Deontà Stark), future Mr. Basketball Hallie Bryant (Bryce Hawthorne) and future Globetrotter Dill Gardner (A’veon Curry), who played barefoot.

The play also features Matthew Brown as sportswriter Bob Collins, who sees more than good story here; Rick Drumm in supporting roles; and Joe Wagner as a couple of less savory persons.

Most impressive are the Cheerleaders – empressnikia, Shelby Brown, Taylor Todd – fitting naturally as a sort of Greek Chorus as well as aiding the story and its atmosphere.

Short gives Burnley, who mostly rode the bench but didn’t seem to mind, an infectious joyful energy that keeps us engaged. This, and the earnest portrayal of Coach Crowe by McGuire, help elevate the by-the-numbers sports hero story to something that feels important beyond its own time and place. Though we know the end, in looking at the story from an early-50s perspective we feel the tensions, imminent threat, and the deafening silence in place of support from other parts of the city and state.

We get an interesting glimpse into the Robertsons: Bruton’s Bailey is brash and vocal, yet focused while on the court. Stark’s Oscar lets his game do the talking and easily comes across as a future legend. Curry as Gardner gives an interesting perspective on the meaning of success under limited options. Keiston Drake plays another Tiger player, and also provides beautiful vocals during a musical moment.

The choreography by Shawn Cowherd extends beyond the cheer routines as the scenes of basketball action move with easy grace and athletic beauty. Clever and functional set design is by Antonio Burks, with costumes by Latoya Adams. AshLee Burks is assistant director, and Kelli Thomas is stage manager.

The Academy provided support on and behind the stage. Credit where due: Kyler Brown, Lamont Swayze, Kawai Castillo, Adina Sconiers, Ava Floyd, Zeruiah Bailey, and Reygan Rucker, with teaching artists Jasmine Robinson and Reno Moore and performance mentor Kiheem Brown.

“A Touch of Glory” has performances 7:30 p.m. Thursday, Friday and Saturday, as well as 1 p.m. Saturday (April 2-4) at the Athenaeum, 401 E. Michigan St., Indianapolis. For tickets, see athenaeumindy.org. Put on some green and gold if you feel like it, and you might even learn the “Crazy Song.”

OnyxFest 2021

This last very busy weekend, aside from various production openings, was opening weekend of the two-week OnyxFest: A Celebration of African American Voices, presented by IndyFringe with performances at the IUPUI Campus Theatre, 420 University Blvd., Indianapolis. We (John and Wendy) were unable to make the shows, but a friend of the site, a member of Indiana Writers Center, gifted us the following review. Opinions are the author’s. Get festival information and tickets at indyfringe.org/onyxfest-2021.

By Celeste Williams

That Day In February,” Janice Morris Neal’s OnyxFest play, directed by Dena Toler, tugs at all of the strings.

One of five productions in “Indy’s first and only theatre festival dedicated to the stories of Black playwrights,” Neal’s play returns 6 p.m. Friday, Oct. 15, at IUPUI Campus Theatre, 420 University Blvd.

The three siblings, portrayed by Ennis Adams, Jr., Katherine Adamou, and Lakshmi Symone Rae, perform an intricate, emotion-laden word-dance on stage, as they navigate relationships laced with trauma of their mother’s love, but grounded in love.

Neal wrote the play with true events at its core. Even if audiences did not know the specific story behind the production, they would recognize parts of themselves, through the nuanced performances led by Adams and enhanced by Adamou and Rae.

The actors’ interplay brings the background story to life. The presence of the liquor bottle on a table subtly hints at the older brother’s internal fight — to separate himself from his father’s act, even as he fears he has inherited some his ways.

The sisters’ presence brings the brother’s insecurities to light. The more insecure he becomes, the more pours and sips. The middle sister’s anxiety is illustrated expertly by Adamou, whose leg jiggles nervously throughout. Rae, as the younger sister, is the picture of young rebellion.

The fact that it is the younger, rebellious sister, who could not have remembered the events at the heart of the story, is the one to bring the narrative to a head, is a brilliant turn. The father is an invisible presence throughout.

There is a last line (no spoilers) that leaves a viewer satisfied and wanting even more.

In interviews, Neal has said that she wanted to convey “the perspective of adult children who did not grow up with their parents.” The play also touches strongly on issues of domestic violence and the resulting traumas.

“They all grapple with different issues and how to reconcile them,” Neal said. “Even things that happen to us as children can affect us as adults.”

It is a good thing that the ending leaves one imagining what comes next. And, “That Day in February” rightfully leaves appreciative audiences wondering what playwright Neal has in store for us next.

We’ll be eagerly waiting for that day.

Thanks again to Williams, and IWC board member Mary Karty, for the assist. The other festival shows are (descriptions provided by OnyxFest):

1200 Miles From Jerome” by Crystal Rhodes, directed by Deborah Asante, 6 p.m. Thursday, Oct. 14

In the 1940’s, during World War II, a mother, her two daughters, a young school teacher and a 14-year-old Japanese-American fugitive from an internment camp are forced to leave the town of Jerome, Arkansas, and flee over 1,200 miles to New York City. The journey is filled with danger, a daunting experience in which “driving while black” could mean the difference between life and death.

Fly Blackbird Fly/Voices We Can’t Unhear” written and directed by Latrice Young (Distinctly Unique), 8 p.m. Thursday, Oct. 14, and 6 p.m. Saturday, Oct. 16

A choreopoem recounting traumatic experiences of several Black women. Each woman is at her breaking point and desperately wants to escape the cages they’re in, but this can only happen if they’re willing to relax, relate, and release.

Ranson Place” by Jameel Amir Martin, directed by Shandrea Funnye, 8 p.m. Friday, Oct. 15

Two unlikely companions holding on to a precious thing, reluctant to leave a special place, must contend with forces that would spur their belated departure.

This Bitter Cup” written and directed by Charla Booth, 8 p.m. Saturday, Oct. 16

A Black family in the rural south in the 1950’s struggle to find balance in their lives. A son who wants an education to rise above the limitations of the Old South, and a daughter whose dreams are thwarted by being Black and a woman and loved by the wrong man, in a complicated entanglement that leaves us wondering if this family can find peace.