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: Love in Unjust Times

By John Lyle Belden and Wendy Carson

The annual OnyxFest, a showcase of works by new and emerging African American playwrights, returned recently to the IF Theatre in downtown Indianapolis.

Produced by Africana Repertory Theatre of IU Indianapolis (ARTI), there will be another weekend of performances, Friday through Sunday, Nov. 14-16, at Basile Theatre of Herron School of Art & Design, 735 W. New York, St., Indianapolis.

For the first time, the festival has a theme, “Love in Unjust Times.”

It is also dedicated to the life and legacy of the late Vernon A. Williams, including a revival of his timeless script, “Sonnets for my Sistahs,” directed by Charla Booth, joined in performance by Jalen Anderson, Mutulu Ekundayo, Michelle Mimms-Duchan, Megan Simonton, and Deont’a Stark. As the title suggests, this is a series of poetry and monologues expressing various aspects of love, relationship, and man- and womanhood.

The other four are new works:

ANTINIKA” written and directed by McKenya Dilworth-Smith – This work in progress shows amazing potential. Inspired by current political events, though existing in a parallel America with its own complexities and scandals, Antinika (Courtney Nicole) finds she must stand up to her father, President Keon (Jay Fuqua), to restore the honor of her slain brother. The cast includes Marlinda Tyson Haymon, Tiffany Dilworth-Upshaw, Wilbert Dowd, Savvion Carter, and Marlon C. Mack, Sr., as “Dr. T,” the president’s fixer. This play has eloquent soliloquies on family and politics, clever flag-based costuming, and a level of intrigue worthy of ShondaLand television dramas.

The Hands of Banneker” a “Timepiece” by Malique Guinn, directed by Edward Strickling, Jr. who performs as the spirit of Benjamin Banneker, the free African-American man known for helping survey the borders of the District of Columbia. This theatrical journey through his life focuses on his scholarly pursuits, including building a functioning wooden clock from scratch by scaling up the dimensions of a pocket watch. With softly poetic delivery, he speaks of “the anatomy of time,” as well as “the anatomy of love” for Lydia (Taylor Franklin). The cast includes Bill Myer and Destineè Fitzpatrick as Benjamin’s parents, and Anthony Winfrey.

Momma, I Just Want Love” by Brittany Cherelle, directed by Heather Strain, is an emotional examination of the lives and longings of two women. Angel (Cherelle) has a mother (Keisha Tompkins) who is godly, while CeCe (Tiana Edmond) has a mother (Dwuna Henton) who is surly and abusive. Angel is doing well at life, but terribly in relationships, such as the latest bad date (Eric Washington). CeCe has a supportive husband (Joshua Bruton), but living with constant maternal disapproval is becoming too much to bear. Faith and mental wellbeing are both pushed to the edge.

The Sassy Seniors of Ryder Manor” written and directed by Ebony Chappel is sort of a Black “Golden Girls” with a mission, as headstrong Ginnie (Tracey Middlebrooks Wynn) leads Kelly (Dr. Cie Johnson), Jackie (Marlene Johnson), and Catherine (Andrea “Sapphyre” White) in a quest to replace the closed youth recreation center for her grandson Dante (Jonathan Amir Murray). Karen Thomas joins the cast as the local Councilwoman this weekend; Chappel played the role in the first performances [Note: This is a correction from the originally published casting]. This little play is funny and uplifting, a perfect counter to the more serious content of the other works.

Each of these productions is a gem on its own, however seeing as many as possible is recommended, especially to encourage more amazing new works.

For more information and tickets, visit indyfringe.org or ARTIpresents.org.

Making Oceania Great Again

By John Lyle Belden

Citizens: Do not look away! You are witnessing a rare insight into Room 101 of the Ministry of Love, where thought-criminal Winston Smith will offer his confession and confront his insanity, his failure to love Big Brother.

This is “1984.” (Your official Ministry of Truth calendar should reflect this.) The plus-good Citizens of Monument Theatre Company are providing you this opportunity, where they expose the troubling writings of George Orwell, as adapted by Michael Gene Sullivan, directed for MTC by David Ian Lee.

Smith, who also purports to be an actor named Nathan Thomas, has written his crimes in a diary which is read and re-enacted by Party Members Riley Leonard, Raven Newbolt, Kim Egan and Deont’a Stark. Thomas naturally embodies a complex patchwork of emotions — broken, yet quietly defiant. Leonard presents the pre-arrest Smith burdened by ennui and desperate for a world that makes sense to him. Newbolt plays Julia, the woman Smith risks all for, so effectively her cohorts start to question her loyalty to the Party. Egan, on the other hand, is a true believer, eager for this trial to move on to condemnation and execution. Stark nicely takes on roles including Party officer O’Brien, who eventually shows up himself, in the body of Michael R. Tingley. Karen Sternberg provides the voice of alerts of victories by Oceania forces and other vital news.

This method of presenting Smith’s criminal activity provides an intense experience in the intimate confines of Indy Convergence. The context is made contemporary by the use of hand-held telescreens (smartphones) and the autocratic atmosphere does feel familiar in the world outside. Perhaps the most chilling aspect is the confidence of Tingley’s O’Brien, aware that his role is not player in this game, but the dealer – and the House always wins.

This Citizen rates this drama as double-plus good.

To avoid potential arrest by the Thought Police, it is advisable to make your way to 2611 W. Michigan St. for the remaining weekend. Information and tickets at www.monumenttheatrecompany.com.