We have a lot to learn

By John Lyle Belden

Understanding being black in America is not something that one “history month” a year can cover. But at least now, we have the textbook. Fonseca Theatre Company presents “Hooded, or Being Black for Dummies” by Tearrance Arvelle Chisholm, directed by Ben Rose.

Marquis seems to be a typical 14-year-old: doing well in school, hanging out with friends, noticing girls. But when his attempt at the latest internet fad lands him in a police station holding cell for trespassing, he finds himself with someone who sees him as anything but normal. Tru, the cellmate,  appears to be what most would picture a black youth to be, and he wonders why Marquis isn’t. Let the lessons begin.

Chinyelu Mwaafrika plays Marquis, bright-faced and naive, and despite his dark skin, a boy so “white” he needs the guidance of a “magical Negro” — the role Joshua Short as Tru takes on with gusto, complete with penning the titular guide. Yet, his character is more human than film trope, always toying with our and the other characters’ expectations. 

The only other African American in the cast is Warren Jackson as police Officer Borzoi; it is left to the audience to decide if he is an Uncle Tom collaborator with the establishment or a committed law officer with a realistic view of misbehaving young men (which you believe, or to what extent a mix of the two, no doubt says more about your own beliefs and biases).

We soon meet Marquis’s adoptive mother, Debra (Mara Lefler), embodying the well-meaning liberal who is blind to her own racial insensitivity. The next day, at private high school Achievement Prep, we meet Marquis’s classmates and best friends, Hunter and Fielder (Patrick Mullen and James Banta), as well as the girls clique of Meadow (Ivy Moody) and her disciples Prairie (Lefler) and Clementine (Dani Morey), who has a crush on Marquis.

All this — plus plenty of jibes at our meme-driven, eyes-on-phones, culture — lead to a lot of hilarious situations. But, as Rose says: It’s all funny, until it’s not. For instance, the opening scenes deal with the hot online trend of “Trayvonning” — a joke frequently repeated until its uncomfortable aspects are smoothed over. But it also has you primed for the gut-punch of the very final scene.

There are lessons for us throughout this production, starting with a slide show that runs while we take our seats in the intimate confines of Indy Convergence. Tru is a fount of wisdom, both in what he says and what he writes. In addition, we get a funny take on the young white man who takes on hip-hop culture too wholeheartedly.

Jackson and Banta also play mythical characters Apollo and Dionysus. The latter calls on Marquis to enjoy the trappings of white privilege, but hooded and African-garbed Apollo whispers a more vital truth to him.

Hearing of the violent death of an unarmed black person makes us wonder how such tragic circumstances could come about. No one should die for a handful of Skittles, yet they do. One of the lessons of “Being Black for Dummies” is that sometimes just putting up your hands is not enough.

What lesson will you take from this powerful play?

Performances run through Dec. 2 at Indy Convergence, 2611 W. Michigan. Get information and tickets at fonsecatheatre.org.

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Fonseca’s debut drama shows what we are capable of building

By Wendy Carson*

I honestly don’t know what is more horrifying about Robert Shenkkan’s play, “Building the Wall,” the details of atrocities committed or the sheer fact that I can see all of it happening in the real world, pretty much the exact way it does in the script.

The story revolves around a college professor conducting an interview with a reluctant prison inmate. Throughout their dialogue, you discover why Rick has been incarcerated – and his truth of the situation that led him here.

Clay Mabbitt does an amazing job at weaving Rick’s story without forcing a biased slant on the situation. This is a man who sees himself as inherently good but also acknowledges he allowed much of the inhumane treatment to continue, climaxing with their inevitable final solution to the situation.

Millicent Wright as the academic, Gloria, deftly leads him through his tale. Since his lawyer prevented him from defending himself or even speaking at his trial, she wants to help him get his story out in his own words so that he can finally be heard.

Again, the story presented here is fictional, but it contains so many references to actual historical events and situations that it feels just a bit too real. In fact, we found it hard to believe it was written in 2016, and not this year.

This is the first play for the newly-founded Fonseca Theatre Company, established by a group of central Indiana artistic people led by the company’s namesake – and this play’s director – Bryan Fonseca. Like his past work establishing the Phoenix Theatre, this is the first of a planned season (and seasons to come) of thought-provoking, important theatre on West Michigan Street.

Aside from helping create an enduring arts scene in the near-westside of Indy, FTC’s mission is to embrace and celebrate diversity in all its diverse forms. As one can guess from the present-day setting and the play’s title, its inspiration comes from the President’s promise, and the continued heated debate, regarding immigration and immigrants. What does a play with a black woman and a white man have to do with this? In “Building the Wall,” it is not Latinx people who have to justify what they’re doing or explain how they got where they are.

In the end, this is everybody’s problem.

Performances are Fridays through Sundays, through Oct. 7, at FTC’s temporary home, Indy Convergence, 2611 W. Michigan. See www.fonsecatheatre.org for details and tickets.

(John Lyle Belden also contributed to this review.)