Ronni Watts

Black Light shines light on Indy history, culture, again

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By John Lyle Belden

Here’s a homework project we can all learn from.

Black Light Training & Development, a program of The District Theatre, presents “The Griot,” a new dramatic work in progress by Celeste Williams, directed by Ronni Watts with Kelly Kel. For the participants, this is an opportunity to develop skills as writers, actors and directors; for the audience, this is also a window into Indianapolis Black history, with a focus on The Indianapolis Recorder.

Founded in the 1890s, The Recorder has been a vital part of what was then and through the 20th century referred to as the “Negro press,” newspapers that served communities of color across the United States, bringing to light the people, stories, and issues mostly ignored by the mainstream (read: white) media. As one line in the play states, to know what was really going on, “this newspaper, and the grapevine, was it!”

To get misbehaving high school students Rosa (Kenyla Bell) and Malcolm (Tyrell) to take history seriously, their teacher gives them a week to make a presentation about the Recorder – something they barely know or care about.

Malcolm remembers it’s something his grandmother “Moms” (Kea Biven-Williams) reads all the time. Noting his interest, she tells how it covered the career of the great Oscar Robinson and his history-making high school title. While her breaking into the Crispus Attucks High “Crazy Song” is a fun audience sing-along, it overwhelms the boy with its hokey-pokey old-fashioned style and he retires to his bed. Meanwhile, in her home and bed, Rosa nods off while Googling the history of The Recorder.  

This is where the spirit world intervenes. Jeli (Destiny Basnight), the essence of The Griot (a traditional African storyteller and history-keeper) brings together the dreamscapes of both youths to meet her and the spirit of George Pheldon Stewart (Terrance Marquis), co-founder of the Recorder.  D’Andrea Brown arrives as “N. Diana Avenue” to enlighten the kids on local history and “Cora S. Pondent” to relate the Recorder’s role in it. Dom Moon appears as the mistress of “Monster Meetings” that brought notable African Americans to speak at the Senate Ave. YMCA, as well as a soldier who wrote to Black papers during World War II to propose the Victory sign become a “Double V” for victory both in the War and on the homefront for civil rights.

Malcolm and Rosa are shaken from their apathy by discovering the rich history in their own city, learning of success stories, like that of Madam C.J. Walker; events like the visit by Martin Luther King Jr., five years before his “Dream” speech; and the horrors of lynchings across Indiana, murdering “young people like us.” In the process, Rosa confronts questions about her own future, while Malcolm feels he must deal with his own troubled past. Appearing at ease on the stage, Bell and Tyrell show their own talent and potential.

The adults acquit themselves well, too. Basnight’s delivery balances charm and culture to stay above caricature. Biven-Williams is endearing as the grandmother. And Marquis entertainingly brings to life the rather dashing photos of Mr. Stewart, presenting a classy no-nonsense newspaperman.

As in past Black Light productions, we get deeper insight into Indiana’s past as well as an opportunity for future cultural icons.

Overall, the 90-minute play gives a good first public showing with great potential. See what we mean and encourage its development by seeing it 7 p.m. tonight (as this posts) or 4 p.m. Sunday, Aug. 30, in the District Blackbox, 627 Massachusetts Ave., Indianapolis. For tickets and information, see indydistricttheatre.org.

Find Black Light Training & Development on Facebook. The Indianapolis Recorder is available in newsprint, online, and provides a weekly email newsletter.

Fonseca touching on sensitive topics

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By John Lyle Belden

“Can I Touch it?” by Francisca Da Silveira is about Black women’s hair. It is about Black women. It is about a Black neighborhood facing change, and a Black family in the middle of it.

This comedy addresses, according to director Dena Toler, the many ways people of color are “touched,” personally and collectively. Counter to the old saying, “It’s a Black thing, you wouldn’t understand,” this is a theatrical opportunity to get past clumsy questions and listen to the answers we need to absorb.

A helpful bit of context: According to Boston.gov, the central neighborhood of Roxbury is “the heart of Black culture” in the city. However, the headline of the web page says, “We’re bringing this historic neighborhood into the 21st century.” – Who is “We”? – Keep this in mind when you see this show at Fonseca Theatre Company.  

Shay (Lanetta Chandler) is having trouble getting a loan to help sustain her wig and beauty supply shop on Dudley Square in Roxbury. She runs it with her sole employee, and cousin, Meeka (D’yshe Mansfield), who also has braiding skills. Shay’s daughter Ruth (Ronni Watts) is finishing high school and doesn’t want to settle for the local college, Northeastern University.

The issues with the loan seem to coincide with Patron Bank also having designs on Dudley Square for development with modern multi-level, multi-use buildings. Shay and her friend since childhood, Mark (Peter Scharbrough), are among locals meeting with the bank’s representative, Beth (Mansfield), who addresses them with a saccharine smile and thinly-veiled condescension.

Watts also plays Lili, a customer at Shay’s shop who also works at Patron; Scharbrogh is also Nicky, a barber in Somerville (just outside Boston) and friend of Meeka.

This heart of Black culture has a beat which rises up between scenes as the title question and others, such as “Is it expensive?” and “Does it hurt?” are considered one at a time.

“We live in the compromise,” Shay says, and Chandler gives her a weary optimism of one who has lived in that mode her whole life. Mansfield contributes much of the comedy in her portrayals of both eager and feisty Meeka and blonde bitch Beth. Watts gives us Ruth feeling caught between concern for her mother and worry for her future. Scharbrough, as all the white men in the cast, gives Mark and Nicky distinctive positive personalities. He also has a moment as an unhelpful loan officer.

It is fitting that with those in more than one role, much of the difference is reflected in the wigs worn. Watts truly looks like two different people as the girl Ruth with natural hair and the woman Lili with a long straight weave.

Credit, then, to Jeanne Bowling for costumes and props (including the hairpieces, I presume). Bernard Killian designed the stage with components that change from Shay’s shop to other locations as needed, aided by lighting by Ben Dobler. Ayshah Matthews is assistant director and Maggie Ward is stage manager, aided by Mad Brown.

Joshua Short makes an appearance as an online video influencer.  

Serious stuff with some laugh-out-loud moments and answers to bothersome questions – perhaps raising a few more – “Can I Touch It?” runs through March 30 at 2508 W. Michigan St., Indianapolis. Get tickets and info at fonsecatheatre.org.