Tag Archives: The Whipping Man

New Off Broadway play LITTLE ROCK opens tonight in NYC

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Tonight in New York City, the new play Little Rock, about the events in 1957, officially opens.

Written and directed by Rajendra Ramoon Maharaj, eleven years ago, he was in a residency at the Arkansas Repertory Theatre.  During that time, he created It Happened in Little Rock, which was performed at the Rep in September 2007.  It was their contribution the community events commemorating the fiftieth anniversary of the integration of Little Rock Central High.

Though Maharaj’s current production is different from the 2007 Rep production, it was inspired by his time in Little Rock and the connections he made during his residency.

The cast includes Rebekah Brockman, Justin Cunningham, Charlie Hudson III, Ashley Robinson, Stephanie Umoh (who starred in the Arkansas Rep production of Pal Joey), Shanice Williams, Peter O’Connor, Damian Jermaine Thompson (who starred in the Arkansas Rep productions of The Whipping Man and the Scottish Play), Kea Trevett and Anita Welch.

The production officially opens on June 6 and is scheduled for a limited run through September 8.

This production illustrates why theatre is important and Arkansas Repertory Theatre specifically is important.  One, theatre is a chance to explore and explain moments from our past and present.  The Rep saw a role it could play in telling a variety of stories and perspectives while molding a narrative about events in 1957 and progress that had been made (or not) since then.

Additionally, it is important that the Arkansas Repertory Theatre provided an artistic home for a playwright and director to learn.  In addition to working on It Happened in Little Rock, over the years Maharaj directed A Raisin in the Sun, Dreamgirls, and Intimate Apparel for Arkansas Rep.  It was through his experiences in Little Rock in 2004 and 2006, that he was inspired to collaborate with Bob Hupp, Leslie Golden and the Rep staff on It Happened in Little Rock.  Developing a play is not easy, cheap, or quick.  It is vital to the future of theatre to have artistic homes which can support these initiatives.

As the Arkansas Rep is preparing for its “Next Act” it is important to remember the impact it has had artistically and as an agent for community conversation on not only Little Rock but the state of Arkansas.  Sometimes theatre sparks ideas that no other art-form can, or no amount of reading or listening to speeches can.

Repertorium Praeter Theatrum

New play LITTLE ROCK, inspired by 1957 events, with roots at Arkansas Rep begins performances tonight in NYC

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Tonight in New York City, a new play starts previews.  It is entitled Little Rock and is written and directed by Rajendra Ramoon Maharaj.

Eleven years ago, Maharaj was in a residency at the Arkansas Repertory Theatre creating It Happened in Little Rock, which was performed at the Rep in September 2007.  It was their contribution the community events commemorating the fiftieth anniversary of the integration of Little Rock Central High.

Though Maharaj’s current production is different from the 2007 Rep production, it was inspired by his time in Little Rock and the connections he made during his residency.

Here is the official description of Little Rock:

LITTLE ROCK tells the riveting true story of the Little Rock Nine, the first black students to attend their city’s formerly segregated central high school. What began as their quest for a better education soon became a national crisis, igniting the passions of a divided country and sparking a historic fight for justice in the Jim Crow South.

On the cusp of the Civil Rights Movement, a changing world watched as these nine children from Arkansas battled for their rights with only a book and pencil.

The cast includes Rebekah Brockman, Justin Cunningham, Charlie Hudson III, Ashley Robinson, Stephanie Umoh (who starred in the Arkansas Rep production of Pal Joey), Shanice Williams, Peter O’Connor, Damian Jermaine Thompson (who starred in the Arkansas Rep productions of The Whipping Man and the Scottish Play), Kea Trevett and Anita Welch.

The production officially opens on June 6 and is scheduled for a limited run through September 8.

This production illustrates why theatre is important and Arkansas Repertory Theatre specifically is important.  One, theatre is a chance to explore and explain moments from our past and present.  The Rep saw a role it could play in telling a variety of stories and perspectives while molding a narrative about events in 1957 and progress that had been made (or not) since then.

Additionally, it is important that the Arkansas Repertory Theatre provided an artistic home for a playwright and director to learn.  In addition to working on It Happened in Little Rock, over the years Maharaj directed A Raisin in the Sun, Dreamgirls, and Intimate Apparel for Arkansas Rep.  It was through his experiences in Little Rock in 2004 and 2006, that he was inspired to collaborate with Bob Hupp, Leslie Golden and the Rep staff on It Happened in Little Rock.  Developing a play is not easy, cheap, or quick.  It is vital to the future of theatre to have artistic homes which can support these initiatives.

As the Arkansas Rep is preparing for its “Next Act” it is important to remember the impact it has had artistically and as an agent for community conversation on not only Little Rock but the state of Arkansas.  Sometimes theatre sparks ideas that no other art-form can, or no amount of reading or listening to speeches can.

Repertorium Praeter Theatrum

UPDATE – on the afternoon of May 30, the producer announced that due to some technical difficulties, the production was being delayed a few days.

Creative Class 2016: Yslan Hicks

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cc16-hicksYslan Hicks has dressed hundreds of people in all sorts of clothing.  As a theatrical costume designer and educator, she has worked throughout the United States.  She is currently an Associate Professor and Interim Department Chair for the UALR Theatre and Dance Department.

Yslan has design credits that include productions at UALR, Arkansas Repertory Theatre, Lincoln Center Institute in New York City, the Goodman Theatre in Chicago, Portland Center Stage in Oregon, the Old Globe in San Diego and Williamstown Theatre Festival in Williamstown, Mass. As an artistic associate at Lifeline Theatre in Chicago, she has designed a number of literary adaptations including Dracula, Pride and Prejudice and Jane Eyre.

Her work with the Arkansas Rep spans over two decades.  Among her recent productions are The Whipping Man, Clybourne Park, and Gee’s Bend.  In addition to UALR, she has served on the faculties of the University of Tulsa and Tulane University. Yslan is a member of United Scenic Artists, Local 829.

Yslan is also an in-demand speaker.  Most recently, she has given a series of talks for the Central Arkansas Library System on the history of fashion. Among her topics have been Downton Abbey and bridal dresses.

Final Weekend for THE WHIPPING MAN at the Arkansas Rep

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THEREP_THE WHIPPINGMAN (no credits)-page-001There are only three chances remaining to see the riveting play on stage at the Arkansas Rep – Matthew Lopez’s award winning The Whipping Man.  

An extraordinary tale of loyalty, deceit and deliverance, The Whipping Man opened off-Broadway in 2011 to critical acclaim, winning the 2011 John Gassner New Play Award from the NY Outer Critics Circle and becoming one of the most produced plays in the country.

On Passover, 1865, the Civil War has just ended and the annual celebration of freedom from bondage is being observed in Jewish homes across the country. One of these homes sits in ruins. As Jewish confederate officer Caleb DeLeon returns from the war, badly wounded, to find his family missing and only two former slaves remaining, Simon and John, the two men are forced to care for him.

As Caleb, Simon and John wait for the family’s return, they wrestle with their shared past as master and slave, digging up long-buried family secrets as well as new ones. With Passover upon them, the three men unite to celebrate the holiday, even as they struggle to comprehend their new relationships at a crossroads of personal and national history and to come to terms with the sordid legacies of slavery and war that threaten each of their future freedoms.

Ryan Barry, who was featured in last season’s Clybourne Park returns to the Rep joined by Michael A. Shepperd and Damian Thompson.  The production is directed by Rep vet Gilbert McCauley (Gee’s Bend, Looking Over the President’s Shoulder, The Piano Lesson, A Soldier’s Play, Fences, Frost/Nixon).  Other members of the creative team are set designer Mike Nichols, costume designer Yslan Hicks, lighting designer Dan Kimble, sound designer Allan Branson and props designer Lynda J. Kwallek.

Performances are at 8pm tonight, 2pm tomorrow and 7pm tomorrow night.

Play at Arkansas Rep focus of Mosaic Templar Lunchtime Discussion

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mosaictemplarsThe Mosaic Templars Cultural Center’s (MTCC) quarterly lunchtime series offers a variety of topics to educate, inspire, and entertain.

“It’s in the Bag” runs today from 11:30 to 12:30 at the MTCC.

Today’s installment will feature the cast of the Arkansas Repertory Theatre’s current play, The Whipping Man. Set at the end of The Civil War in 1865, The Whipping Man is an extraordinary tale of loyalty, deceit and deliverance. The award-winning play opened off-Broadway in 2011 to critical acclaim, winning the 2011 John Gassner New Play Award from the NY Outer Critics Circle and becoming one of the most produced plays in the country.

THEREP_THE WHIPPINGMAN (no credits)-page-001Don’t miss your chance to meet the cast and tour MTCC’s new exhibit, “Freedom! Oh, Freedom!” Arkansas’s People of African Descent and the Civil War: 1861-1866.

Guests are invited to bring their lunch, the museum will provide the drinks.

The Mosaic Templars Cultural Center is an agency of the Department of Arkansas Heritage.

Tonight at Arkansas Rep – UALR History Professor Carl Moneyhon will discuss the South at the end of the Civil War

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Carl_Moneyhon_smIn conjunction with the current production of The Whipping Man, UALR History Professor Dr. Carl Moneyhon will be speaking at the Arkansas Repertory Theatre this evening. His remarks are entitled “The World Turned Upside Down: The South at The End.”

Dr. Moneyhon is a specialist in the history of the American Civil War and the South and is widely published in his field. He is faculty liaison with the University History Institute, an organization that develops closer ties between the department and the community. He serves on editorial boards of the Arkansas Historical Quarterly & the Encyclopedia of Arkansas History and Culture. He has won the UALR Faculty Excellence Award for Research and the UALR Faculty Excellence Award for Teaching.

The program is at 6:00 tonight in Foster’s at the Arkansas Rep.  The doors open at 5:30; a cash bar will be available.  Admission is free for members of the Rep and $10 for non-members.  Registration is required and can be made by calling the Rep Box Office at 501-378-0405.

Riveting WHIPPING MAN at Arkansas Rep

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THEREP_THE WHIPPINGMAN (no credits)-page-001The Arkansas Repertory Theatre production of Matthew Lopez’s The Whipping Man is a riveting production which features three men grappling with issues of faith, family, and fidelity over three days at the close of the Civil War.  Set in the remains of a once-grand townhouse in Richmond (masterfully designed by Mike Nichols), it tells the story of Caleb, the scion of the edifice’s owner, and two of the now-former house slaves, Simon and John.

As Simon, the moral compass of the trio, Michael A. Sheppherd portrays a complex man wrestling with the changing times while holding on to a vision of a bright future. His approach to the role is to emphasize Simon’s pragmatism. He can easily shift from stern (when making hard decisions) to tender (when discussing his wife and daughter). Sheppherd projects an inner strength which never allows the character to slip into the “noble, long-suffering slave” stereotype.  As do the other two actors, he finds the quiet, honest humor in the script while not disrupting the story.

Damian Thompson likewise avoids having John wear the “shiftless, devious” label. He joyfully struts like a peacock in his increasingly finer clothing (a deft creation of costume designer Yslan Hicks) and brags of his latest acquisitions (which progressively litter the stage courtesy of props designer Lynda J. Kwallek). But like the other two characters, he is seeking to better himself in these uncertain times. Thompson’s eyes and smile flash the brilliance of the character, who obviously has intelligence since he taught himself to read.

Ryan Barry’s Caleb spends much of the time onstage sitting in one place due to an injury. Through his sometimes pained voice, shifts in posture and gestures, he never seems static. His descriptions of the horrors of war are gripping. When paired with his soft tone of voice and romantic longing for the girl he left behind at home, he serves as a reminder that not all went into war with gusto.

Throughout the play, it becomes apparent that all is not what it seems with any of the three. What the secrets are, and who knows what about whom, is just part of the evening.  While the mysteries are plot points, they are not the whole point of the story.  The faith and shared experiences bind these three together far more than they would care to admit.  Sheppherd, Thompson and Barry share a great chemistry which serves the production well.

Director Gilbert McCauley obviously trusts his actors and the script.  He lets the action unfold at a languid, but not sluggish pace.  In his hands, the silences and stillness of the actors can sometimes be more powerful than words and movement.  There are moments in the script which could easily shift into melodrama, but McCauley does not allow that.

This same approach is shared with the strong and subtle lighting design of Dan Kimble. He achieves a rare balance of having the stage dim and well-lit at the same time. The mood of the play is also ably served by Allan Branson’s sound design.

The Whipping Man offers no easy answers or pat endings. While none of the characters are without flaws (who is?), they each have redeeming qualities.  At the end of the play, one is left wondering what will happen to them.  Realizing that the Reconstruction era in the South was hardly pleasant for anyone regardless of race, the audience knows that the future will probably not be too satisfying for any of the three.

Toward the end of the play, the trio share a Seder. In addition to the obvious connections (Abraham Lincoln and Abraham from the Bible, the end of slavery in both eras), it is also about sharing faith and sharing experiences.  It is, for a brief respite, a moment of pure peace.

The Arkansas Rep production of Lopez’s play serves as a helpful reminder that in the midst of chaos, harmony can be achieved, if only for a moment.