This is a personal essay about BLKS by Aziza Barnes (Playwright) and Nataki Garrett (Director). My chat with the friendly, black woman next to me ends. I face the empty stage for about 5… Continue reading
In high school, my psychology teacher ran an activity in which everyone wrote down on a piece of paper a crime they would commit if guaranteed they wouldn’t get caught. I don’t remember… Continue reading
This play commentary is in response to Crossroads Theatre Company’s production of The Talk, which had its last show on May 19. I cannot say that I’ve used the word, dildo, more than… Continue reading
Echoing the reality of coming of age in America, Man Up addresses aspects of race and racism, of skin color, of sexuality, of masculinity, of femininity, and of love. Carlos Andrés Gómez uses… Continue reading
August Wilson’s “The Piano Lesson” is playing at SignatureTheatre until January 20. Boy Willie embodies the idiom to wear the heart on the sleeves. He is a heart brimming with a dream that… Continue reading
Eight years ago, Delen Arts, was an idea, unformed and undiscovered, and Emily Bernard, a Black professor, was teaching an all-White class at the University of Vermont. Seven years ago, The American Scholar,… Continue reading
“Teaching the N-Word” montages memory. Emily Bernard carefully assembles personal history across time, place, and people. She describes the ways in which we uphold and subvert our constructions of race, traversing an emotional… Continue reading
“I was exposed to a world that was so rare,” Grachan Moncur recalls in an interview with poet, writer and professor, Sean Singer (Cerise Press Summer 2012). With natural grace—the self rising and… Continue reading
In the December 2011 edition of her newsletter, The Practicing Writer, Erika Dreifus continues her customary list of reading recommendations from fellow authors. Dreifus instructs recommending authors to choose a book from any… Continue reading
