[NEohioPAL]Cleveland Jewish News: Meaty, not-to-be-missed play beckons at Karamu

Sun Jan 28 18:41:38 PST 2007

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http://www.clevelandjewishnews.com/articles/2007/01/25/features/arts/bart=
s0125.txt

January 26, 2007

Arts

Meaty, not-to-be-missed play beckons at Karamu=20

    =20
      Kanika (Katrice Monee Headd), left, can't understand how race and =
discrimination got mixed up in a debate over art between her boss =
Sterling (Joe Primes), center, and Paul (John Busser) in "Permanent =
Collection." =20
Reviewed by FRAN HELLER Contributing Writer

I have often lamented the dearth of plays of ideas written by American =
playwrights.=20

Philadelphia playwright Thomas Gibbons must have been reading my mind.

His 2003 play "Permanent Collection," a piercingly intelligent =
exploration of the American racial divide, is one of the most trenchant =
plays of ideas I've seen since Tony Kushner's epic "Angels in America" =
first appeared on the stage more than a decade ago.

A thought-provoking exploration of racial politics in the art world, =
"Permanent Collection" examines the issue from both sides of the fence =
and with an even hand. =20
    =20

Praise goes to artistic director Terrence Spivey, whose vision and =
daring have brought Gibbons's timely and important drama to Karamu =
Performing Arts Theatre, where it runs through Feb. 11.

The Karamu production is hindered by a few amateurish performances in an =
otherwise solid cast of non-Equity actors. Spivey's assured direction =
and imaginative staging override the blemishes.

The play was inspired by the Barnes Collection, near Philadelphia, home =
to one of the most outstanding private collections of Impressionist and =
Post-Impressionist art. Founder Albert Barnes stipulated in his will =
that the collection would pass into the control of Lincoln University, =
an African-American institution.

The fictional setting is the Morris Foundation, which houses Dr. =
Morris's prestigious art collection.

In his will, Dr. Morris stipulated that nothing in the collection could =
be moved, changed or altered. He also left control of the Foundation, =
situated in a white, affluent suburb, to a small black university. =20
    =20

Enter Sterling North, a successful African-American businessman and the =
Foundation's newly appointed director. When Sterling discovers a trove =
of African American art in storage, he wants to add a small number of =
these objects to the exhibits on display.

This sets him at odds with education director Paul Barrow, who wants to =
preserve the integrity of the will and Morris's artistic vision as well. =
Paul, like the playwright himself, is white.

A difference of opinion soon escalates to charges and countercharges of =
discrimination and racism, including leaks to the press, leading to =
accusations of libel and a lawsuit.

The phrase "Put yourself in my place" occurs three times in the course =
of the play. It points to the fundamental theme, which is, in the =
playwright's own words, "the overriding importance of being able to look =
at any issue from other people's perspective, and the incredible =
difficulty we have in doing that." =20
    =20

Sterling is for change; Paul fights change.

The star of the evening is the play itself, an incendiary mix of issues =
that ricochet like bullets between black and white points of view.

Art becomes a political football that underscores the racism lurking =
just beneath the surface. You can feel the heat rising in the =
acrimonious debate between Paul and Sterling. Verbal lynching can be =
just as deadly as the hanging kind.

As Sterling North, Joe Primes captures the smoldering anger and =
resentment of a self-made black man navigating the uncertain terrain of =
a white man's world. An insecure Sterling reduces everything to issues =
of race. =20
    =20

Sterling finds a perfect foil in impassioned art educator Paul Barrow, =
who has devoted his whole life to his career. Paul is given a first-rate =
performance by John Busser.

At first the dispute in question for Paul is solely about the art.

But when labeled a racist, "an accusation with its own unanswerable =
truth," he suddenly finds himself a victim of the race card. In =
self-defense, he fights back.

Anne McEvoy is excellent as Gillian Crane, the intrusive reporter with a =
nose for a story. Gillian serves as accomplice and catalyst for the =
conflict between Sterling and Paul.

Comely Katrice Monee Headd suits the role of the idealistic Kanika =
Weaver, Sterling's young African-American assistant and the playwright's =
voice of the future. When will black and white people stop being afraid =
of each other, Kanika asks Paul, one of the most piercing questions the =
play raises.

The ghost of Dr. Morris is a character in the play. Morris was an =
eccentric with contempt for the art establishment. Rollin "Mac" =
Michael's rendition of the iconoclastic Dr. Morris is too bombastic at =
times and lacks subtlety. Iris D. Tucker-Berry over-emotes as Dr. =
Morris's devoted longtime assistant Ella Franklin.

The tiered theater-in-the-round setting allows for fluid, snappy scene =
changes that keep the audience engaged like spectators at a match. Set =
designer John Konopka literally paints the stage floor with colorful =
images from famous paintings by Monet, Picasso, Matisse and Cezanne, =
artists Dr. Morris (and the real Barnes) collected. Konopka's playful =
use of wooden picture frames adds to the museum milieu.

Richard H. Morris Jr.'s atmospheric lighting and mood music reminiscent =
of Philip Glass's ratchet up the growing tension between the central =
players.

Harold Crawford's costumes, from Sterling's natty suits to Paul's =
rumpled academic look, are dead-on.

"Permanent Collection" is a meaty, not-tonbe-missed play by audiences of =
all colors.

Karamu Performing Arts Theatre is at 2355 East 89th St., Cleveland. =
Post-performance discussions at select performances. Tickets: =
216-795-7077 or 216-795-7078. Website: www.karamu.com.=20

Print this story=20

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<DIV><FONT face=3DArial size=3D2>
<P class=3Dsection><FONT size=3D4><A=20
href=3D"http://www.clevelandjewishnews.com/articles/2007/01/25/features/a=
rts/barts0125.txt">http://www.clevelandjewishnews.com/articles/2007/01/25=
/features/arts/barts0125.txt</A></FONT></P>
<P class=3Dsection><STRONG><FONT size=3D4>January 26, =
2007</FONT></STRONG></P>
<P class=3Dsection><STRONG><FONT size=3D4>Arts</FONT></STRONG></P><SPAN=20
class=3Dheadline align=3D"left"><STRONG><FONT size=3D4>Meaty, =
not-to-be-missed play=20
beckons at Karamu</FONT></STRONG> </SPAN>
<P class=3Dbyline align=3Dleft></P>
<TABLE cellSpacing=3D0 cellPadding=3D0 width=3D160 align=3Dright =
border=3D0>
  <TBODY>
  <TR>
    <TD><IMG=20
      =
src=3D"http://www.clevelandjewishnews.com/content/articles/2007/01/25/fea=
tures/arts/barts0125.jpg"=20
      border=3D0></TD></TR>
  <TR>
    <TD class=3Dcutline>Kanika (Katrice Monee Headd), left, can=92t =
understand how=20
      race and discrimination got mixed up in a debate over art between =
her boss=20
      Sterling (Joe Primes), center, and Paul (John Busser) in =
=93Permanent=20
      Collection.=94 </TD></TR></TBODY></TABLE>
<P class=3Dcontent align=3Dleft>Reviewed by FRAN HELLER Contributing =
Writer<BR><BR>I=20
have often lamented the dearth of plays of ideas written by American=20
playwrights.=20
<P align=3Dleft><SPAN class=3Dcontent>Philadelphia playwright Thomas =
Gibbons must=20
have been reading my mind.<BR><BR>His 2003 play =93Permanent =
Collection,=94 a=20
piercingly intelligent exploration of the American racial divide, is one =
of the=20
most trenchant plays of ideas I=92ve seen since Tony Kushner=92s epic =
=93Angels in=20
America=94 first appeared on the stage more than a decade ago.<BR><BR>A=20
thought-provoking exploration of racial politics in the art world, =
=93Permanent=20
Collection=94 examines the issue from both sides of the fence and with =
an even=20
hand.</SPAN>=20
<TABLE cellSpacing=3D0 cellPadding=3D0 align=3Dright border=3D0>
  <TBODY>
  <TR>
    <TD></TD></TR>
  <TR>
    <TD class=3Dcutline></TD></TR></TBODY></TABLE>
<P align=3Dleft><SPAN class=3Dcontent>Praise goes to artistic director =
Terrence=20
Spivey, whose vision and daring have brought Gibbons=92s timely and =
important=20
drama to Karamu Performing Arts Theatre, where it runs through Feb.=20
11.<BR><BR>The Karamu production is hindered by a few amateurish =
performances in=20
an otherwise solid cast of non-Equity actors. Spivey=92s assured =
direction and=20
imaginative staging override the blemishes.<BR><BR>The play was inspired =
by the=20
Barnes Collection, near Philadelphia, home to one of the most =
outstanding=20
private collections of Impressionist and Post-Impressionist art. Founder =
Albert=20
Barnes stipulated in his will that the collection would pass into the =
control of=20
Lincoln University, an African-American institution.<BR><BR>The =
fictional=20
setting is the Morris Foundation, which houses Dr. Morris=92s =
prestigious art=20
collection.<BR><BR>In his will, Dr. Morris stipulated that nothing in =
the=20
collection could be moved, changed or altered. He also left control of =
the=20
Foundation, situated in a white, affluent suburb, to a small black=20
university.</SPAN>=20
<TABLE cellSpacing=3D0 cellPadding=3D0 align=3Dright border=3D0>
  <TBODY>
  <TR>
    <TD></TD></TR>
  <TR>
    <TD class=3Dcutline></TD></TR></TBODY></TABLE>
<P align=3Dleft><SPAN class=3Dcontent>Enter Sterling North, a successful =

African-American businessman and the Foundation=92s newly appointed =
director. When=20
Sterling discovers a trove of African American art in storage, he wants =
to add a=20
small number of these objects to the exhibits on display.<BR><BR>This =
sets him=20
at odds with education director Paul Barrow, who wants to preserve the =
integrity=20
of the will and Morris=92s artistic vision as well. Paul, like the =
playwright=20
himself, is white.<BR><BR>A difference of opinion soon escalates to =
charges and=20
countercharges of discrimination and racism, including leaks to the =
press,=20
leading to accusations of libel and a lawsuit.<BR><BR>The phrase =93Put =
yourself=20
in my place=94 occurs three times in the course of the play. It points =
to the=20
fundamental theme, which is, in the playwright=92s own words, =93the =
overriding=20
importance of being able to look at any issue from other people=92s =
perspective,=20
and the incredible difficulty we have in doing that.=94</SPAN>=20
<TABLE cellSpacing=3D0 cellPadding=3D0 align=3Dright border=3D0>
  <TBODY>
  <TR>
    <TD></TD></TR>
  <TR>
    <TD class=3Dcutline></TD></TR></TBODY></TABLE>
<P align=3Dleft><SPAN class=3Dcontent>Sterling is for change; Paul =
fights=20
change.<BR><BR>The star of the evening is the play itself, an incendiary =
mix of=20
issues that ricochet like bullets between black and white points of=20
view.<BR><BR>Art becomes a political football that underscores the =
racism=20
lurking just beneath the surface. You can feel the heat rising in the=20
acrimonious debate between Paul and Sterling. Verbal lynching can be =
just as=20
deadly as the hanging kind.<BR><BR>As Sterling North, Joe Primes =
captures the=20
smoldering anger and resentment of a self-made black man navigating the=20
uncertain terrain of a white man=92s world. An insecure Sterling reduces =

everything to issues of race.</SPAN>=20
<TABLE cellSpacing=3D0 cellPadding=3D0 align=3Dright border=3D0>
  <TBODY>
  <TR>
    <TD></TD></TR>
  <TR>
    <TD class=3Dcutline></TD></TR></TBODY></TABLE>
<P align=3Dleft><SPAN class=3Dcontent>Sterling finds a perfect foil in =
impassioned=20
art educator Paul Barrow, who has devoted his whole life to his career. =
Paul is=20
given a first-rate performance by John Busser.<BR><BR>At first the =
dispute in=20
question for Paul is solely about the art.<BR><BR>But when labeled a =
racist, =93an=20
accusation with its own unanswerable truth,=94 he suddenly finds himself =
a victim=20
of the race card. In self-defense, he fights back.<BR><BR>Anne McEvoy is =

excellent as Gillian Crane, the intrusive reporter with a nose for a =
story.=20
Gillian serves as accomplice and catalyst for the conflict between =
Sterling and=20
Paul. Comely Katrice Monee Headd suits the role of the idealistic =
Kanika=20
Weaver, Sterling=92s young African-American assistant and the =
playwright=92s voice=20
of the future. When will black and white people stop being afraid of =
each other,=20
Kanika asks Paul, one of the most piercing questions the play =
raises. The=20
ghost of Dr. Morris is a character in the play. Morris was an eccentric =
with=20
contempt for the art establishment. Rollin =93Mac=94 Michael=92s =
rendition of the=20
iconoclastic Dr. Morris is too bombastic at times and lacks subtlety. =
Iris D.=20
Tucker-Berry over-emotes as Dr. Morris=92s devoted longtime assistant =
Ella=20
Franklin. The tiered theater-in-the-round setting allows for =
fluid,=20
snappy scene changes that keep the audience engaged like spectators at a =
match.=20
Set designer John Konopka literally paints the stage floor with colorful =
images=20
from famous paintings by Monet, Picasso, Matisse and Cezanne, artists =
Dr. Morris=20
(and the real Barnes) collected. Konopka=92s playful use of wooden =
picture frames=20
adds to the museum milieu. Richard H. Morris Jr.=92s atmospheric =
lighting=20
and mood music reminiscent of Philip Glass=92s ratchet up the growing =
tension=20
between the central players. Harold Crawford=92s costumes, from =
Sterling=92s=20
natty suits to Paul=92s rumpled academic look, are =
dead-on. =93Permanent=20
Collection=94 is a meaty, not-tonbe-missed play by audiences of all=20
colors. Karamu Performing Arts Theatre is at 2355 East 89th St.,=20
Cleveland. Post-performance discussions at select performances. Tickets: =

216-795-7077 or 216-795-7078. Website: www.karamu.com. 
<A=20
href=3D"http://www.clevelandjewishnews.com/articles/2007/01/25/features/a=
rts/barts0125.prt"=20
target=3Dprintable>Print this story</A>=20
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