[NEohioPAL] Berko review: CEREMONIES IN DARK OLD MEN @ Karamu

[Roy Berko]

************************************************ CEREMONIES IN DARK OLD MEN
introduces Black History month 2014 at Karamu*

Roy Berko
(Member, American Theatre Critics Association, Cleveland Critics Circle)

Karamu, the nation's oldest African-American theatre, opened its Black
History month celebration with "CEREMONIES IN DARK OLD MEN" by Lonne Elder
III.  The play and its author are both noted for their strong place in the
reflections of Blacks in this country.

Black history month, celebrated yearly in February, became a national
tradition in 1976.  It is meant as a time to celebrate historic events from
1915, when the thirteenth amendment of the American constitution officially
abolished slavery in the U.S..  Dr. Carter Woodson, thought there was need
to give a voice to African-Americans who were wrongly represented and
treated in early times.  He selected February because it contained the
birth dates of both Abraham Lincoln, who freed the slaves, and abolitionist
Fredrick Douglass, who was a great orator and living counter-example to
slaveholders who believed that Negroes did not have the intellectual
capacity to function as independent American citizens.

Lonne Elder and his play, "CEREMONIES IN DARK OLD MEN," is a wise selection
by Karamu for Black History month.  Elder won the Drama Desk Award for Most
Promising Playwright for CEREMONIES.  In 1973 he became the first African
American male to be nominated for an Academy Award for "SOUNDER."

"CEREMONIES," along with Lorraine Hansberry's "RAISIN IN THE SUN," are
considered forerunners for setting a high bar for scripts authored by Black
writers.

The play concerns the ceremonies acted out by African-American men as they
fight for their individual roles in life.  The matriarchal structure of the
Black family which goes back to slave days when males were removed from the
family unit, forcing the women to carry an unbalanced share of the work
load, creates a unique cultural role for males.

The three men of the Jenkins family, who live in the Harlem section of New
York, were first supported by their wife and mother, and now by their
daughter/sister.  Russel Parker owns a barber shop with few clients.  His
sons, Bobby and Theo, live a life of slackness and crime.  All claim to be
unable to get jobs because of the white-controlled financial community.

Into their lives come William Jenkins and Blue Haven.  Jenkins finds
sanctuary playing checkers with Russel.  The duo has created a ceremony
that allows for insulation from a society in which they have failed.  Blue
Haven is a con man, who finds out that Theo has a recipe for making tasty
liquor, which he produces in the basement of the barbershop.   Blue sets up
an illegal business which finds Theo doing most of the work, while Blue
makes most of the profit.

Russel, William, Bobby and Theo survive, bond, develop patterns of
self-deception, display intrafamily allegiances, and model Negro manhood of
the time.  Blue completes the pattern of ceremonies by showcasing a
scenario where Blacks take advantage of other Blacks.

Elder's message is an encouragement for Blacks, especially Negro men, to
break free of the ceremonies and challenge the myth that "the social,
political, and economic plight of Black America rests in the hands of the
white people, and assume the role of defeating futility, corruption, and
internal disruptions that result from efforts to undermine and define
African Americans' worth and selfhood."

Karamu's production, under the direction of Christopher Johnston, though a
little long, is engaging and well-conceived.  Johnston understands the
author's intent and holds a tight fist on not overdoing what could be a
farcical or overly-tragic story.

Former county commissioner Peter Lawson Jones well-develops the role of
Russel Parker, the father and barber.  He creates a person who is very
real.

Katrice Monee Headd, nicely textures Adele, the daughter and sister who is
forced to hold the family together after their mother dies, thus giving up
her life for that of her father and brothers.

Prophet Seay (Theo) and LaShawn Little (Bobby) are so real that one might
feel like slapping them " upside their heads" and wake them up to the
necessity to take responsibility for themselves.

Kenny Parker is appropriately snarly as Blue.  Some of his lines are
difficult to understand due to his constant chewing on an unlit
matchstick.  The technique sets a character-right tone, but becomes a
detriment as it is overdone and is problematic.

Cornell Calhoun III develops Mr. Jackson into a clear image of an older
black man who has learned to play the role of "Negro" and doesn't know how
to escape from the shackles.

Richard Morris, Jr.'s barbershop/house set design works well to allow for
the needed stage action.


*CAPSULE JUDGEMENT: "CEREMONIES IN DARK OLD MEN" is an important play in
the history of Black American arts.  It gets a very strong production at
Karamu.*
"CEREMONIES IN DARK OLD MEN" continues through February 23, 2014 at Karamu,
2355 East 89th Street, which has a fenced, guarded and lighted parking lot
adjacent to the theatre, and provides free parking.  For ticket information
call 216-795-7077.

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