A Review of African American Shakespeare Company's Cinderella Saturday-Sundays, 3 and 7:30 p.m., through Dec. 22, 2013 at the Burial Clay Theater at the AAACC in San Francisco
|Angel Burgess, Musical Director |
with L. Peter Callender, Artistic Director
By Wanda Sabir
|Brianna Amaya Johnson, actor, Twon Marcel as Zonita, |
Wilda & Wilfred Batin
|The Uncle Junior Project at the Sargent Johnson Gallery|
Typically, the story starts with a prequel, a Grandmother (Eleanor Jacobs) is teaching her granddaughters (Xiomara Larkin and Ayanna Cornelius) about gratitude and benevolence. The curtain rises on Clara McDaniel as the Evil Stepmother; she is too lovely and charming to have produced such children, but in the cosmos, I guess we don't always get a choice in such matters (smile).
|The Uncle Junior Project at Sargent Johnson Gallery|
In the Sargent Johnson Gallery, also on the main floor of the African American Art and Culture Complex (AAACC) where the Burial Clay Theatre is located is The Uncle Junior Project presents: Entrapment to Entertainment which looks at black history in the American circus and the notion of freak shows. The exhibition is thematically similar to the Cinderella story.
What is a freak and who says who can belong and who doesn't belong in any given society whether that is real or fictional America?
The objectification of children and adults who are physically different than those of us born with one head verses two, two legs instead of four, average height instead of seven feet and two feet tall, are just a few of the amazing images in the exhibition. The exhibit is up through January 2, 2014 in the Sargent Johnson Gallery, 762 Fulton Street in San Francisco. There is no entrance fee.
The photos of conjoined children, tiny adults as well as statuesque women, along with stories of blacks in circus history, first trapeze artists and clowns, ring masters, is an interesting play of the notion of masking and who wears what mask and why.
A lot has been seen this artistic season thematically in Bay Area theatres on W.E.B. DuBois's notion of two-ness. Cinderella certainly has to negotiate what she knows to be true of herself and what is projected onto her, including the false name. We never learn her true name. She is more than ashes in a hearth or cinders, although like Kali, she also had a metamorphosis or rebirth after the death of her father almost signaled her demise as well.
An aspect of her life I really like is depicted in the scene where the Fairy Godmother (Monica Cappuccini) tells her to remember. A younger happy Cinderella (Angelia Richardson) dances with her father, her little feet on top of his. I recall one season where Luther sang Dance with My Father as the two actors performed on stage. I saw patrons wiping their eyes.
And when one thinks about the children shackled to an occupation where people pointed at them, laughed and made fun of their physical person--a vehicle they could not walk away from or leave behind, where did they go in their imaginations?
|Cinderella (Kimille Stingily) & Prince Charming (Dedrick Weathersby)
dance at the Royal Ball
Peter said it won't, but like we loved our Black Nativity at Lorraine Hansberry which Stanley F. Williams rewrote each year and recorded a few versions of; such will be African American Shakes. We will buy the CD each year . . . just because . . . how often does one see Cinderella in splendid technicolor? Only in San Francisco, only through Dec. 22, only at African American Shakespeare Company, so get your tickets and prepare to be enchanted. Visit www.African-AmericanShakes.org (415) 762-2071 ext. 6.
|Cinderella (Kimille Stingily) & Prince Charming (Dedrick Weathersby)|
There are free school time performances Thursday, December 12 and 19 at 10 a.m. Teacher's Night Out each performance. This one was Dec. 6 at 7:30 p.m. There is also a Shake-It-Up Programming where AA Shakes will come to partner schools to host workshops. The company also provides Artist-in-