A local magazine in NYC Reviews “BLACK!”…

BLACK!
Written and performed by Michael Washington Brown
At UNDER St Marks, NYC
February 22-March 5, 2017

In the opening section of his one-man show, BLACK!, Michael Washington Brown asks us to consider the power of language. Words, he points out, can comfort, or they can harm, and one might delve into the depth and breadth of meaning packed into a word like Black, even while questioning whether, when looked at another way, it means anything at all. Brown’s show approaches these questions by dramatizing lived experience, presenting a trio of characters introduced by the person who asked them to address the question–think of them as guest speakers at a lecture, if you will. These speakers put forward a global range of perspectives and voices — South African, American, English, and Jamaican. Brown plays them all, transforming easily while keeping these individuals distinct. The multinational diversity is appreciated, as conversations on race, as on many issues, tend in the U.S. towards insularity. None of the viewpoints represented in the show, even that of the presenter, should be taken as direct stand-ins for that of the playwright; rather, they are placed into dialogue with one another and, thus, with the audience as well.

Early on in this dialogue, one character admits that Black life is complicated but posits that it is complicated because the world itself is complicated, and people’s choices make it moreso, and thereby more divisive. A music lover, he connects color to the positive force of music, seeing different shades for different genres. He also discusses the experience of the change from “Black” to “African-American” as an identifier, and criticizes some Black people for shunning others when they think that they are better than them. A second character, in the middle and most thought-provoking section, similarly critiques the Black community in London for the way that its successful members abandon or compete with the others rather than helping them, as he says he sees going on in other, immigrant and minority communities. This observation leads him to wonder is the strategies to keep slaves under control by sowing distrust among them are still resonating in some way today. Relatedly, he notes how the word Black has become associated with struggle, for good or ill, and touches on how, in all of this context, people end up asking themselves if they are Black enough or too Black. A third character focuses on family, both blood relatives and an expanded conception that includes people in the community as well. He champions strict parenting, school uniforms, and avoiding social media, but still cannot insulate his daughter from experiences such as learning about slavery at school, which causes her to assume that the enslaved must have been undergoing punishment for being bad people. He also rattles off an extensive list of examples of how, in Western culture, most metaphorical uses of white signify good and black signifies bad, such as the dove being a sign of peace and the raven of evil, even though ravens are very intelligent birds.

The ending frame brings some of the central ideas of the show into relief, including that it is important to see life from different perspectives, even if you don’t agree with them, because your own lived reality may not be shared by everyone. One of the views that echoes through all of the perspectives in BLACK! is the importance of brotherhood and unity, that we are all people, regardless of color or shade of color. There are a lot of jokes in the show, but it is earnest at heart, a call to consider how you will improve the world by existing in it. The appeals to love one another and to universalism may strike the more cynical or jaded as too simple or as politically naive, but at least one of the characters would argue that that is part of the problem in the first place. – Leah Richards and John Ziegler

BLACK! photo by Sandey Tenuto

San Francisco Fringe 2017

Low Down

“In this show you will meet four individuals who each describe their personal experience with the word “BLACK!” We will learn about their stories, how their lives are affected by this word, whether positively or otherwise, and most important, their individual perspectives. We hope to better understand whether there are any similarities or has Society ‘bought into’ the stereotypes that exist.
If so…WHY?”

Review

Michael Washington Brown stands to the side of the small stage saying “Words are powerful” then he talks about the value of words vs. blows and violence. Brown is deliberate, compelling and in his carefully paced way asks what the word “black” means, it’s a fascinating introduction.

Next he takes centre stage and begins narrating and playing several different black characters from different countries. As a black man originally from Britain, he lived in London for many years and then moved to the United States, where he now lives. Smooth music plays and we meet his first character – he’s chatty and loves music, but finds that people prefer to listen to angry music and he is interested in how music affects everyone. His character is energetic and fluid – and Brown is an excellent actor and personable performer, with spot on timing.

Brown discusses how the word ‘black’ is used apart from the color of one’s skin, and he offers many examples that refer to how it is used in every day references. Brown is poetic and rhythmic in his delivery. He uses clever word play when he talks about divisions and identity, it is interesting and makes one think. He uses humor and wit as he makes his points well. Brown changes pace, volume and uses emphasis, as he includes examples that are smart and meaningful. He is enthusiastic and plays his characters with physical and vocal variety, while sometimes speaking in short conversations back and forth between two characters.

Brown is realistic and show different sides of the topic, sharing intuitive commentary and observations about how people interact with black people from his experiences meeting friends, guests and more. It’s provocative and enlightening and this is important for everyone to hear, to understand different points of view and learn about perceptions – and misconceptions.

Brown plays a British character with very cool dance moves. This brings up the topic of accents, Brown’s parents are from the West Indies and speak with that accent, which he is able to imitate for another character. Brown’s writing is intelligent and offers so many ideas and he weaves them into a rich fabric around each character. He puts forth stereotypical ideas and tears them down with logic, dynamic, direct and powerful reasoning.

In a poignant moment Brown talks about the history of the slave trade – he is eloquent and powerful.

Cultural differences are everywhere and he shares warm memories about his West Indian family who count everyone they know as their family. Brown finishes his ninety-minute show as he started, to the side of the stage. It’s elegant book ending as he concludes this excellent show with meaningful words in the most humble, quiet and thoughtful way.

Published 

NYC Review

BLACK!
Written and performed by Michael Washington Brown
At UNDER St Marks, NYC
February 22-March 5, 2017

In the opening section of his one-man show, BLACK!, Michael Washington Brown asks us to consider the power of language. Words, he points out, can comfort, or they can harm, and one might delve into the depth and breadth of meaning packed into a word like Black, even while questioning whether, when looked at another way, it means anything at all. Brown’s show approaches these questions by dramatizing lived experience, presenting a trio of characters introduced by the person who asked them to address the question–think of them as guest speakers at a lecture, if you will. These speakers put forward a global range of perspectives and voices — South African, American, English, and Jamaican. Brown plays them all, transforming easily while keeping these individuals distinct. The multinational diversity is appreciated, as conversations on race, as on many issues, tend in the U.S. towards insularity. None of the viewpoints represented in the show, even that of the presenter, should be taken as direct stand-ins for that of the playwright; rather, they are placed into dialogue with one another and, thus, with the audience as well.

Early on in this dialogue, one character admits that Black life is complicated but posits that it is complicated because the world itself is complicated, and people’s choices make it moreso, and thereby more divisive. A music lover, he connects color to the positive force of music, seeing different shades for different genres. He also discusses the experience of the change from “Black” to “African-American” as an identifier, and criticizes some Black people for shunning others when they think that they are better than them. A second character, in the middle and most thought-provoking section, similarly critiques the Black community in London for the way that its successful members abandon or compete with the others rather than helping them, as he says he sees going on in other, immigrant and minority communities. This observation leads him to wonder is the strategies to keep slaves under control by sowing distrust among them are still resonating in some way today. Relatedly, he notes how the word Black has become associated with struggle, for good or ill, and touches on how, in all of this context, people end up asking themselves if they are Black enough or too Black. A third character focuses on family, both blood relatives and an expanded conception that includes people in the community as well. He champions strict parenting, school uniforms, and avoiding social media, but still cannot insulate his daughter from experiences such as learning about slavery at school, which causes her to assume that the enslaved must have been undergoing punishment for being bad people. He also rattles off an extensive list of examples of how, in Western culture, most metaphorical uses of white signify good and black signifies bad, such as the dove being a sign of peace and the raven of evil, even though ravens are very intelligent birds.

The ending frame brings some of the central ideas of the show into relief, including that it is important to see life from different perspectives, even if you don’t agree with them, because your own lived reality may not be shared by everyone. One of the views that echoes through all of the perspectives in BLACK! is the importance of brotherhood and unity, that we are all people, regardless of color or shade of color. There are a lot of jokes in the show, but it is earnest at heart, a call to consider how you will improve the world by existing in it. The appeals to love one another and to universalism may strike the more cynical or jaded as too simple or as politically naive, but at least one of the characters would argue that that is part of the problem in the first place. – Leah Richards and John Ziegler

BLACK! photo by Sandey Tenuto

Seattle Times Listing

BOTTOM LINE: Different voices and perspectives from the Black community are explored in this thought-provoking one-man show.

In these Trumpian times, race is, now more than ever, a hot-button topic. As Michael Washington Brown explains succinctly, “Words matter.” Words can lash, preach hate, and when set to music, words can soothe. Another character appears and asks the DJ to play his jam: Al Green’s “Let’s Stay Together.” To him, “music is pure. It can’t hurt you; stupid people can.” He questions why race relations have to be so complicated and divisive. He was happy calling himself Black, but his friends objected, telling him that they’d fought to be called African-American. He wonders what this designation means to Blacks in the rest of the world.

Brown gets laughs as the music lover talks about getting mail from his insurance company that now has a box to check off for African-American. He thinks maybe they won’t do a full pay out if he goes with that option. He puts the Black box back on the form with a note to the insurance company “so I’ll at least get half.” He then seamlessly transforms into an Englishman, the son of West Indian parents who, unlike him, still have their accents. He asks, “How do I call myself Black if I don’t struggle? Being Black and struggle seem to be synonymous.”

For a Jamaican father, family is imperative to keeping connected to one’s culture. When his daughter sees photos of slaves, she asks if being Black is bad. Brown points out all the negative connotations associated with the word: blackmail, Black Death, black cloud, black heart—vs. white lies. “It’s a conspiracy to make us feel bad. We have to remind our kids that being black is a blessing, not a burden.” He notes that in Jamaica, where 90% of the population is Black, there are also Chinese and Jewish people. But unlike in America, they don’t have Chinese-Jamaicans. “If we keep this division between us, it will kill us like a cancer.” Fittingly, Bob Marley’s “One Love” plays.

Brown the actor is a skilled impersonator, inhabiting an array of characters and injecting them with warmth, intelligence, and humor. As a writer with only an hour and a lot to say, he eschews lecturing the audience and instead implores listeners to choose unity. It’s a reminder we can’t hear too much these days.

(BLACK! played at UNDER St. Marks, 94 St. Marks Place through March 5, 2017.  Performances were Wed 2/22 at 8:50, Fri 2/24 at 7:10, Sun 2/26 at 1:50, Wed 3/1 at 8:50, Thu 3/2 at 5:30, and Sun 3/5 at 5:10. Tickets were $18, $15 for students/seniors/military. For more information visit FRIGIDNewYork.info.)

 

BLACK! is written and performed by Michael Washington Brown.

One Man Show, BLACK! Comes to the Athenaeum Theatre

Michael Washington Brown, in association with Athenaeum Theatre Productions, present “BLACK!,” July 20 – 30, in Studio 2 at the Athenaeum Theatre, 2936 N. Southport Ave. Opening night is Thursday, July 20 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 2 and 7:30 p.m. and Sundays at 2 p.m. The running time is 100 minutes including a 10-minute intermission. Tickets are $25 and available at AthenaeumTheatre.org or 773.935.6875.

Brown, was born in England and created “BLACK!” in 2016. The production has been included in the Asheville Fringe Festival, the FRIGID Fringe Festival in New York City and the Seattle Fringe. It will be performed at the Tempe Center for the Arts and the San Francisco Fringe Festival in September 2017. In “BLACK!,” Brown inhabits an array of characters from Africa, the United States, England and Jamaica, performing each person’s individual perspective and sharing his experiences.

The production highlights the nuances and life perspectives of various people who are from the Black global community. Many stereotypes currently exist which seem to ‘mesh’ all black people and their stories together. The truth is that there are distinct differences and very definite similarities between Black people from all walks of life. In addition, each carries their own distorted and often exaggerated opinions about the other, which is a way to distinguish a separation, even though in truth, they are more alike than they believe.

“BLACK!” uses the power of language and performance to delve into these characters to reflect on this communities’ history and their future as well as what they do and do not share of the global Black experience. “I am thrilled to have the opportunity to share this show, its voices and a global ‘Black’ perspective with the Chicago community,” Brown said. “Chicago is embedded in a rich history filled with a melting pot of cultures, along with its extensive support of the theatre and arts. It is my mission and purpose to share this show as far and wide as I can. Chicago is an obvious choice in my journey…I am grateful to have the Athenaeum Theatre, supporting my debut of “BLACK!” in this vibrant and intoxicating city, ” he concluded.

Michael Washington Brown was born in London, England. He is the first generation born outside of his family’s direct heritage of the Caribbean (Jamaica & Barbados). In 1992 at 19, he left London for the shores of California, a place he fell in love with from his initial visit as a child at age 10. He knew even at this young age that he would ‘one day’ make America his home. In 1994, he began studying scene classes in San Francisco and knew instantly what he wanted to do and be…an actor. He gradually found himself working his way up the local scene and then eventually performing in productions at: The Magic Theatre, San Jose Repertory Theatre, Marin Theatre Company and Berkeley Repertory Theatre. He moved to New York City to continue his journey and landed a variety of New York City productions that began at the Ensemble Studio Theatre. Theatre has always been Brown’s passion, but deep down he always felt there was ‘more to give’. Brown wanted to tell stories that were not being told. It was at the Cherry Lane Theatre in 2012 when he saw a one-man show and was inspired beyond anything he had previously experienced. He realized in this moment what his ‘more to give’ would be: “To write and share my own stories and perspective.” Brown discovered that his love of reading had laid the foundation and allowed the ease of his own voice, to reveal itself to him.

Athenaeum Theatre Productions, a not-for-profit 501c3 arts organization, is firmly committed to providing the Chicago non-profit performing arts community a welcoming shared space to incubate new projects and collaborations by providing high quality and below cost performance, rehearsal, office and reception space supported by a staff of theatre professionals. Founded in 1911, the Athenaeum Theatre is Chicago’s oldest, continuously operating off-loop theatre. Home to 15 not-for-profit performing arts groups and four stages including its 984-seat main stage.

Michael Washington Brown, in association with Athenaeum Theatre Productions, present “BLACK!,” July 20 – 30, in Studio 2 at the Athenaeum Theatre, 2936 N. Southport Ave. Opening night is Thursday, July 20 at 7:30 p.m. The performance schedule is Thursdays and Fridays at 7:30 p.m., Saturdays at 2 and 7:30 p.m. and Sundays at 2 p.m. The running time is 100 minutes including a 10-minute intermission. Tickets are $25 and available at AthenaeumTheatre.org or 773.935.6875.

Chicago Theatre Best Review

Chicago Theatre Beat Review of “BLACK!”

#chicagotheaterbeat #black #stage #theatre #theater #onemanshow #stage #blackculture #arts #entertainment

“BLACK!”

Review by Duane Barnes

I have a great respect and admiration for a performer who can hold an audience for an entire evening, listening in rapt attention to his thoughts and opinions on his life and the world around him. Such a performer is Michael Washington Brown, who gives life to the words he has both written and performed in various cities in the United States. Born in England with Caribbean heritage, he brings both societies as well as his American life Michael Washington Brown stars in Black, Athenaeum Theatre 3experiences into his work.

Brown opens his evening with a question to the audience: “why am I now African-American when for so many years, I’ve been Black?” This comes as he describes filling out a form that requires checking a box. An African-American box is there but not a box for Black. And he then describes his clever solution which is clever and fun to hear. He goes on to talk about how people have tendencies to put others (not like them) into boxes of a sort, like music. And off he goes exploring musical tastes, his and others, to show the disparities that occur within that “box of music”.

Another avenue explored is the Black to Black relationship, replacing the usual “well, how do Whites and Blacks interact with each other?” He shows how there are differences in various arenas, not only music, but in dress, interests, communications. And this he says in various and interesting ways, “All Blacks are not alike!

It’s interesting to note that, as Mr. Brown’s characters come to life, they are speaking to, or reflecting on, the world today, not specifically focusing on the United States. But his piece that touches on Africa, particularly, expresses a frustration of the peoples of that continent that they, Black people, own nothing while the world forges ahead. Blacks in other countries prosper and, hopefully, hire other Blacks to help lift more and more of their fellow citizens out of poverty. This is nicely touched on when Mr. Brown speaks to this idea as a Black Englishman of Caribbean descent. His family embraces not only relatives but fellow countrymen as well, by helping newcomers to find jobs and skills so they, too, can lead full and integrated lives in their new country. This, he insinuates through his African voice, is not happening in Africa. And there is anger in the voice, expressing in tones of a continent, long exploited, demeaned, cast aside as so much waste. (As an aside, I recall seeing, one time years ago, written in a local high school history book of the ‘50’s, a chapter heading that declared, “For all that Africa had to offer, it might have well been on the moon”. Mr. Michael Washington Brown expressed this in his own powerful way.)

Although no credits were given in the program, specific lighting enabled Mr. Brown to move from a subject discussion to a specific example as a spot focused on a small specific area. Music, too, lent atmosphere at various points in the presentation, only at the end needing to be more gentle and soft so that key, concluding lines are not diminished as the play closes.

“BLACK!” only runs thru this Sunday, so be sure to catch it before it closes.

Rating: ★★★
 “BLACK!” continues through July 30th at Athenaeum Theatre, 2936 N. Southport (map), with performances Thursdays and Fridays 7:30pm, Saturdays 2pm & 7:30pm, Sundays 2pm.  Tickets are $25, and are available by phone (773-935-6875) or online through OvationTix.com (check for availability of half-price tickets). More information at AthenaeumTheatre.org.  (Running time: 100 minutes, includes an intermission)


Michael Washington Brown stars in Black, Athenaeum Theatre 1

Chicago Sun Times Review of “BLACK!”- “HIGHLY RECOMMENDED”

“BLACK!” “Highly Recommended” by the Chicago Sun Times Theatre Review!

https://chicago.suntimes.com/entertainment/michael-washington-brown-pulls-no-punches-with-black/

Right before the lights go out on the first act of “Black!,” playwright/star Michael Washington Brown asks whether “we’re still making slaves” out of African Americans. Previously in the one-man show, Brown has described Willie Lynch’s 1712 manifesto “The Making of Slave,” a vile, step-by-step primer on how slave owners can “keep the body, take the mind” of their property. “Black!” argues that Lynch’s 300-year-old lesson plan is still alive and well. “Psychological propaganda” against African Americans, he notes, has been going on for so long, few even realize its existence anymore. With “Black!,” Brown sets out to explore the perspectives of people of color in the United States, Africa, Jamaica and London, delving into the myriad meanings of the word “black” and how the word itself impacts the people it describes.

Brown doesn’t hold back. Playing different black men from different points on the globe, he blasts the label “African American” as inaccurate and divisive. And he excoriates African Americans who “seem to be more comfortable perpetrating negative stereotypes about our people” than helping each other break the cycle of poverty.

Brown also has words for those see “success” as nothing more than a flashy set of tire rims and a booming car stereo. He condemns on “angry” rap music (although allowing that a simple change in the lyrics — substitute “queens” for “b—–s” and “brothers” for “[N-word]” – and you might have music worth listening to, he muses) and delivers a list of things African-Americans don’t do (“hike, ski and see psychiatrists” among them). He uses humor to lay into a culture where light-skinned African Americans hate on those who are darker-skinned. In one of the final scenes, Browntakes on a the character of an African man being interviewed about the violence and poverty that plague the continent: Education is key to breaking the cycle of “mental incarceration,” he argues.

In sum, there’s no shortage of provocative material in Brown’s exploration of “the black global community.” The structure of the piece isn’t the strongest, and there are a few technical glitches marring it. But as Brown digs into the “daily black experience” of Americans, Caribbeans and Europeans, he creates a story that’s both compelling and enlightening. The first act of the 90-minute production (which does not need an intermission) is Brown’s exegesis on what ails African Americans in the United States. From the U.S., Brown takes the audience to his native England, and then to Jamaica and Africa.

Working on a stage that’s bare but for a chair, Brown is a mostly compelling performer – which makes it all the more frustrating when the production’s incidental music repeatedly drowns out his voice. “Black!” doesn’t tell a story so much as offer a series of interview-like segments. In turn shocking, funny and enraging, Brown has crafted a piece that’s ideal for post-show talk-backs. In the simple, five-letter title, there are endless issues to unpack. Agree or disagree with him, Brown’s conversation is vital.

Catey Sullivan is a local freelance writer.

#chicagosuntimes #theatre #theater #black #stage #chicagoevents#blackculture #entertainment