Virginian-Pilot Review: Traditional ‘Fiddler’ on the right roof: Virginia Stage Company nails season opener

By Page Laws

Note: This review was written and submitted before the start of the recent Israel-Hamas war.

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As Tevye the dairyman notes, it is really risky to play the fiddle while perched atop a roof. The title of the great American musical in which he’s the star alludes to Marc Chagall’s painting and the fact that Jews have long had to conduct their religious life and culture under conditions as precarious and nomadic as any people on Earth have had to bear.

So why play fiddle up there, in constant danger of a deadly fall?

Tevye — masterfully performed by John Payonk in Virginia Stage Company’s “Fiddler on the Roof” — answers that with the show’s rousing first number: “Tradition.”

Jewish life has long been balanced between millennia-old religious beliefs and customs that unite the people and the need to grow and change — accepting women, for instance, as fully formed human beings, capable of making their own decisions about, say, marriage partners. Sorry, Yente (the frustrated matchmaker, played by Jacqueline Jones)! Women have rights, too!

So, precarity/change is the theme, and this show’s Tevye is a dream.

Payonk has a booming baritone coupled with operatic finesse and resonance rich enough to raise the roof of Norfolk’s Wells Theatre, especially as stoked by the brand-new sound system (new seats, too). He also has the comic timing of his best Borscht Belt predecessors — a must for carrying on his soliloquies with God and impromptu mangled citations from “The Good Book.” He’s a man blessed and cursed in having five daughters (cursed in that he has no dowry funds to marry them off). But more on his family and supporting cast later.

The pandemic has made times precarious for theater, but it’s not that risky for the VSC to have chosen what some may consider a chestnut of theater repertory. Especially with the show being generously backed by the United Jewish Federation of Tidewater and the Simon Family Jewish Community Center. This first-time producing partnership has also provided top-notch, pre-show lectures by Rabbi Michael Panitz of Temple Israel along with a showing of the film “Fiddler: Miracles of Miracles,” which documents the show’s provenance and even features an interview with this production’s director, Gary John La Rosa — a friend of “Fiddler” lyricist Sheldon Harnick, who died in June. Here La Rosa duplicates the original choreography of Jerome Robbins, with some success. (He has even directed Chaim Topol — the famous Tevye of Norman Jewison’s 1971 film and many subsequent stage incarnations — in a celebration of the 50th anniversary of the 1964 Broadway version.)

The original source of “Fiddler” is a considerably darker collection of short stories, written about 1894 and later, about Tevye the milkman by Yiddish writer Sholem Aleichem. They’re set around 1905 during pogroms in czarist Russia. In 1906 he fled Ukraine — then a region of Russia called the Pale of Settlement, in which Jews were allowed to live — and eventually settled in New York. (As for his name, it’s a pen name, the greeting “Peace be with you”; he was born Solomon Naumovich Rabinovich.)

Some, including Panitz, have called the musical ”Sholem Aleichem Lite,” referring to its assimilationism and relatively benign conclusion: quiet reconciliation between Tevye and his daughter Chava (Amelia Burkley) who has married outside the faith. This is prompted, of course, by the forced scattering of the entire community of the shtetl Anatevka. Panitz’s overall evaluation of the show is, however, far more measured, especially in his scholarly article “Fiddler on a New Roof,” inspired in part by the 2018 Yiddish-language staging with Joel Grey: “Fidler afn Dakh,” which Panitz calls “more frankly ‘Jewish’” in tone.

Most critics agree that “Fiddler” is a canonical, great American musical that belongs in the worldwide repertory. So it’s really a matter of how good a Tevye and supporting cast can be assembled.

In this case, Payonk nails Tevye, and his supporting cast supports him, using the mix upon which many regional theaters rely — namely, imported Actors Equity members (five here), most often for the leads, and more local community actors for the ranks. Tevye’s special imaginary friend, the Fiddler, is played, for example, by Velkassem Agguini, a violinist at the Governor’s School for the Arts, who does some of his own fiddling for the whirling, cavorting, nonspeaking role. Golde, Tevye’s not-so-long-suffering wife, is Eva DeVirgilis. She maintains her kosher home with panache, modeling the proper wife and mother for all she’s worth. Tzeitel (Ally Dods), the eldest daughter, has inherited her mother’s gumption and her father’s almost Socratic nature.

Tzeitel rejects the matchmaker’s choice of Lazar Wolf (Scott Wichmann), the wealthy (by village standards) butcher who’s none too pleased by it. Tzeitel chooses, instead, Motel the tailor (Greg Dragas), dirt poor but rock solid in a crisis. Daughter No. 2, Hodel (Mia Bergstrom), is the family intellectual who chooses another thinker to wed. He’s Perchik, the student revolutionary, well rendered by Nathan Matthew Jacques. It is he who helps the hidebound citizens of Anatevka begin to see that change is coming, and fast. The third daughter, Chava (Burkley), breaks even more definitively with her family and people when she chooses to love a Russian gentile named Fyedka (Timothy Wright).

Other familiar local actors — Matt Friedman as Mordcha the innkeeper, John K. Cauthen as the rabbi, Scott Rollins as the constable — plus a lively handful of child actors (Gavin and Jasper Gayer, Ellie Madelyn Ruffing and Stormie Treviño) round out some of the large cast.

The set and costumes, while solid, look very much like the dozens of touring versions constantly moving across stages worldwide. There are wigs and male facial hair galore, most seemingly in accordance with Jewish custom of the time but some that looked (intentionally?) comical.

Though not directly emphasized in this production, it pays to remember that real Anatevkas in Ukraine may be suffering bombardment as we watch this show or read this newspaper account. Awareness of “Fiddler’s” relevance to the war in Ukraine seems to have somewhat diminished since the last touring production I saw, at the Ferguson in Newport News in March 2022; the cast dedicated it to the people of Ukraine.

But this should not detract from the accomplishment of the two Jewish organizations and Virginia Stage Company in putting on a fine “Fiddler,” starring an admirable Tevye. For that accomplishment in still-precarious times, they deserve a heartfelt ”Mazel tov!”

Avenging angel Nina Simone swoops down from the heavens to sing at the Wells Theatre

By Page Laws

Virginian-Pilot Correspondent
May 11, 2023 at 7:44 am

An angel, as active in death as she was in life, is here in town and ready to fuss about justice:

Don’t tell me

I’ll tell you

Me and my people just about due.

Yolanda Rabun as Nina Simone. (Ken A. Huth)

The title of the song from which that lyric comes, “Mississippi Goddam,” also provides a less-than-subtle clue:

Nina Simone was a troubled (probably bipolar), often angry, artist, hounded out of a classical music career because of her race. But she was and is (especially as reincarnated through Sunday at the Wells Theatre by supercharged actor/singer/lawyer Yolanda Rabun) quite ready to sing her soul out in an effort to save ours, both as individuals and a nation.

The one-woman show is called “No Fear and Blues Long Gone: Nina Simone,” by playwright Howard L. Craft, and that title, too, is telling. The scared little girl who became the international singing legend was born Eunice Kathleen Waymon, in 1933, the sixth of eight preacher’s kids, about 400 miles from the Wells, down in Tryon, North Carolina. More about the Tar Heel connection later. She mostly got over being scared; she likewise dismissed the blues as “her” genre. She sang all genres, and fiercely.

Eunice was allowed to study piano and proved so talented she was also permitted to study at Juilliard. But the world wasn’t ready for, in her own words, “Black fingers” on a classical keyboard. A young Simone (she rechristened herself after tough, beautiful French acting sensation Simone Signoret) had no choice but to sing for her subsistence and later write and sing all manner of her own and others’ popular and political songs.

In her remarkable career, Simone befriended a bevy of other major Black artists and leaders, including Martin Luther King Jr. and Malcolm X. Following the lead of Josephine Baker, Richard Wright and many others, including her friend and fellow artist James Baldwin, she eventually chose exile in Africa and Europe. As with Baldwin, Simone’s politically charged life ended in France, in 2003.

But it’s the North Carolina connection that runs particularly deep in the Wells production. Every principal involved — playwright Craft, actor Rabun and director Kathryn Hunter-Williams — sports a dab of tar on his or her feet for some reason, with this particular version of the show also having been developed at PlayMakers Repertory, Chapel Hill.

The show, as seen in dress rehearsal, was still understandably rough with delayed lighting cues, one case of forgotten lyrics (deftly handled and soon recalled). Rabun, as full of vim and vigor as Simone must have been, powers through all discrepancies to seize the stage and audience by the scruff of our necks. There are only 10 songs, with at least one other, Simone’s version of “I Put a Spell on You” (by Screamin’ Jay Hawkins, 1959) noticeably absent and missed.

Yolanda Rabun as Nina Simone. (Ken A. Huth)

There’s also a good bit of actor/audience banter and a somewhat methodical account of biographical highlights. Rabun switches costumes onstage, going from one gown to another, from a tank suit with cowboy boots (quite the look!) to a lovely dashiki. She occasionally rests on a divan or chair center stage, her three-piece band sitting always stage right. The gentlemen acquit themselves well, but sometimes their limited number seems a false economy. A trio can create only so big and varied a sound.

Simone shares anecdotes about her two husbands and countless affairs, one with an unidentified “prime minister.” She says of one husband: “He never lied to me … (perfect beat) … until he did.” Husband Andy physically abused her and tried without success to rein in her political activities. There were sometimes violent altercations with record executives, who, she felt, cheated her all her life. When (self-)accused of shooting a record executive, she clarifies for the audience, “I shot at a record executive.” We sense her deep anguish at the deaths of King and Medgar Evers, but especially at the killing of the four little girls in Birmingham (Sept. 15, 1963). She has the audience repeat each child victim’s name out loud.

The premise of Simone’s visiting us from the afterlife allows for witty commentary on developments since her death. She’s proud of the protest tactics of Colin Kaepernick, but she’s equally eager to return to heaven to party with folks like Langston Hughes and Tupac (who strikes her as fine-looking).

She touches briefly on the time, when she was still on Earth, that she swallowed 35 pills … and lived. Her two psychiatrists never helped but so much.

Since she’s now appearing from the afterlife, she’s quite comfortable with computers and takes some (fictitious) questions from the online public. She grapples briefly with her invisible-to-us, long-disapproving mother and her own, much-loved daughter Lisa Simone, herself a singer and a documentarian of her mother’s life. The film her daughter worked on, “What Happened, Miss Simone?” (2015), is part of a still-breaking wave of plays (including last year’s “Bessie, Billie and Nina: Pioneering Women in Jazz” at the Attucks), films, books, song remixes, etc., that keep the Simone legacy alive.

Most recently and of possible interest to those in Hampton Roads is the restoration of Simone’s home in Tryon, thanks to the support of the African American Cultural Heritage Action Fund, part of the National Trust for Historic Preservation. In fact, on May 20, there will be a gala at New York’s Pace Gallery and, into May 22, an online auction by Sotheby’s devoted to raising additional restoration funds. (See pacegallery.com/nina-simone or savingplaces.org/supportnina.)

Were Simone actually still among us, she would doubtless have supported Black Lives Matter and all other efforts to fight racial injustice and, the bane of her life, racial hypocrisy. In the Wells offering — rough as it was when I saw it — Simone quotes an odd but telling observation she attributes to Malcolm X: “You can put kittens in the oven, but that doesn’t make them biscuits.” You can deny the validity of Black history, but that doesn’t mean it didn’t happen.

To chase the kittens/biscuits image from your mind, here’s another line from the show’s “Mississippi Goddam,” perhaps just as telling and rightfully disturbing:

Lord have mercy on this land of mine

We all gonna get it in due time.

Tell it, Nina, from wherever you are.

Page Laws is dean emerita of the Nusbaum Honors College at Norfolk State University. prlaws@aya.yale.edu

Original Story Linked Here at The Virginian-Pilot

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If you go

When: 7:30 p.m. Thursday; 7:30 p.m. Friday; 3 and 7:30 p.m. Saturday; and 2 p.m. Sunday

Where: The Wells Theatre, 108 E. Tazewell St., Norfolk

Tickets: Start at $35

Details: 757-627-1234, vastage.org

Actress Yolanda Rabun channels Nina Simone in new play from VSC on Coast Live

HAMPTON ROADS, VA. — Actress Yolanda Rabun joins Coast Live to discuss her upcoming role in the Virginia Stage Company's "No Fear and Blues Long Gone: Nina Simone," and shares a look at her unique take on the legendary singer.

No Fear and Blues Long Gone: Nina Simone
by Howard L. Craft
Directed by Kathryn Hunter-Williams
May 10 -14
Wells Theatre, Norfolk

This 90-minute, one-woman show features the Jazz legend and Civil Rights activist when she returns to present times to address certain events in her life, answer questions and leave her audience with a unique perspective on dealing with fear and current events in our world today. Featuring some of Ms. Simone’s greatest hits including “Don’t Let Me Be Misunderstood”, “I Wish I Knew How it Would Feel to Be Free”, “Feeling Good” and “Young, Gifted and Black”.

Paid for by Virginia Stage Company
vastage.org
Box Office: 757-627-1234

Original Story Linked at CoastLive.com

Combative and compassionate, ‘Henry V’ conquers at the Wells Theatre - The Virginian Pilot Review

NORFOLK — “O for a muse of fire” to properly praise this ambitious, wise, contemporary-in-spirit, production of Shakespeare’s best-loved history play by Virginia Stage Company and Norfolk State University.

It stars invincible NSU and Brown University acting alum Christopher Marquis Lindsay at the perfect age, physique and point in his burgeoning career to embody England’s warrior king in the last (1599) of what’s known as the bard’s second tetralogy. This quartet of plays includes “Richard II” (about Harry’s father Bolingbroke’s usurpation of the throne to become Henry IV); “Henry IV, Part One” (about Harry’s, a.k.a. Hal’s, misspent youth hanging out with Falstaff); “Henry IV, Part Two”(more Hal and Falstaff); and our play “Henry V,” about Hal/Harry’s own kingship and conquest of France).

Derrick Moore, left, as the Duke of Exeter and Christopher Marquis Lindsay as Henry in "Henry V" at the Wells Theatre through April 30. (Samuel Flint)

Shakespeare buffs will recognize “O for a muse of fire,” as the prologue/chorus’ opening line which is replete with similar “greatest hit” speeches (e.g., “Once more unto the breach, dear friends, once more” in Act 3; “We few, we happy few, we band of brothers…” in Act 4 and “A little touch of Harry in the night,” also Act 4. The great speeches have thankfully been preserved in this judiciously cut version.

Though “O for a muse of fire” was nicely performed on April 13 by NSU alum Terrance Livingston, Jr., Livingston will cede that part to the play’s director Tom Quaintance at selected performances (check with the box office). Other illustrious former Spartans in the show include Derrick Moore as the Duke of Exeter; Corey Edward as Earl of Cambridge/Michael Williams; and KeeAjah Baldwin as Duke of York/Sir Thomas Grey. The older pros are joined by eight current students, some playing major roles such as Princess Katharine (Vania Aursby, who’s already made her mark locally at the Generic and Old Dominion University Rep.)

Add in a good handful of local and imported VSC regulars — e.g., Ron Newman as King of France/Sir Thomas Erpingham; Jeffrey Haddock as the insufferable Dauphin (who first appears, hilariously, with the other French nobles in the tony Wells’ box seats); and Julian Stetkevych as Canterbury/Fluellen/Orleans)—and you have two armies’ worth of actors on a mostly bare, intentionally rough-hewn looking thrust stage, created by designer Dahlia Al-Habieli. The open-to-view under-thrust doubles nicely as siege trenches or “mines.”

Costumes by resident designer Jeni Schaefer are well-worn contemporary outdoor garb, occasionally embellished with low-tech coats-of-arms ribbons or torn, dirty armbands to help keep double-and triple-cast actors identifiably English or French. Women actors Sarah Manton (Montjoy/Hostess), Meg Rodgers and Anna Sosa play both genders, Rodgers stepping up as the feckless corpse-robbing Pistol and Sosa as the acne-challenged Bardolph.

The latter two n’er-do-wells, plus Nym (Miguel Girona), are part of what one might dub “Team Falstaff,” the group of lowlifes with whom then-Prince Harry hung out in his youth. When “Henry V” begins, Falstaff is a bed-ridden offstage character suffering from his life of drinking, whoring and Prince Harry’s stunning rejection of his company in “Henry IV, Part 2.”

Falstaff expires, still unseen, in Act 2, with only the Hostess (Manton) to witness and skillfully convey the manner of his going: “For his nose was as sharp as a pen,” [odd for a notoriously fat man] and he “babbled of green fields.” Perhaps his last moments were, after all, some bucolic dream. With Falstaff gone, the audience watches to see how King Harry will treat his former buddies from Team Falstaff (Pistol, Bardolph, Nym, etc.). He consistently shuns them, in some of the play’s coldest, but, as we’re made to think, necessary moments.

The play — in fact, the whole tetralogy — invariably comes down to how audiences judge this Henry’s all-important character. Henry at any age can be cruel — indeed the historical Henry V, according to most historians and critics such as Herschel Baker, was by no means a charmer. But Shakespeare’s Henry V is, and, perforce, must be one, since the whole second tetralogy leads up to his miraculous victories at Harfleur and, especially, Agincourt.

In this play, Shakespeare reaches the heights of his patriotic theme: England now and forever. And Henry V, warts and all, IS England, sometimes mistaken (the scenes in which corrupt bishops support Henry’s genealogical claim to the French throne via Edward the Black Prince and Salic law are comically obtuse), but always, somehow, winsome. That’s because Henry V, even when he’s hard (ordering French prisoners to be killed or allowing a miscreant such as Bardolph to be hanged) is consistently self-questioning, self-effacing (especially with his betrothed, Kate) and patriotic.

Julian Stetkevych, right, and the cast of "Henry V" playing at the Wells Theatre through April 30. (Samuel Flint)

That’s why the play was so popular during World War II. Laurence Olivier’s 1944 film adaptation fit its times; Kenneth Branagh’s heroic 1989 film aspirationally still fits ours.

The play is always being done somewhere where English (and a bit of mangled French) is spoken or translated. And speaking of the brief French scenes, NSU theatre’s producing artistic director Anthony Mark Stockard served as voice and speech coach with no other dialect or French coach listed.

The actors’ French was somewhat rough (sometimes part of the plot), but it always flowed — the theatrical illusion of fluency (e.g., for the French Princess Katherine) being far more important than linguistic accuracy. Perhaps more could have been done to suggest Fluellen’s Welsh accent (Irishman MacMorris and Scotsman Jamy having been cut from the play). One loses thereby Shakespeare’s comic interplay of U.K. subcultures.

But never elided is the other glorious theme of this play: theatricality itself – both its limitations and infinite possibilities. “Can this cockpit hold/ The vasty fields of France? Or may we cram/ Within this wooden O the very casques that did affright the air at Agincourt?” The answer is no; of course, you can’t fit thousands of soldiers on a stage. But the answer is also a triumphant yes; you can conjure up such an image in your audience’s imagination, even as you deny it.

In the play’s first moments, Livingston stepped forward to deliver the familiar pre-curtain speech: “We wish to thank our sponsors … ;” “Please turn off your cellphones,” but then … theater happened!

Livingston unexpectedly lifted his voice to speak the famous first words of the show, leaped onstage and took us to where only art can go. As important as historical accuracy may be (the real Henry V probably was a jerk), we got the patriotic, still revelatory “Henry V” we need for today: Shakespeare’s own words, skillfully rendered and triumphantly true. Theatricality conquers all.

Page Laws is dean emerita of the Nusbaum Honors College at Norfolk State University. prlaws@aya.yale.edu

Black women rule in Virginia Stage Company’s ‘Angry, Raucous, and Shamelessly Gorgeous’

Left to right: Teri Brown, Patricia Alli, Mikayla Lashae Bartholomew and Bethany Mayo in Virginia Stage Company's production of "Angry, Raucous, and Shamelessly Gorgeous." (Samuel Flint)

NORFOLK — Blow, Gabriel, blow! We now have the first anti-August Wilson problem play, though it ends up being more a tribute to him than a bashing.

Audiences are again convulsing at the Wells, this time at a comic tradition — Black women fussing and cracking each other up — even more venerable than the British music hall tradition of Virginia Stage Company’s last comic gem “The 39 Steps.”

The current offering with the tough-to-remember title was written by Pearl Cleage, a Black playwright with an outsized rep (though not so large as that of Wilson — the late author of the “Century Cycle” of 10 plays, one depicting each decade of the 20th century, the most famous being “Fences”).

Cleage’s play, expertly directed by Virginia Commonwealth University theater scholar Tawnya Pettiford-Wates, concerns four Black women united by their profession — theater — though one of them, former diva actor Anna Campbell (Patricia Alli), hasn’t had a role in two years. (She has, notably, been living for decades in Amsterdam trying, until recently, to drink up everything but the canals.)

The other three women are her best friend and manager Betty Samson (Teri Brown), her producer Katie Hughes (Bethany Mayo, also VSC’s director of education) and Precious “Pete” Watson (Mikayla Lashae Bartholomew). The last one is Anna’s replacement in her best-known role, but, at the evening’s start, Anna doesn’t know this. (She thinks she herself is reprising it.) Did I mention “Pete’s” theatrical connection involves dancing and poles?

Mikayla Lashae Bartholomew as Precious “Pete” Watson in Virginia Stage Company's production of "Angry, Raucous, and Shamelessly Gorgeous." (Samuel Flint)

Anna has been invited to current-day Atlanta for a theater festival giving her a lifetime achievement award and presenting a performance of “Naked Wilson” (which, so far as I know, exists only in Cleage’s imagination). Kate reminisces about the day a much younger Anna invented her signature part: “One brave woman doing all those fabulously male monologues, alone on the stage, naked, just to make a point about the silencing of women. It was nothing short of revolutionary.”

Decades later, however, they’re having trouble selling tickets to the reprise of “Naked Wilson,” because “August Wilson is a powerful presence and people are afraid the piece is disrespectful.”

And that was indeed my reaction on first hearing about Cleage’s play “bashing” Wilson for being chauvinistic. “But what about Ma Rainey in ‘Ma Rainey’s Black Bottom’ (1982) and Rose Maxson in ‘Fences’ (1984) and Berniece in ‘The Piano Lesson’ (1986) and Aunt Esther in ‘Gem of the Ocean’ (2003) and (indirectly) in ‘Radio Golf’ (2005)? Aren’t they all great parts for Black women?”

But, as Cleage seems to counter, Wilson did do more for Black men.

Says Anna: “But the story was always and forever about their blues, not ours.”

Betty concurs: “That’s what we were so mad about.”

But since then, Betty and Anna, now both 65, have declared a “truce” with Wilson, chauvinist or not.

This is the first time the VSC has produced a play composed only of Black women actors and directed by a Black woman, Pettiford-Wates, who brought a gifted cast of designers from VCU.

The play is set entirely in a swish Atlanta hotel suite, true in its stage appearance to its supposed $500-a-night price tag. Betty, Anna’s manager and companion, is already there, serving as glue for the evening. Her compulsive solitaire-playing and whispered blessing/prayer “Ashay” (“Amen” in some African and Asian cultures) take us from scene to scene. Brown bears the burden of lots (perhaps a bit too much) “time-is-passing” stage business. But Brown bears up nicely, also bearing, in character, with her friend’s diva-like ways. Anna enters in fabulous African-patterned silk pajamas (courtesy of VCU-trained costume designer Nia Safarr Banks). She is obviously looking forward to what she thinks will be her big comeback. She’s prepared to bare her 65-year-old body; unfortunately, she has misinterpreted the Atlanta festival invitation. As the audience soon learns, festival producer Kate has always intended that a younger actor play the “Naked Wilson” part.

The first hurdle is disabusing Anna of her misconception. The second is getting her to accept her replacement, the untrained “Pete,” a tall, voluptuous woman whose flashy clothing and makeup choices (too much bronzing) along with her body language (a louche slouch, with feet on the furniture), epitomize the generational and educational gulf between her and Anna. The two clash, loudly and repeatedly, with Anna eventually reporting Pete’s impending nude performance to the police.

But then Pete, a performance artist at heart, holds a nighttime solo show atop, of all places, Margaret Mitchell’s House. As the author of “Gone With the Wind,” Mitchell represents the purest remnant of Lost Cause racism. Pete has only seen only the 1939 film version, but she almost instinctively disses Mitchell by performing Rose Maxson’s self-assertion speech from “Fences,” and singing “Oh! Susanna,” in Spanish for extra — if unintentional — alienation effect. Her performance is brilliant, perfectly transgressive, and even honors Anna, whose real full name is Susanna, for the character in a Langston Hughes poem. While atop the roof, Pete is mistaken by a street lady for a Wilsonian angel figure. (Think Gabriel in “Fences.”) A video of the performance goes viral and suddenly things are looking up for “Naked Wilson” — if only the constant rain will stop at the outdoor venue. Will benevolent Wilsonian ghosts prevail?

Toward the end of the play, Anna confesses the motive behind her first miraculous performance of “Naked Wilson”: “I didn’t do it because I was mad at August. I just wanted to feel his words rolling around in my mouth and see if I could feel them coming out through my skin, which is why I had to take my clothes off. I was so in love with the words.” Cleage is none too shabby a wordsmith herself.

Wherever you are, Mr. Wilson, Ashay. Pearl Cleage has your back.

Page Laws is dean emerita of the Nusbaum Honors College at Norfolk State University. prlaws@aya.yale.edu

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If you go

When: Through March 19

Where: The Wells Theatre, 108 E. Tazewell St., Norfolk

Tickets: Start at $35

Details: 757-627-1234, vastage.org

Original Article Sourced Here