“In The Evening By The Moonlight” is the title of a song by the great Black writer of minstrel songs, James Bland, who often performed wearing blackface in minstrel shows. The idea of a Black performer in blackface writing and performing as part of that racist tradition is queasy-making enough. But then there are those lyrics: “In the evening by the moonlight/when the darkies work was over,” or, in some variations, “In the evening by the moonlight/we could hear the darkies singing…..”
It is a disturbing title for a play about Black artists and intellectuals in America.
One of those brilliant Blacks is the great singer Nina Simone, who actually successfully recorded this song. But, with typical insistence on her dignity, she rewrote the lyrics to eliminate the offensive word, “darkie.”
The present play opens with Nina at her desk, engaged in just that bit of rewriting.
But when Nina joins her equally brilliant friends, playwright Lorraine Hansberry and essayist James Baldwin, the title becomes even more resonant. It is evening and we (a mostly whtie audience – this is theatre in America after all) are here to “hear the darkies singing.” And sing they do, but with a level of intellectual brilliance, insight, love, rage, and passion that has never before been heard on an American stage, as far as I know. Can you think of another play with Black characters every one of whom is a highly accomplished, highly successful professional, impressive enough to be invited to bend the ear of the Attorney General of the United States? A Black play that makes little reference to poverty or ghetto life or the struggles to overcome it? A play that treats its Black characters as human first and foremost? A play that brooks no compromise with their humanity? A play about Black intellectuals and artists who speak exclusively in the language of the highly educated? A play about Black people in which white people barely matter and in which the white gaze is completely irrelevant? I couldn’t. I’m afraid “Porgy and Bess” doesn’t qualify.
Playwright Traci Tomaire and co-creator/director Margo Hall have given us a perfect play for the times.
It is 1963. Medgar Evers, a leader of the Civil Rights movement in the Mississippi Delta, was recently murdered in cold blood, shot down in his own driveway. Lorraine Hansberry and James Baldwin are meeting for the first time since they had, not long before, joined a group of Black leaders and intellectuals invited to meet with Attorney General Robert Kennedy at his Manhattan apartment.. Their purpose was to discuss the “race situation” in America. They were not impressed with Mr. Kennedy.
These and other matters are discussed over dinner at Lorraine’s apartment where, clearly, these three are willing to let their hair down, especially in the absence of their respective white partners. They are emphatically Black, and full of righteous anger, but utterly devoid of hatred. They view their white friends and lovers and fellow Americans with empathic compassion. But they understand that their Black selves are not fully accessible to the White world. They need each other desperately.
Topics of conversation include the SNCC (Student Nonviolent Coordinating Committee – a civil rights organization) benefit concert planned for Carnegie Hall. Nina has declined to perform, insisting “I keep tellingyou I am NOT non-violent.”
The conversation is serious, but the friends are at ease and there is plenty of humor as well. At one point, Jimmy and Nina attempt to teach Lorraine the Watusi. It is a moment of great love and affection. The actors are wonderfully successful at bringing to life fully dimensional characterizations that match the historical figures remarkably well. Rotimi Agbabiaka doesn’t look a great deal like James Baldwin (whose appearance was strikingly unique), but he captures his voice and movement superbly. Ryan Nicole Austin’s impersonation of Nina Simone is excellent, especially as she sings “Lil Liza Jane.” It’s spine-tingling.
As I said, the bulk of the conversation revolves around the recent meeting with Robert Kennedy. Here is where a lot of historical material is covered, and this is where Traci Tomaire’s script really shines. The content is intellectual and thick with historical information, but nevertheless the tone is casual and we hear the rhythms of real people at a real dinner party talking about these things the way people do. The effect is far from didactic. The team of playwright/actor, actors, and director make sure that we not only understand the facts of these lives, but that we truly feel what it feels like to be them in this time and in this place.
“In The Evening By The Moonlight” is a great accomplishment.
The note I wrote in my program at the end of the evening reads, “Broadway ready.” On reflection, I still think so. I feel privileged to have been present at the premiere.
“In The Evening By The Moonlight” has the power to enrich your heart. Pay attention.
“In The Evening By The Moonlight” plays through July 2nd, 2023. For further information click here.
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Rating: ***** (For an explanation of TheatreStorm’s rating scale, click here.)
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“In The Evening By The Moonlight” by Traci Tomaire. World premiere produced by the Lorraine Hansberry Theater. Co-creator and Director: Margo Hall. Set Designer: Carlos Aceves. Props Designer: Heidi Button. Costumer Designer: Jan Hunter. Lighting Designer: Kevin Myrick. Sound Designer: Ray Archie. Dramaturg: Lindsay A. Jenkins.
Cast:
James Baldwin: Rotimi Agbabiaka. Lorraine Hansberry: Traci Tolmaire. Nina Simone: Ryan Nicole Austin.
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