Blue Heron Theatre in Association with
AfriCanadian Playwright’s Festival
presents

Harlem Duet

written and directed by
Djanet Sears

Blue Heron Arts Center
123 East 24 St. (between Park Ave. South & Lexington Ave.)

Blue Heron

Tickets: (212) 206-1515 or SmartTix

November 9 - December 1, 2002

Scenic & Costume Design ASTRID JANSON
Lighting Design THOM WEAVER
Sound Design & Original Music ALLEN BOOTH
Production Stage Manager BAYO
Press Representative JIM BALDASSARE
Associate Producer LESLIE (HOBAN) BLAKE

featuring
WALTER BORDEN
PERRI GAFFNEY
BARBARA BARNES HOPKINS
GREGORY SIMMONS
NYJAH MOORE WESTBROOKS

Bass
REGGIE CARSON
Cello
NIOKA WORKMAN

To open season number 15, Blue Heron Theatre is presenting the New York premiere of Djanet Sears award-winning drama, HARLEM DUET. Spanning 1860 to today, and told in a non-linear format, this modern tragedy has timeless qualities to it. Part conventional play, partly a nod to the heritage of oral history, and part political diatribe, as a whole the work comes together quite cohesively.

HARLEM DUET spans three time periods (1860, 1928, contemporary Harlem). The story lines, similar in that they involve a couple parting ways, overlap during the course of the play. The entirety of the work is imbued with a heightened form of speech in that no one ever utters a phrase that is altogether basic. Words are invaluable to the plot here, and are charged with meaning and import beyond the dialogue itself. There is also an element to the work that lends itself to being a prequel to William Shakespeare’s "Othello." Here, one of the main characters, named Othello (Gregory Simmons) in every time period, leaves his partner, Billie (Perri Gaffney), in favor of a relationship with a white woman called Mona (alluding to the Desdemona wed to Othello in the Bard’s play).

In each time frame, the betrayal of Billie leads to tragedy, but it is not only her personal story in play here. There are historical elements all around. In 1860, Othello and Billie live in a United States that, as yet, has no Emancipation Proclamation (that went into effect on January 1, 1863). In 1928, they exist during the Harlem Renaissance. In contemporary Harlem, they live with the ghosts of Martin Luther King, Jr.’s "dream." HARLEM SONG tells us the tale of Billie and Othello while providing a view of the cacophony alive in Billie’s head with sound effects that heighten as her rage and madness build. These are subtle, simple touches, but they work.

HARLEM SONG is quite a clever creation, drawing, as it does from a wealth of source material. If audience reaction says anything, at the performance I attended some members of the crowd were so engaged by Djanet Sears’ dialogue that they yelled back at the actors much as one would at a television set. Now, that’s something.

- Kessa De Santis -

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