AN INTERVIEW WITH AMOREENA WADE, DIRECTOR OF 'FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/WHEN
Ntozake Shange’s Obie Award-winning “for colored girls who have considered suicide/when the rainbow is enuf,” will be brought to life early this month on the stage of Binghamton’s KNOW Theatre. Since its first staging in 1974, the theatrical production, which weaves through poetry the stories of seven women of color, has garnered critical acclaim and inspired audiences the world over. It is being presented in Binghamton on March 4th and 5th as a benefit for the Crime Victims Assistance Center. Carousel recently stat down with director and co-star Amoreena Wade to discuss:
TCC: Can you tell us a little about the show? AW: The show came around in the ‘70s. It was written as a choreopoem -- it combines poem and dance -- which makes it a very rhythmic piece. It covers a lot of universal experiences: what it is to be at the bottom of the ladder; what it means to fall in love and to fall out of love; to have your heart broken; and to be hurt, whether in an innocent way or in a very violent way. It’s a very powerful play. Most people walk away from it just remembering how it made them feel. They remember feeling sort of punched in the stomach, but in a really good way. You have a lot of experience acting. Is this your first time directing? It’s my second time directing, and the fourth year that I’ve done a fundraiser show at KNOW to support CVAC, where I work. The last two years we did The Vagina Monologues, which I directed once, and I knew we couldn’t do it again.
TCC: What drew you to this particular project? AW: Doing a show using black women’s voices just seemed really timely, with both the Black Lives Matter movement, and the fact that women of color have always been silenced. The civil rights movement uplifted black men, and feminism has historically represented white women, but black women have sort of always been left out of the conversation. I feel like recently our voices have been raised a little more: the Black Lives Matter movement was actually started by two women of color, so it just seemed to fit the zeitgeist of the times. Some have asked if (the show) seems dated because it’s so much older, but it’s not, for a couple of reasons; one being that a lot of the social issues we talk about in the show are still very relevant, because we haven’t really come far enough in the last 40 years.
TCC: How does the play resonate with your work as a Victim Liaison with the Crime Victims Assistance Center? Not all of the subject matter directly relates, but what does is that this show talks about sexual and domestic violence, child abuse, and murder, and CVAC works to help victims of those crimes. AW: Can you tell me a little about the cast? I was able to cast everyone who auditioned, which was great! We have performers of all levels: some have previous experience, and for others this is their first time on stage. It’s been really amazing to see them grow so much over the last couple months.
TCC: Your previous experience directing involved working with a large cast. What was it like directing such a small group of actors this time? AW: It’s been very positive. Because there are so many big poems, I had a lot of solo rehearsals where I was able to talk to the women about stuff going on in their lives; some of the most painful moments, the most joyful, what’s going on right now... it was just a huge honor to have them let me in and share that much with me. When one of them is crying on stage or having a powerful moment, I feel like I’m sharing it with them, because I know they’re pulling from their lives to create it. Another thing I love is seeing them support each other. They get together outside of rehearsal times to go over lines, or just for support. There’s just a lot of trust between the seven of us. The choreographer Katie Barlow and stage manager Amy Smith are a part of that as well.
TCC: In your experience, is that kind of thing typical of a theatre project, to be able to create the intimate space you all created in those moments? AW: This is the second time I’ve directed, and one thing I know is that actors usually want more attention from a director, which they can’t always get. I think it’s really unique to this show and I think everyone really appreciates it.
TCC: And in addition to directing, you’re acting in this piece as well? AW: Yes!
TCC: Which color lady are you? AW: I’m Lady in Green. There was a poem that she does, it just jumped out at me, and it reminded me of the feelings I had after being sexually assaulted in 2004. It also worked out that this woman’s part was the smallest in the play, so it just seemed like a perfect fit as the director.
TCC: Now that you have some experience acting and directing, can you tell if you prefer one over the other? AW: One isn’t better than the other, they’re just different. I’ve been acting for 25 years so I have a deep love for it. Directing and I are kind of in the honeymoon phase. It’s a little hard to tell because these are smaller productions that I’ve directed. They’re a little unconventional, so I’m looking to assistant direct at some bigger theatres and maybe direct some short plays in some festivals. I am seeking out opportunities to keep doing it, and so far I haven’t wanted to quit!
TCC: The show runs the first weekend of March. Anything on the horizon for you after it wraps up? AW: When this is finished I’ll be doing a show at KNOW Theatre called “Sight Unseen,” which I believe will open in June.
“for colored girls who have considered suicide/when the rainbow is enuf” can be seen at KNOW Theatre, 74 Carroll St. in Binghamton, on March 4-5th, with a pay-what-you-can dress rehearsal happening on Thursday, March 3rd. Doors open at 7pm. A post-show talkback will follow Friday and Saturday’s performances, with the cast, director (and choreographer Katie Barlow on Saturday,) in attendance, and will be moderated by Dr. Myra Sabir. Everyone is welcome to join the talkback discussion, whether or not they’ve attended the show.
