[22], From May 18 to July 1, 2017 An Octoroon was performed at the Orange Tree Theatre in Richmond, London[23] in a production directed by Ned Bennett and designed by Georgia Lowe. (An octoroon, just so you know, is a person whose ancestry is one-eighth black; that fraction is enough to doom the plays title character, played by the exquisite Amber Gray.). 365 Fifth Avenue An Octoroon, you see, is all about race in these United States, as it was and is and unfortunately probably shall be for a considerable time. As act 1 begins . In fact, Jacobs-Jenkins hits on so many ideas per minute, you'll wish you had a little more time to catch your breath. He comes across a therapist who recommends adapting his favorite play, The Octoroon by Dion Boucicault, as a jumping off point out of his writers block. A Black playwright is struggling to find his voice among a chorus of people telling him what he should and should not be writing. Photographs, unsurprisingly, figure in many plays about families. The audience is catapulted into a space that plays to their stereotypes and questions our societys relationship to humanity and our history. In Buried Child, Halies and Tildens murdered baby (apparently drowned by Dodge, as Franz tries to drown the photos of lynchings) has been literally buried in the soil behind the house. Esther Kim Lee From left, Haynes Thigpen, Austin Smith (on the ground), Amber Gray and Mary Wiseman. Research Playwrights, Librettists, Composers and Lyricists. The citation above will include either 2 or 3 dates. A photograph of a real murdered human contrasts with the original play's use of a photograph for justice.[4]. Sound No. As a symbol, the album suffuses the consciousness of both characters and audience. Suddenly, the back wall of the stage falls forward, blasting us with a gush of air and revealing a snow-white stage, covered in cotton (design by Mimi Lien). But it feels right that the people occupying this production, first seen last year at Soho Rep, should be required to move on what might be called terra infirma. Mary Wiseman and Austin Smith in "An Octoroon. Maybe they giggle (319). The tension slackens slightly in the second half when Jacobs-Jenkins summarises Boucicaults sensational climax. Tracey Elaine Chessum This archeology of seeing goes beyond the oscillation between texts that Hutcheon suggests is characteristic of audience members reception of adaptations; rather it entails what she calls their palimpsestuous experience as layers of text are multilaminated onto one another. [32] Erin Keane, Review/Family Secrets Fester in Appropriate, 89.3 WFPL News Louisville, 20 March 2013. http://wfpl.org/review-family-secrets-fester-appropriate/ (accessed 30 December 2016). Moving from The Octoroon to An, Jenkins suggests that despite the incredibly modern and subversive elements which Jacobs-Jenkins adds to Boucicaults original, this is just another play and that the novelty of racial mixing has worn off and become common now. Bo hated the plantation with its bugs and its endless stories about Civil War ancestors. The owner, Mr. Peyton . I washed it away (97). At the beginning of his performance, dressed in straw hat, striped suit, and enormous bowtie, Jim looks ridiculous, but also amazing (285). Though Toni denies this accusation and is shocked when later Rhys refers to Rachael as the Jew bitch, her own unreflecting anti-Semitism is apparent when she thoughtlessly says that she is not some kind of shylock (77, 34). As the house slaves Minnie and Dido, the hilarious Jocelyn Bioh and Marsha Stephanie Blake provide much-needed comic relief from this sentimental and contrived plot. On this Wikipedia the language links are at the top of the page across from the article title. http://www.signaturetheatre.org/News/An-Archeology-of-Seeing.aspx (accessed 19 May 2017). Subsequent references are indicated in parentheses. Her publications include The Name and Nature of Tragicomedy, the edited collection Dramatic Revisions of Myths, Fairy Tales and Legends: Essays on Recent Plays, and numerous articles on early modern and modern drama. David Krasner Like many another melodrama of the period, The Octoroon presents its audi- ence with a dashing hero, a dastardly villain, a bumbling spokesman for goodness, and a woman who almost loses her family home. While atmospheric cicadas make symbolic noise in the background, the family members quarrel over long-standing grievances and over their inheritance, which, to their horror, includes an album filled with photographs of lynchings. By presenting characters in whiteface, blackface, and redface, Jacobs-Jenkins can look at "blackness and how to represent social constructs onstage that are so tied to a specific culture of nation. in Lunden, One Playwrights Obligation.. Austin Smith and Amber Gray in a scene from Branden Jacobs-Jenkinss play. The Octoroon Themes Racial Identification and Discrimination Set in the pre-Civil War South, The Octoroondeals heavily with racial themes. After setting a pile of leaves on fire with a cigarette, Mammy puts out the fire with milk spurting from her enormous breasts, with which she also feeds two white babies, twirling them around in the air from her appendages. And neither do you.". Intrageneric adaptation has received less theoretical attention than intergeneric or intermedial adaptation. They give an almost Brechtian commentary on the main plot while letting us in on their own lives as slaves: While sweeping up the cotton, Minnie asks, "You really think Mrs. Peyton's upstairs dying from heartbreak?" As a subscriber, you have 10 gift articles to give each month. Richard then conflates Iphigenias willingness to sacrifice herself with what he sees as Melodys defection to the Crows. The second is the date of Eventually, Zoe takes the poison and runs off. Log in here. 2 (2015). As well as giving vigorous contemporary voices to Dido, Minnie, and Grace, Jacobs-Jenkins replaces their unquestioning loyalty to their owners in Boucicaults play with aspirations and dreams of their own. By uprooting every plank in the stage to create a pit for a slave auction, Ned Bennetts inventive production and Georgia Lowes ingenious design also create a needless hiatus. Topsys Interlude late in the play (labeled Interlude/Interruption [309] to mark its difference from the other Interludes) contributes in a different way to Jacobs-Jenkinss creation of an archeology of seeing in Neighbors. The play, based on a 1859 melodrama by the Irish-Anglo playwright Dion Boucicault, tells the story of a young man who's about to inherit a plantation and falls in love with a woman who is an. Paulwith the mailbagsstops to take a photo of himself with Georges camera. Appropriate bears many of the generic markers of American family drama. A panel of scholars and artists discuss the contemporary relevance and themes of Branden Jenkins-Jacobs play "An Octoroon"Featured panelists are:Dr. Theda Pe. It is an adaptation of Dion Boucicault's The Octoroon, which premiered in 1859. AN OCTOROON. Effectively, he adapts melodramas audience for his own meta-melodramatic and political purposes. Since Boucicault will be playing an American Indian, he slaps on redface. 1 (Fall 2018). [4] Branden Jacobs-Jenkins, An Archeology of Seeing. Subsequent references are indicated in parentheses. In both plays the buried secrets are discovered to be dead bodies. Both the white hero, George, and the white villain, MClosky, are played by the same black actor in whiteface. That, however, is only the bare outline of a work that is infinitely playful and deeply serious and which dazzlingly questions the nature of theatrical illusion. [11] By exaggerating the embodiments of blackness and the comic and musical routines characteristic of the minstrel shows to the point of an absurdity so explosive that laughter becomes problematic, Jacobs-Jenkins launches a savage satiric attack on racist stereotypes. [45] Branden Jacobs-Jenkins, An Octoroon (New York: Dramatists Play Service, 2015), 20. Neighbors, Appropriate, and An Octoroon enable the multiple-layered seeing that Jacobs-Jenkins is talking about because they require comparative viewing across the adapted and adaptive works themselves and across the cultures or historical periods that produced them. [7] Grard Genette, Palimpsests: Literature in the Second Degree, translated by Channa Newman and Claude Doubinsky (Lincoln: University of Nebraska Press, 1997). [25], Artists Repertory Theatre, located in Portland, Oregon, was to stage An Octoroon from September 3 to October 1, 2017. She is considered to be property by law, but this is also presented as wrong. This entry is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license. He does acknowledge, however, that his wife, Halie, has a family album that can explain the heritage . Its all too easy to slip into a pratfall. . As in Neighbors, Zoe falls in love with George as well, though others are shocked that the two would wish to marry (it being, of course, illegal at the time). You may use these HTML tags and attributes

. [6], An Octoroon had a workshop production at Performance Space 122 from June 19 July 3, 2010, featuring Travis York, Karl Allen, Chris Manley, Ben Beckley, Gabe Levey, Jake Hart, Margaret Flanagan, Amber Gray, Mary Wiseman, LaToya Lewis, Kim Gainer, and Sasheer Zamata. Again, Wahnotee and Paul are presented so sympathetically (especially Wahnotee) that it seems to confirm the author's approval of their feelings and characters. Richard explains that the origin of Agamemnons tragedy lies in events that occurred before the action of the play begins. An Imperative Duty is a short realist novel by William Dean Howells published in 1891. Unorthodox, highly stylized plays on incendiary topics tend to have limited shelf lives, especially when theyre wrenched out of their birthplaces. Through Brechtian elements such as direct address, Jacobs-Jenkins explores "the idea that you could feel something and then be aware that youre feeling it". An Octoroon's central taboo-defying conceit cocks a snook at the concept of "colour-blind casting", which is the theme of a bracing opening monologue by the playwright's alter ego BJJ . The older Indian man cares so deeply about the young black boy that he will remain on the plantation as long as Paul does, and he eventually murders Paul's killer (which is made to seem very just). Transcript. Just because the law forbids or permits something doesn't mean the law is morally right or just. Theatre Communications Group: New York, 2019), 7374. Jacobs-Jenkins here invites audiences to engage in an act of complex seeing, requiring them simultaneously to cheer Jim for his newfound expertise and to censure his embodiment of his nominal stereotype, to admire aesthetically what they must also condemn historically. There was excitement when it was announced that Theater for a New Audience would be restaging Ms. Bensons Soho Rep production, but also a certain apprehension. In this finale Jacobs-Jenkins deprives his audience of their collectivity and requires them to question their own individual reactions to his play. By boasting that he was as good a hunter as the goddess Diana, Agamemnon had the gall to get uppity with the gods (291). "The Octoroon - Themes" eNotes Publishing Boucicault portrayed Wahnotee, and in his play Jacobs-Jenkins explores the connection between a person and their identity as artist. Yet in its current incarnation, An Octoroon feels even richer and more resonant than it did before, both funnier and more profoundly tragic. [8] Julie Sanders, Adaptation and Appropriation (London and New York: Routledge, 2006). Unlock this. There is a coda, which members of the audience leaving the theatre (according to Jacobs-Jenkinss stage directions) might or might not see. [13] The cast featured Chris Myers as BJJ, in triple roles: the black playwright, George Peyton and M'Closky; Danny Wolohan as Dion Boucicault, Zo Winters as Dora, and Amber Gray as Zoe. Anyone can read what you share. Although this concept for a play sounds controversial on paper, I dont think that he explicitly makes these changes just to make an audience for his work because of mere curiosity. [17] On white obsession with black male bodies in minstrel shows, see Lott, Love and Theft, 3, 9. He has written an American family drama about blackness in America that has no black characters in it but in which their absence pervades and powers the play. After the conclusion of their show the Crows take a curtain call, but that is not the end. In the mid-twentieth century, much of the pioneering work consisted in studies, both practical and theoretical, of the adaptation of novels into film. Looking back over the semester, I thought it was only fitting to end on An Octoroon. Not only does it apply multiple themes from across the class, even going all the way back to January, but it brings all this history together to put his own spin on it, making parts of the play nearly incomprehensible without the proper context of these older texts and plays. [26], An Octoroon was staged by the Georgia Southern University Theatre & Performance Program from November 8 to November 15, 2017.[27]. The process of adaptation may entail retelling stories, reimagining characters, changing geographical and temporal contexts. In scenes added to Boucicaults play Jacobs-Jenkins humanizes Dido, Minnie, and Grace by giving them distinct backgrounds and personalities and voices, desires, and agency of their own. From the get-go, Mr. Jacobs-Jenkins is cannily exploiting the assumption of false identity that is the starting point for theater, to make us question who is who or who is what. Ostensibly 19th-century slaves, their diction is so modern in its wit and inflection, they could easily be transplanted to any stoop in Bedford-Stuyvesant without causing much of a stir. He's quickly echoed in a snide tone by a white onlooker, who just so happens to be Dion Boucicault (Danny Wolohan). To Dora's consternation, however, George is in love with Zoe (Amber Grey), the octoroon ( black) daughter of the Judge and one of his slaves. In An Octoroon, the projection of a "lynching photograph" is an attempt towards an actual experience of finality. The homecoming motif with which Appropriate opens quickly transforms into the airing of past grievances and the quarrel over inheritance, channeling such plays as Cat on a Hot Tin Roof and Dividing the Estate. think were related! (250). [22] Isherwood, Caricatured Commentary.. That b*tch is dying cuz she old as hell." Old times there, it seems, are not forgotten at all. Besides race, what are some representations of slaves and slavery that are not complicity with the dominant ideology of this time? The Crows, to the best of my knowledge, have always been played by black actors in blackface, although a note in the text states, the ethnicity and/or gender of the actors playing the Crows is not specified.[13] The play combines dramatic realism in the scenes involving the Pattersons with satirically exaggerated blackface minstrelsy. Jacobs-Jenkins developed his take on The Octoroon while he was a Dorothy Strelsin Fellow at Soho Rep in the 2009/10 season. B J J isnt the only undressed playwright onstage for long. The Art of Dramatic Composition: A Prologue, "Branden Jacobs-Jenkins: Feel That Thought", "The Great Work Continues: The 25 Best American Plays Since 'Angels in America', "Amber Gray on 'An Octoroon,' at Soho Rep", "The Octoroon Delayed Opens This Week at PS122", "Branden Jacobs-Jenkins Tries to Revive The Octoroon", "Disgruntled Cast Member Issues Invite to P.S.122's Troubled Octoroon", "Soho Rep Reading of Branden Jacobs-Jenkins' An Octoroon to Feature Saycon Sengbloh and William Jackson Harper | Playbill", "Review: 'An Octoroon,' a Branden Jacobs-Jenkins Comedy About Race", "BERKELEY REPERTORY THEATRE | An Octoroon", "Cast announced for An Octoroon at Orange Tree", "Review: An Octoroon (Orange Tree Theatre)", "An Octoroon is taboo ridden, but thoughtful (Shaw Festival)", "Georgia Southern Theatre & Performance to Present "An Octoroon", "2017 Results | Critics' Circle Theatre Awards", For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf, Sister Mary Ignatius Explains It All For You, A Very Merry Unauthorized Children's Scientology Pageant, https://en.wikipedia.org/w/index.php?title=An_Octoroon&oldid=1138923673, Short description is different from Wikidata, Pages using infobox play with unknown parameters, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 12 February 2023, at 11:33. Cellist Lester St. Louis helps create the dun dun dun with his live accompaniment, which underscores much of the show. eNotes.com, Inc. [9] Following Hutcheon, Jane Barnette notes that a palimpsest can be read simultaneously or sequentiallythat is, (to an extent) one can isolate layers for consideration, or take in the entirety of the palimpsest at once, and, importantly, she reminds us that the stage palimpsest will necessarily be based more on image and sound than on the words in the play text. The auction begins and MClosky aggressively bids on Zoe, winning her. Intrageneric adaptation has received less theoretical attention than intergeneric or intermedial adaptation. The same can be said about Wahnotee's love for Paul, a young slave. (No.) Thats race as a subject that no one can get a comfortable hold on. "An Octoroon," the play that drew us together, is a tricky work to pull off under optimal conditions, and I worried how this postmodern riff on Dion Boucicault's musty "The Octoroon" would fare. [19] Nancy Grossman, Company One Wants You to Meet the Neighbors, Broadway World, 17 January 2011. http://www.broadwayworld.com/boston/article/Company-One-Wants-You-to-Meet-the-Neighbors-20110117 (accessed 5 December 2016). For Mr. Jacobs-Jenkins has deliberately built his play on slippery foundations, the kind likely to trip up any dramatist, performer or theatergoer. BJJ clarifies that in the time of the play, a photograph was a novel/innovative/contemporary way for the plot to be resolved. The Octoroon was a controversial play on both sides of the slavery debate when it debuted, as both abolitionists and pro-slavery advocates believed the play took the other camp's side. In doing so, Brer Rabbitor the dramatist himselfassesses the political impact of Jacobs-Jenkinss adaptation. The Crows wear black paint, have huge red lips, and, except for Jim, and Zip in his conversations with Jean, speak with the caricatured dialect and malapropisms of their nineteenth-century originals. The crunch comes when the good-hearted George Peyton has to choose between his love for Zoe, of one-eighth black ancestry, and his need to save the estate by marrying a rich heiress. [24] Jacobs-Jenkins quoted in Margaret Gray, Spotlight Shines Brighter on Appropriate Playwright Branden Jacobs-Jenkins, Los Angeles Times, 24 September 2015. http://www.latimes.com/entertainment/arts/la-ca-cm-branden-jacobs-jenkins-20150927-story.html (accessed 27 April 2017). While the text that Appropriate adapts is the genre of American family drama as a whole, Buried Child, itself a veritable patchwork of allusions to well-known family plays, will, in fact, prove to be the most significant single analog for Jacobs-Jenkinss play.[33]. 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