Magnolia, atlanta and dr. Martin luther king jr. a ... - Goodman Theatre

More documents

Recommendations

Info

IN THE ALBERT It was a city in which black people could own their own: Atlanta’s black community had its own doctors, lawyers and bankers. their own: Atlanta’s black community had its own doctors, lawyers and bankers. So a lot of black people flocked to Atlanta for the freedom that they couldn’t experience in other parts of the South. Atlanta was built as a railroad town, so it was very much centered on business. One of the main characters in the play, Thomas, is certainly part of that system of commerce and believes in it. He feels that as a black man in this country, he can have control over his destiny and be a part of the American dream. He feels a great sense of freedom in his neighborhood, Sweet Auburn, and as a realtor he is a successful, profitable businessman. So he does not see a need for change. TP: Another critical character in the play is Lily, who is on the verge of change in her own life. Can you talk a little bit about Lily and her relationship with Thomas? RT: Both Thomas and Lily were born on Magnolia Estate; both have escaped the soil on which they were born to try to create their own identities. Meanwhile, the tide waters of change are flowing across America, starting with the “Little Rock Nine” and Brown v. Board of Education. This tide is hitting Atlanta and people want it to slow down. At the time, Atlanta’s Peyton area was the invisible line between black and white Atlanta. Black realtors were circling around this area, while the new mayor Ivan Allen Jr. was saying, “We are not ready for the first black family to move onto this block. We need to slow down a bit or there will be white flight across America.” So he erected a barricade. During this time, the rules of society were changing—the lines that separated black and white Atlanta were becoming less defined. As a white woman in this society, Lily found her place becoming uncertain. So she left her family’s patch of earth on Magnolia Estate; she flew the coop, traveled around the world and orbited further and further out. Until the time when the play begins, Lily has been living a bohemian lifestyle, changing her name and her identity, trying to find herself. But when the play begins, she is suddenly called back home, where she has to deal with the different parts of herself that she thought she had left behind. Both Thomas and Lily are called back to Magnolia Estate, where they have to deal with their roots. TP: Another one of the source materials for Magnolia is The Cherry Orchard, by the great Russian playwright Anton Chekhov. RT: Yes, the plot is inspired by The Cherry Orchard, but the play is as Magnolia Blossoms with Support from Target Goodman Theatre is proud to salute Target for its generous support as the Lead Corporate Sponsor for Magnolia and returning Lead Diversity Night Sponsor. With Magnolia, Target continues its partnership with the Goodman on plays that create a cross-cultural experience for Chicago audiences and inspire broad participation by a diverse group of theatergoers. “Target is thrilled to partner with the Goodman to sponsor this world-premiere production of Magnolia by Regina Taylor and directed by Anna D. Shapiro, two outstanding women in theater,” said Laysha Ward, President, Target Community Relations. “Productions like Magnolia have the power to bring communities together by creating experiences that engage us in different perspectives, enrich our lives and celebrate the enduring spirit of humanity.” The Goodman gratefully recognizes Target’s longstanding commitment to making the arts affordable and accessible for children and families with diverse partnerships nationwide. Since 1946, Target has given 5 percent of its income to the communities it serves. That adds up to more than $3 million each and every week. 8
Suzanne Douglas and Jason Delane in Regina Taylor’s Drowning Crow. Photo by Liz Lauren. American as apple pie. Its roots lie deep in the American psyche in terms of the social changes happening in this country during Dr. King’s time. The play owes a great deal to Chekhov, but it owes as much to August Wilson and Tennessee Williams in themes and approach. Many of my ideas coincide with theirs. TP: Anna Shapiro is directing Magnolia— why do you think she’s a good match for this project? RT: I saw August: Osage County and loved the play and the production, so that led me to Anna Shapiro. I thought she could do a great job dealing with this big, dysfunctional family in a rich and layered way. She’s very smart, visceral and personal, and it’s been wonderful putting the pieces together with Anna to bring this production to the Goodman. TP: You have a long history with the Goodman. Where do you see this play fitting in with your previous work here? Do you think Magnolia is a shift or part of an ongoing conversation with Goodman audiences? RT: Magnolia certainly continues the dialogue of finding an individual voice and daring to make your own sound in this world. Miles Davis’ performance of “Bye, Bye Blackbird” is a riff on an old melody, but he infuses it with his own history. He creates a sound that comes from his soul, drawing on African and European and uniquely American melodies and rhythms to create his own sound that could not be contained or easily labeled. To escape pre-ordained labels and to dare to name yourself is the thread that continues through my work. TP: Could you talk about the title, Magnolia? RT: The magnolia tree is very connected to the way that these characters feel about the estate and the land where they were born. The roots of the magnolia tree are very deep and its blossoms are red, yellow, white, pink and blue-black— all of these colored blossoms come from the same tree. Like the blossoms of the magnolia tree, we are tied to our pasts. Whether we chop up or burn down the tree, the roots remain underneath and the tree will shoot back up. This is what we’re dealing with in America today: the issues of our past. Although today and tomorrow are filled with hope and promise, we can’t escape our past and our joined history. In America today, we have many different hues; we’re all mixed, but we all come from the same root ball of American history. Sponsors Bring Magnolia to Life Goodman Theatre thanks the following generous individuals for sponsoring the world-premiere production of Magnolia, a poignant reflection on the struggle for civil rights in 1963 Atlanta. Supporting the development of new work is vital to the continued advancement of the art of theater. Sondra and Denis Healy/Turtle Wax, Inc. Nancy Lauter McDougal and Alfred L. McDougal World Premiere Season Sponsors Peter and Linda Bynoe Joe and Palma Calabrese Doris and Howard Conant Brett J. Hart and Dontrey Britt Hart Neal S. Zucker Director’s Society Sponsors Leslie Carey Elizabeth Thompson Women’s Board Consortium Commitments as of February 16, 2009 9
Page 1 and 2: March - May 2009 Magnolia, atlanta
Page 3 and 4: IN THE ALBERT From the Artistic Dir
Page 5 and 6: OPPOSITE: Photo of Dr. Martin Luthe
Page 7 and 8: The Civil Rights Movement, 1954-196
Page 9: An Interview with Playwright Regina
Page 13 and 14: NA: And is that mode more about hei
Page 15 and 16: Once Upon a Time… The Story of
Page 17 and 18: Taking the Stage: A Celebration of
Page 19 and 20: Ruined Opens at Manhattan Theatre C
Page 21 and 22: The Goodman Receives Second Joyce A
Page 23 and 24: Goodman Preferred Hotel: Hotel Sax

Magnolia, atlanta and dr. Martin luther king jr. a ... - Goodman Theatre

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?