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    <id>tag:www.mpaact.org,2008-12-19://4</id>
    <updated>2013-02-07T06:12:15Z</updated>
    
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<entry>
    <title>If You Haven&apos;t Seen Leaves,Trees,Forest Here&apos;s Why You Should</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2013/02/if-you-havent-seen-leavestreesforest-heres-why-you-should.php" />
    <id>tag:www.mpaact.org,2013://4.158</id>

    <published>2013-02-07T05:45:44Z</published>
    <updated>2013-02-07T06:12:15Z</updated>

    <summary><![CDATA[Leaves, Trees, Forest at MPAACT | Theater reviewPaul Notice&rsquo;s new play shows how quickly and irrevocably ambition can muddy principle.By Zac ThompsonPublished: February 7, 2013 Charles Bowery (Trigney Morgan) is a bright, idealistic senior at Georgetown University with big plans...]]></summary>
    <author>
        <name>MPAACT</name>
        
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        <category term="Reviews" scheme="http://www.sixapart.com/ns/types#category" />
    
    
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        <![CDATA[<span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="LTF promo.jpg" src="http://www.mpaact.org/assets/LTF%20promo.jpg" width="492" height="330" class="mt-image-left" style="float: left; margin: 0 20px 20px 0;" /></span><h3>Leaves, Trees, Forest at MPAACT | Theater review<br />Paul Notice&rsquo;s new play shows how quickly and irrevocably ambition can muddy principle.</h3><h4>By Zac Thompson<br />Published: February 7, 2013</h4>  <p style="margin-bottom:12.0pt;"><span style="font-size:14.0pt;Arial&quot;,&quot;sans-serif&quot;;Times New Roman&quot;;color:#333333">Charles Bowery (Trigney Morgan) is a bright, idealistic senior at Georgetown University with big plans to change the world after graduation. Trouble is, the world isn&rsquo;t convinced he&rsquo;s as special as he thinks he is. Charles can&rsquo;t find a job&mdash;at least not the type of job he wants&mdash;and he&rsquo;s already struggling to afford such essentials as housing and weed. He would like a paid position on the staff of Rep. Clayton (Marc A. Rogers), the oily congressman he interns for, but Clayton isn&rsquo;t inclined to help anyone but Clayton.</span></p>  <p style="margin-bottom:12.0pt;"><span style="font-size:14.0pt;Arial&quot;,&quot;sans-serif&quot;;Times New Roman&quot;;color:#333333">At first, Paul Notice&rsquo;s new play feels like not much more than the record of a quarter-life crisis, with all of the entitled whining that entails. But then the playwright shifts gears. Through his fellow intern and on-again, off-again girlfriend (Shayla Jarvis), Charles learns that the socially conservative Clayton has an extramarital relationship with a man named Nathan (played as a light-in-the-loafers caricature by Terry Francois).</span></p>  <p style="margin-bottom:12.0pt;"><span style="font-size:14.0pt;Arial&quot;,&quot;sans-serif&quot;;Times New Roman&quot;;color:#333333">Granted, it&rsquo;s not the most original twist of all time. But as Charles ruthlessly uses the information about Clayton to his advantage, Notice shows how quickly and irrevocably ambition can muddy principle. In the end, both men are two sides of the same coin. In Carla Stillwell&rsquo;s brisk staging, UIC undergrad Morgan plays Charles with energy and confidence. More important, he brings a quality to the character that&rsquo;s not in great supply on the page: likability.</span></p><p>&nbsp;To see the orginal publishing please&nbsp;click <a href="http://timeoutchicago.com/arts-culture/theater/16024946/leaves-trees-forest-at-mpaact-theater-review">HERE</a></p>]]>
        
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<entry>
    <title></title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2012/06/bodiesreview-by-kd-hopkins-chicago.php" />
    <id>tag:www.mpaact.org,2012://4.138</id>

    <published>2012-06-04T22:40:00Z</published>
    <updated>2012-06-04T22:42:07Z</updated>

    <summary><![CDATA[BodiesReview by K.D. Hopkins (Chicago Theatre Beat)Carla Stillwell&rsquo;s brilliant new work is about the nature of family obligations, secrets, and the emotional labyrinth that is the Black church in America. The Catholic Church has been the most prevalent in the...]]></summary>
    <author>
        <name>MPAACT</name>
        
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        <category term="Reviews" scheme="http://www.sixapart.com/ns/types#category" />
    
    
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        <![CDATA[<p><b>Bodies</b></p><p>Review by K.D. Hopkins (Chicago Theatre Beat)</p><p>Carla Stillwell&rsquo;s brilliant new work is about the nature of family obligations, secrets, and the emotional labyrinth that is the Black church in America. The Catholic Church has been the most prevalent in the media with sex scandals and lawsuits. The church in the Black community is often the foundation and only source of family and security. They are bound by loyalty and secrets are held even tighter. In these days of full disclosure and over-exposure, there is very little heard or written about the Black church. Does that mean that there is no scandal or depraved behavior? Not by a long shot.</p><p>Bodies builds a story that encompasses the subtleties of a religious subculture that has always had to protect itself from larger society. The church is a refuge from racism, poverty, and quite often, the source of nurture. The Black family at the church in Bodies has a legacy to maintain.</p><p>The wonderful Andre Teamer plays the son who followed in his father&rsquo;s footsteps to become a man of God. Teamer has the resonant preacher&rsquo;s voice and the powerful posture of a man who uses the pulpit well. It is a stunning contrast when his character faces a heart wrenching family decision. Teamer&rsquo;s emotional range simmers under the surface and releases like steam.</p><p>Rev. Black is responsible for his younger brother Calvin, an antisocial man who never fit in with his religious heritage. William R. Riley&rsquo;s portrayal of Calvin Black is deceptively brilliant. Riley&rsquo;s Calvin seems to be the sullen family scion living on the good graces of his late father&rsquo;s legacy and his older brother&rsquo;s desire to be a forgiving man of God. Legacy and ambition turns out to be a dangerous mask of denial. Calvin&rsquo;s motivations turn sinister and Riley portrays the emergence of what is termed a reprobate character in a stunning turn of events. The scene where he is confronted with his behavior is chilling. His face becomes a mask of fury. He is like a cornered and feral animal forced to admit to brutal crimes.</p><p>Corena Black (Ebony Joy) is the very portrait of a minister&rsquo;s wife, as I know it. Joy creates the archetypal minister&rsquo;s wife. She is devoted, strong willed, and subservient only to a point. The minister&rsquo;s wife is always the power behind the pulpit. That has been my experience with every Baptist church I have experienced. Corena is an upstanding Christian woman who loves her husband. Stillwell has given this minister&rsquo;s wife a sexy backbone that is mighty refreshing. Joy is voluptuous and funny. She brings levity and a grounding influence to the action. She is very skilled at turning from that levity to being haunted by a ghost and accusations of denial akin to Peter&rsquo;s denial of Jesus at Gethsemane. At first the intermingling of flash-forward and flashback is jarring &ndash; but as the action continues, the present and future as recent past becomes very effective. Corena&rsquo;s fervent prayers and calls to God for strength struck me to the core. She sees a horrible crime as the result of sickening behavior and her benign denial. Joy&rsquo;s portrayal of shock and nausea never goes into Grand Guignol over-the-top emoting.</p><p>Sidney Miller beautifully portrays the character of Lane, the arranged Christian wife for Calvin.  In the words of Pastor Black, Lane is a good Christian woman washed in the blood of the lamb. She is devout and has saved herself for marriage into the age of what is still considered spinsterhood. She wears what is called the visage of Churchie Mae, as was defined by some of my relatives when describing women of God. She wears modest attire with no &ldquo;scarification of the flesh&rdquo; (ear piercing or tattoos) because that is how women are told to behave according to the Bible. Miller is heartbreaking as she comes to see that her dreams of a marriage &lsquo;sent to her from God&rsquo; are not only an illusion but also, a nightmare.</p><p>Caren Blackmore plays the haunting wraithlike Natalie Black, the daughter of Calvin, and a woman who abandoned her. Blackmore spends most of the evening behind a translucent screen backlit and swathed in flowing red. Her childlike voice rings to the core, speaking from the books of Lamentations and the crucifixion described in the New Testament. When she is not behind the screen, Blackmore&rsquo;s delicate features and petite stature project a young child. She is innocence and yet innocence ruined by the betrayal of those who are supposed to protect her.</p><p>Stilwell&rsquo;s writing is gorgeously brutal and builds to a not so simple climax that evoked gasps from the audience and from me. Her dialogue is economical, with just the right touch of scripture and &lsquo;amen&rsquo;s&rsquo; thrown in for proper evocation of church life and church business. Chuck Smith&rsquo;s direction is smooth and metered, giving a surreal quality to the ghost visions. The set looks like every Baptist church office of which I have ever been privy. It is authentic and spare with a stained glass cyc wall. The lighting (designed by Casey Diers) gets a special mention because it is integral to the action. The lights signal a great deal of foreshadowing and a sinister motif.</p><p>I found myself sitting for a few moments after I left the theater. Bodies&rsquo; brutality is the stuff of nightmares, but also an eye opener for those who say that &ldquo;it&rsquo;s not in my backyard.&rdquo;</p>]]>
        
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<entry>
    <title></title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2011/09/the-reader-92911---recommendedspeaking.php" />
    <id>tag:www.mpaact.org,2011://4.132</id>

    <published>2011-09-29T23:31:43Z</published>
    <updated>2011-09-29T23:33:08Z</updated>

    <summary>The Reader 9/29/11 - RECOMMENDEDSpeaking in Tongues: The Chronicles of BabelPlaywright Shepsu Aakhu interviewed eight members of his extended family about the years they spent living in the Washington Park housing project, which used to stand near Lake Park and...</summary>
    <author>
        <name>MPAACT</name>
        
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        <category term="Reviews" scheme="http://www.sixapart.com/ns/types#category" />
    
    
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        <![CDATA[<p>The Reader 9/29/11 -<b> RECOMMENDED</b></p><p><b>Speaking in Tongues: The Chronicles of Babel</b></p><p><br />Playwright Shepsu Aakhu interviewed eight members of his extended family about the years they spent living in the Washington Park housing project, which used to stand near Lake Park and 41st. The resulting show, consisting of verbatim excerpts from those interviews, is digressive, making the two acts appear nearly identical and the two-hour running time feel destinationless. I couldn't have cared less (about that). Aakhu's insightful, engaged, articulate interviewees make extraordinary company, and director Andrea Dymond's exquisite cast speak with the kind of graceful candor that makes everything ring true. Best of all, Aakhu understands that good theater isn't social work or group therapy. He offers no lessons but simply charts the evolution of complex lives lived in a nearly impossible situation. --Justin Hayford</p>]]>
        
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<entry>
    <title></title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2011/02/ghosts-lays-race-adolescence-bareby.php" />
    <id>tag:www.mpaact.org,2011://4.122</id>

    <published>2011-02-01T22:58:30Z</published>
    <updated>2011-10-30T07:03:31Z</updated>

    <summary>&apos;Ghosts&apos; lays race, adolescence bareBy Nina Metz, Tribune reporterEvery so often a play comes along that captures the heady mix of comedy and frightening unpredictability that defines teenage life. These kinds of plays can be some of the most exciting...</summary>
    <author>
        <name>MPAACT</name>
        
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        <category term="Reviews" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="ghostofatwoodreview" label="Ghost of Atwood Review" scheme="http://www.sixapart.com/ns/types#tag" />
    
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        <![CDATA[<h1 style="text-align: center"><b>'Ghosts' lays race, adolescence bare</b></h1><p style="text-align: center">By Nina Metz, Tribune reporter</p><p style="text-align: center">Every so often a play comes along that captures the heady mix of comedy and frightening unpredictability that defines teenage life. These kinds of plays can be some of the most exciting nights at the theater, which is the case with &quot;Ghosts of Atwood,&quot; the terrific new show from playwright Shepsu Aakhu about the turbulent months he spent boarding at a Wisconsin military school in the late 1970s &mdash; the rare black face in a sea of white.</p><p>As a portrayal of schoolboy camaraderie and peer pressure, Aakhu's play bears a resemblance to Barry Levinson's 1996 film &quot;Sleepers&quot; and more pointedly Alan Bennett's 2004 play &quot;The History Boys.&quot; But &quot;Ghosts of Atwood&quot; (produced by MPAACT on the Greenhouse mainstage) stands on its own. Though it has some minor issues that need addressing, it has all the makings of a breakout hit and deserves a long run.</p><p>At the play's center is Quinn (Wardell Julius Clark), a sweet-faced kid from Chicago who is beaten to a pulp upon his arrival at the school, Atwood. The hazing has less to do with race than his newbie status &mdash; but the racial tension is ever present. &quot;This was a brand new alone,&quot; Quinn says. &quot;I was alone with white people.&quot; It is a very good performance from Clark, who portrays Quinn's naivet&eacute; with a real sense of texture and human nuance.</p><p>An upperclassman named Whitehead is the only other black on campus (a first-rate Corey Spruill, wound tight in all the right ways), but for the most part he leaves Quinn to fend for himself in the dorms &mdash; a hothouse of unchecked adolescent energy fueled by testosterone, marijuana and Led Zeppelin.</p><p>The play is a major step forward for MPAACT, which is one of the city's only black storefront theater companies. Not everything works. Casey Diers' lighting is clunky and the script could use some edits &mdash; the too-long, abstract preamble needs to go. But the play has serious commercial potential. Director Andrea J. Dymond pulls no punches. The production is light enough on its feet to sidestep anything too earnest &mdash; horrible as these boys are, they are also entertaining doofs &mdash; and the show has a real sense of momentum.</p><p>Brooding and complicated, the boys are quick to taunt one another but just as quick to crack jokes. Fistfights break out with alarming frequency. The school itself doles out its share of physical punishments. And at night, under the cover of darkness, the boys are haunted by &quot;ghosts&quot; &mdash; their euphemism for a particular adult who roams the halls with odious intentions.</p><p>Dymond and her crackerjack, 13-member ensemble (including Dan Loftus as the stern but fair drill sergeant and Zack Shornick as a bratty jerkoff cadet) never once let up. There is a locker room mentality that courses through everything these boys say and do, and Aakhu brings it all to life with dialogue that rings true.</p><p>&nbsp;</p><p style="text-align: center">&nbsp;</p>]]>
        
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<entry>
    <title>Introducing the MPAACT FILM JAM!</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2010/09/introducing-the-mpaact-film-jam.php" />
    <id>tag:www.mpaact.org,2010://4.111</id>

    <published>2010-09-16T04:02:01Z</published>
    <updated>2010-09-16T04:38:17Z</updated>

    <summary><![CDATA[WE ARE PROUD TO INTRODUCE OUR NEW FILM JAM SERIES!Join us as we celebrate feature length and short films by local filmmakers around the Chicagoland area!The JAM begins&nbsp;Thursday, September 30th at 10PM with&nbsp;our Kick-Off event! There will be wine and...]]></summary>
    <author>
        <name>MPAACT</name>
        
    </author>
    
        <category term="Events" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="News" scheme="http://www.sixapart.com/ns/types#category" />
    
    
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        <![CDATA[<p><b>WE ARE PROUD TO INTRODUCE OUR NEW FILM JAM SERIES!</b></p><p>Join us as we celebrate feature length and short films by local filmmakers around the Chicagoland area!</p><p>The JAM begins&nbsp;<b>T</b><b>hursday, September 30th at 10PM </b>with<span class="Apple-style-span" style="font-weight: normal; ">&nbsp;</span><b><span class="Apple-style-span" style="font-weight: normal; ">our Kick-Off event! There will be wine and cheese, an engaging discussion, and previews of some the films to be offered during the series!</span></b></p><p>Here is just a taste of what's to come...</p><p><b><u>Friday, October 1st, 2010</u></b></p><p>Three short films directed and produced by David Shanks</p><p><b><u>Saturday, October 2nd, 2010</u></b></p><p>A documentary on Fred Hampton produced by Ray Baker</p><p><b><u>Friday, October 8th, 2010</u></b></p><p>&quot;The Gilded Six Bits&quot; directed by Mark Spencer</p><p><b><u>Saturday, October 9th, 2010</u></b></p><p>&quot;The Ballad of Sadie Hawkins&quot; directed by Mark Spencer</p><p>&nbsp;</p><p>...with more to follow!</p><p>Admission for each evening is <b>just $10!</b></p><p>&nbsp;</p><p>&nbsp;</p>]]>
        
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<entry>
    <title>MPAACT WELCOMES NEW &quot;RESIDENT ARTIST&quot; !!!!</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2010/09/mpaact-welcomes-new-resident-artist.php" />
    <id>tag:www.mpaact.org,2010://4.110</id>

    <published>2010-09-05T01:02:30Z</published>
    <updated>2011-10-30T07:02:20Z</updated>

    <summary><![CDATA[So, Monday, Aug 30th, MPAACT held a nice little cocktail party to welcome our new artistic associates and resident artist.&nbsp; This is a new thing for us and we are most excited!&nbsp; See the invite below...DIRECTORSChuck SmithCarla StillwellAndrea J. DymondKimberley...]]></summary>
    <author>
        <name>MPAACT</name>
        
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        <![CDATA[<p>So, Monday, Aug 30th, MPAACT held a nice little cocktail party to welcome our new artistic associates and resident artist.&nbsp; This is a new thing for us and we are most excited!&nbsp; See the invite below...</p><p><table border="0" cellspacing="0" cellpadding="0" width="482"><colgroup><col width="256" /><col width="226" /></colgroup><tbody><tr height="26"><td height="26" width="256"><strong><font size="5">DIRECTORS</font></strong></td></tr><tr height="21"><td>Chuck Smith</td></tr><tr height="21"><td>Carla Stillwell</td></tr><tr height="21"><td>Andrea J. Dymond</td></tr><tr height="21"><td>Kimberley Crutcher</td></tr><tr height="22"><td height="22"><strong>PLAYWRIGHTS</strong></td></tr><tr height="21"><td>Shepsu Aakhu&nbsp;</td></tr><tr height="21"><td>Carla Stillwell</td></tr><tr height="21"><td>Addae Moon</td></tr><tr height="21"><td>Keith Josef Adkins</td></tr><tr height="21"><td>Aaron Carter</td></tr><tr height="21"><td><p>Kevin Douglas</p><p>&nbsp;</p></td></tr><tr height="22"><td height="22"><p>&nbsp;</p><p>&nbsp;</p><p><strong>DRAMATURGY</strong></p></td></tr><tr height="21"><td>Lenora Inez Brown</td></tr><tr height="22"><td height="22">&nbsp;</td></tr><tr height="22"><td height="22"><strong>COSTUME DESIGN</strong></td></tr><tr height="21"><td>Evelyn Danner</td></tr><tr height="21"><td>Sharlet Webb</td></tr><tr height="22"><td height="22">&nbsp;</td></tr><tr height="22"><td height="22"><strong>SET DESIGN</strong></td></tr><tr height="21"><td>Jessica Kuehnau&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;</td></tr><tr height="21"><td>Shepsu Aakhu</td></tr><tr height="21"><td>Danjuma Gaskin</td></tr><tr height="22"><td height="22"><strong>LIGHTING DESIGN</strong></td></tr><tr height="21"><td height="21">&nbsp;</td><td>Casey Diers</td></tr><tr height="22"><td height="22"><strong>RESIDENT MUSICIANS</strong></td></tr><tr height="21"><td>Theodore Berry</td></tr><tr height="21"><td height="21"><strong>&nbsp;</strong></td><td>Charly Barbera</td></tr><tr height="17"><td><font size="2">Aum Mu Ra</font></td></tr><tr height="21"><td>Shepsu Aakhu</td></tr><tr height="21"><td>Danujuma Gaskin</td></tr><tr height="21"><td height="21">&nbsp;</td><td>George Blaise</td></tr><tr height="21"><td>William Kurk</td></tr><tr height="22"><td height="22"><strong>SOUND DESIGN</strong></td></tr><tr height="21"><td>Theodore Berry</td></tr><tr height="21"><td>Shepsu Aakhu&nbsp;</td></tr><tr height="21"><td>Larry Nance</td></tr><tr height="22"><td height="22"><strong>PROPERTY MASTER</strong></td></tr><tr height="21"><td>Andre Teamer</td></tr><tr height="21"><td height="21"><strong>MEDIA ARTIST</strong></td></tr><tr height="21"><td>Deidre Searcy</td></tr><tr height="19"><td height="19"><strong>PRODUCTION STAGE MANAGER</strong></td></tr><tr height="22"><td>Daryl Charisse</td></tr><tr height="21"><td>Marie Cisco</td></tr><tr height="22"><td height="22"><strong>CHOREOGRAPHY</strong></td></tr><tr height="21"><td>Lisa Johnson Willingham</td></tr><tr height="22"><td height="22"><strong>BOARD MEMBERS</strong></td></tr><tr height="21"><td>Hilal Tamrat</td></tr><tr height="21"><td>Kevin West</td></tr><tr height="21"><td>Juelle Daley</td></tr><tr height="21"><td>Kiki Powel</td></tr><tr height="21"><td>Jamilah Owens</td></tr><tr height="22"><td height="22"><strong>COMPANY MEMBERS</strong></td></tr><tr height="21"><td>Aum Mu RA</td></tr><tr height="21"><td>Carl Barnet</td></tr><tr height="21"><td>George Blasie</td></tr><tr height="21"><td>William S. Carroll</td></tr><tr height="21"><td>Daryl Charisse</td></tr><tr height="21"><td>Marie Cisco</td></tr><tr height="21"><td>Evelyn Danner</td></tr><tr height="21"><td>Brittany Davis</td></tr><tr height="21"><td>Kevin Douglas</td></tr><tr height="21"><td>Earl Fox</td></tr><tr height="21"><td>Terry Francois</td></tr><tr height="21"><td>Mark Franklin</td></tr><tr height="21"><td>LaNisa Frederick</td></tr><tr height="21"><td>Danjuma Gaskin</td></tr><tr height="21"><td>Leonard House</td></tr><tr height="21"><td>Eddie Jordan III</td></tr><tr height="21"><td>Nambi E. Kelley</td></tr><tr height="21"><td>Reginald Lawrence</td></tr><tr height="21"><td>Sidney Miller</td></tr><tr height="21"><td>Terrence Mosley</td></tr><tr height="21"><td>Sean Raul Neron</td></tr><tr height="21"><td>Tamberla Perry</td></tr><tr height="21"><td>Keith Smitherman</td></tr><tr height="21"><td>Carla Stillwell</td></tr><tr height="21"><td>Andre Teamer</td></tr><tr height="21"><td>Demetria Thomas</td></tr><tr height="21"><td>Eric Walker</td></tr><tr height="21"><td>Sharlet Webb</td></tr><tr height="21"><td>Sati Word</td></tr></tbody></table></p>]]>
        
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<entry>
    <title>Ten Square featured on NPR&apos;s 848</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/10/ten-square-featured-on-nprs-848.php" />
    <id>tag:www.mpaact.org,2009://4.98</id>

    <published>2009-10-16T15:31:13Z</published>
    <updated>2011-10-30T07:01:03Z</updated>

    <summary><![CDATA[From the Chicago Public Radio's website:Chicago Playwright Imagines Life After ReparationsChicago playwright Shepsu Aakhu says he didn&rsquo;t make up any of the atrocities depicted in his new play.&nbsp;Ten Square imagines what life might be like for African Americans in a...]]></summary>
    <author>
        <name>MPAACT</name>
        
    </author>
    
        <category term="Afrikan Centered Theatre &amp; Culture" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Events" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="News" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Reviews" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="carlastillwell" label="Carla Stillwell" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="shepsuaakhu" label="Shepsu Aakhu" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="tensquare" label="Ten Square" scheme="http://www.sixapart.com/ns/types#tag" />
    
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        <![CDATA[<p>From the Chicago Public Radio's website:</p><h3><span class="news-headline"><span id="ctl00_content1_lblHeadline">Chicago Playwright Imagines Life After Reparations</span></span></h3><p><span id="ctl00_content1_lblTranscript">Chicago playwright Shepsu Aakhu says he didn&rsquo;t make up any of the atrocities depicted in his new play.<em>&nbsp;<a target="_blank" href="../../../../../shows/mpaact-pegasus-players-present-ten-square/">Ten Square</a></em> imagines what life might be like for African Americans in a society where reparations were actually made for slavery. Aakhu says contemporary and historical political systems helped fuel his dystopic vision &ndash; the post-war division of Germany, the cold-war isolation of Cuba and the ongoing conflict in Israel and Palestine. He and lead actress Carla Stillwell spoke with Richard Steele.</span></p><p><span id="ctl00_content1_lblTranscript"><a href="http://www.chicagopublicradio.org/Content.aspx?audioID=37441">Click here </a>to listen to the interview<br /></span></p>]]>
        
    </content>
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<entry>
    <title>Audience Feedback on Ten Square</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/10/audience-feedback-on-ten-square.php" />
    <id>tag:www.mpaact.org,2009://4.97</id>

    <published>2009-10-13T14:02:19Z</published>
    <updated>2009-10-13T14:11:40Z</updated>

    <summary><![CDATA[MPAACT welcomes your reactions to our current show, Ten Square, a co-production with Pegasus Players.&nbsp; Please leave your thoughts, impressions, and questions below.&nbsp; What moment stood out to you? What did the play leave you thinking about?&nbsp; We would be...]]></summary>
    <author>
        <name>MPAACT</name>
        
    </author>
    
        <category term="News" scheme="http://www.sixapart.com/ns/types#category" />
    
        <category term="Performances" scheme="http://www.sixapart.com/ns/types#category" />
    
    <category term="review" label="Review" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="tensquare" label="Ten Square" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.mpaact.org/">
        <![CDATA[<span style="display: inline;" class="mt-enclosure mt-enclosure-image"><img width="150" height="250" alt="Thumbnail image for Thumbnail image for The Review 2.jpg" src="http://www.mpaact.org/assets_c/2009/10/The Review 2-thumb-967x1617-142-thumb-150x250-143.jpg" class="mt-image-left" style="margin: 0pt 20px 20px 0pt; float: left;" /></span><p>MPAACT welcomes your reactions to our current show, <b>Ten Square</b>, a co-production with Pegasus Players.&nbsp; Please leave your thoughts, impressions, and questions below.&nbsp; What moment stood out to you? What did the play leave you thinking about?&nbsp; We would be honored if you'd share your thoughts with us.</p><p>&nbsp;</p><p>&nbsp;</p>]]>
        
    </content>
</entry>

<entry>
    <title>An Interview with Shepsu Aakhu on Ten Square</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/09/an-interview-with-shepsu-aakhu-on-ten-square.php" />
    <id>tag:www.mpaact.org,2009://4.95</id>

    <published>2009-09-15T11:41:31Z</published>
    <updated>2011-10-30T06:59:45Z</updated>

    <summary><![CDATA[Lenora Inez Brown is a freelance dramaturg and the Head of Dramaturgy and Dramatic Criticism at The Theatre School at DePaul University.&nbsp; As &quot;Ten Square's&quot; dramaturg, she posed a few questions to playwright Shepsu Aakhu to gain a sense of...]]></summary>
    <author>
        <name>MPAACT</name>
        
    </author>
    
        <category term="Afrikan Centered Theatre &amp; Culture" scheme="http://www.sixapart.com/ns/types#category" />
    
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    <category term="playwriting" label="Playwriting" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="shepsuaakhu" label="Shepsu Aakhu" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="tensquare" label="Ten Square" scheme="http://www.sixapart.com/ns/types#tag" />
    
    <content type="html" xml:lang="en" xml:base="http://www.mpaact.org/">
        <![CDATA[<p><i>Lenora Inez Brown is a freelance dramaturg and the Head of Dramaturgy and Dramatic Criticism at The Theatre School at DePaul University.&nbsp; As &quot;Ten Square's&quot; dramaturg, she posed a few questions to playwright Shepsu Aakhu to gain a sense of how he set about to create the play's dystopian world. </i><br /><br /><br /><b>Many futuristic or dystopian worlds often respond to major questions within the current society. What prompted this story for you? </b><br />SA: The reparations conversations in the Black community, and how they're hyper- focused on money, caught up in money fantasies like we do with the lottery.<br /><br /><b>How does, if at all, the recent apology from the US government impact this story? </b><br />SA: It feeds the plausibility of it. The country has shown so much movement in my lifetime. It just supports the idea that anything is possible. <br />&nbsp;</p><span style="display: inline" class="mt-enclosure mt-enclosure-image"><a href="http://www.mpaact.org/assets_c/2009/07/10square-flag-thumb-300x157-131.jpg"><img style="margin: 0pt 20px 20px 0pt; float: left" class="mt-image-left" alt="Thumbnail image for 10square-flag.JPG" width="300" height="157" src="http://www.mpaact.org/assets_c/2009/07/10square-flag-thumb-300x157-131-thumb-300x157-132.jpg" /></a></span><p><b>This story is set in the future and in an area that was initially considered to be the ideal place. Are there similar places like this in the real world? What triggers their evolution? </b><br />SA: America itself is an enormous social experiment.&nbsp; I don't know how idyllic it is for anyone except a very small minority of the population, but it is certainly a daring experiment.&nbsp; For some- the experiment has worked well, for others- not. Ten Square is wrapped up in the potential of America, both positive and negative. I suspect it is the same with most republics, so much potential both positive and negative.&nbsp; France, England, Liberia, Israel, Ghana, all come to mind as similar places with respect to potential.<br /><br /><b>What else did you consider when creating this fictional world? </b><br />It was important to me for this world to be plausible.&nbsp; Not just plausible, but tangible.&nbsp; In storytelling there is this concept called &quot;the suspension of disbelief&quot;.&nbsp; This tendency -&quot;not&quot; to believe -can be a small obstacle, or a large one.&nbsp; I wanted it to be as small as possible, so I drew on real world events.&nbsp; The wall is mostly associated with Berlin, but there has also been a lot of discussion of &quot;walling in&quot; the Palestinians in Israel, or the U.S. &quot;walling out&quot; the Illegal aliens migrating from Central America. <br /><br />The behavior of the state was patterned after Cuba and it's cold War isolation from much of the west. Particularly interesting to me was the propaganda battle between Cuba and the U.S. -- much of which was waged over radio airwaves.&nbsp; I also drew from war propaganda in general- such as the leaflet drops in Iraq and Iran during the war on Terror.<br /><br /><b>Do any other contemporary political situations influence this play? </b><br />Yes. There is the ample perspective provided by the American Indian reservations (Or Native American if you prefer). This relationship between the greater U.S. government and these little pockets of Sovereignty -- ripe with so much contradiction and conflict of interest was fascinating to me. I am intrigued by the idea that the U.S. government surrenders the rule of Constitution law on a reservation and allows the &quot;locals&quot; to self govern, but these local laws cannot extent beyond the reservation itself.&nbsp; So in many places the effect of this sovereignty is the encouragement of the isolation of it residents.&nbsp; But these communities rarely have the resources to take care of their own citizens, so what results is this internal rot of poverty, poor education, and despair. The residents will lose much of their identity and self-determination if they leave the reservation, but if they stay they are relegated to places with few resources, and little ability to provide for their family's basic needs.<br /><b><br />What are your thoughts on Utopian communities? </b><br />SA: Nice idea...Don't know that they ever really work. The thing that makes people so special is that we have the ability to both perceive and define our experiences. I don't know that you can ever get an experience to be perceived and defined the same way by everyone.<br /><br /><b>What draws you to create for the theatre? </b><br />SA: Storytelling is deep in my family tradition. I am drawn to stories, but I am also drawn to art that one can create with others. Theater and music are the best collaborations I have ever experienced.<br /><br /><b>What does this piece offer in terms of understanding community? </b><br />SA: Some things I have to leave for the audience.&nbsp; Sometimes people ask: &quot;What does the play have to say?&quot; For me I am always fascinated with the question:&nbsp; &quot;What does the audience have to say?&quot; Most of how the play speaks to an audience is defined by what the audience brings into the theatre with them. No matter what your experiences with community, the play will have resonance. What that resonance is can only be defined by what the audience comes to the play with. So, what the play offers differs from person to person. I can only discuss what it offers to me, and frankly I think that's the least interesting view.</p>]]>
        
    </content>
</entry>

<entry>
    <title>MPAACT Receives 14 nominations from the Black Theatre Alliance</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/08/mpaact-receives-14-nominationss-from-the-black-theatre-alliance.php" />
    <id>tag:www.mpaact.org,2009://4.93</id>

    <published>2009-08-03T18:55:53Z</published>
    <updated>2009-08-03T19:19:21Z</updated>

    <summary><![CDATA[The Black Theatre Alliance announced its nominations for the 2008/09 season today.&nbsp; MPAACT received 14 nominations including Best Play, Best Direction (2), Best Writer (2) and Best Ensemble(3).&nbsp; We would like to thank everyone involved in making our 2008/2009 season...]]></summary>
    <author>
        <name>MPAACT</name>
        
    </author>
    
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    <category term="awards" label="Awards" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="carlastillwell" label="Carla Stillwell" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="kevindouglas" label="Kevin Douglas" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="lydiardiamond" label="Lydia R. Diamond" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="mignonmcphersonnance" label="Mignon McPherson Nance" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="nambiekelley" label="Nambi E. Kelley" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="noexperiencenecessary" label="No Experience Necessary" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="radicalhearsay" label="Radical Hearsay" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="satiword" label="Sati Word" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="shepsuaakhu" label="Shepsu Aakhu" scheme="http://www.sixapart.com/ns/types#tag" />
    <category term="stageblack" label="Stage Black" scheme="http://www.sixapart.com/ns/types#tag" />
    
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        <![CDATA[<p>The Black Theatre Alliance announced its nominations for the 2008/09 season today.&nbsp; MPAACT received 14 nominations including Best Play, Best Direction (2), Best Writer (2) and Best Ensemble(3).&nbsp; We would like to thank everyone involved in making our 2008/2009 season a success.&nbsp; We also congratulate company member Nambi E. Kelley for her writer nomination.</p><p><b>For full list of MPAACT nominations click &quot;more&quot;<br /></b></p>]]>
        <![CDATA[<h4>Best Play</h4><h5>No Experience Necessary</h5><h4>Best Direction of a Play</h4><h5>Kimberly Crutcher - Radical Hearsay</h5><h5>Mignon McPherson Nance - Stage Black</h5><h4>Best Writing of a Play</h4><h5>Lydia R. Diamond - Stage Black</h5><h5>Kevin Douglas - No Experience Necessary</h5><h5>(Nambi E. Kelley - Hope VI at Chicago Dramatist)</h5><h4>Best Ensemble</h4><h5>No Experience Necessary</h5><h5>Stage Black</h5><h5>Radical Hearsay</h5><h4>Best Performance in an Ensemble (male)</h4><h5>Sati Word - Stage Black</h5><h4>Best Performance in an Ensemble (female)</h4><h5>Ashlee Olivia - Radical Hearsay</h5><h5>Carla Stillwell - Radical Hearsay</h5><h4>Best Lighting Design</h4><h5>Joe Giovanetti - No Experience Necessary</h5><h4>Best Sound Design</h4><h5>Souls of Black Folk - No Experience Necessary</h5><h4>Best Set Design</h4><h5>Shepsu Aakhu - Stage Black</h5><h4>Additional Related Nominations:</h4><p>Terrance Mosley - Most Promising Actor (Stage Black)</p><p>Ashlee Olivia - Most Promising Actress (Radical Hearsay, No Experience Necessary</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p>]]>
    </content>
</entry>

<entry>
    <title>Chicago Ten Square Restitution Project </title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/07/chicago-ten-square-restitution-project.php" />
    <id>tag:www.mpaact.org,2009://4.90</id>

    <published>2009-07-14T14:17:25Z</published>
    <updated>2009-07-14T14:27:23Z</updated>

    <summary><![CDATA[On June 18, 2009, in a historic move, the US Senate apologized for slavery almost 150 years after the start of the Civil War.The resolution, passed by voice vote, said it was important for Americans to apologize for slavery &ldquo;so...]]></summary>
    <author>
        <name>MPAACT</name>
        
    </author>
    
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        <![CDATA[<p>On June 18, 2009, in a historic move, the US Senate apologized for slavery almost 150 years after the start of the Civil War.</p><span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="10square-flag.JPG" width="300" height="157" class="mt-image-right" style="float: right; margin: 0 0 20px 20px;" src="http://www.mpaact.org/assets_c/2009/07/10square-flag-thumb-300x157-131.jpg" /></span><p>The resolution, passed by voice vote, said it was important for Americans to apologize for slavery &ldquo;so they can move forward and seek reconciliation, justice, and harmony for all people of the United States.&rdquo; It was passed on the day before Juneteenth, which commemorates the emancipation of slaves in 1865.</p><p>A disclaimer tacked on at the end said nothing in the resolution authorizes or supports reparations for slavery.</p><p>&ldquo;Let us make no mistake: This resolution will not fix lingering injustices,&rdquo; said Senator Tom Harkin, who first introduced the apology years ago. &ldquo;While we are proud of this resolution and believe it is long overdue, the real work lies ahead.&rdquo;</p>]]>
        <![CDATA[<p>&nbsp;<span class="Apple-style-span" style="line-height: 16px; ">The Iowa Democrat&rsquo;s co-sponsor on the apology was Republican Senator Sam Brownback, whose state was dubbed &ldquo;Bleeding Kansas&rdquo; by newspaper editor Horace Greeley for its fierce battles over slavery.</span></p><p style="line-height: 1.4em; ">The resolution now moves to the House, which passed a similar measure in the last Congress. That measure did not, however, include the disclaimer about reparations.</p><p style="line-height: 1.4em; ">In his floor remarks, Senator Roland Burris, Democrat of Illinois and the Senate&rsquo;s only black member, said that the &ldquo;disclaimer in no way would eliminate future actions that may be brought before this body that may deal with reparations.&rdquo;</p><p style="line-height: 1.4em; ">What does this mean for us in the fight for true restitution to those of us who are descendants of slaves in this country? Those of us who were denied our birth rights? Denied our inheritance of land that was earned with the blood of our ancestors?</p><p style="line-height: 1.4em; ">Here in Chicago, like in many cities in this nation, many political leaders and private organizations like the Chicago &ndash; Ten Square Restitution Project have been fighting for the African Americans birth right to reparations for the atrocities of slavery.</p><p style="line-height: 1.4em; ">&quot;The future of race relations will be determined by reparations for slavery,&quot; U.S. Rep. Bobby Rush (D-Ill.) told a joint hearing of the Chicago City Council Finance and Human Relations committees in 2000.</p><p style="line-height: 1.4em; ">Rush was among the first to testify at City Hall on whether descendants of African-American slaves deserve compensation from the U.S. government. &quot;The concept of reparations is simple,&quot; he said. &quot;Reparations are payable when a crime against humanity has been committed by one people against another. Certainly, we can all agree that 400 years of slavery constitutes a crime against humanity.</p><p style="line-height: 1.4em; ">&quot;The United States may choose to put its blinders on when it comes to reparations for African-Americans. But the horrendous nature of American slavery is well documented.&quot; Ignoring it, he said, would be &quot;as ineffective as covering an open wound with a Band-Aid.&quot;</p><p style="line-height: 1.4em; ">Rush said he was &quot;uncertain on the amount&quot; of any reparations. Claud Anderson, author of &quot;Black Labor White Wealth; The Search for Power and Economic Justice,&quot; told the committee that reparations are needed because affirmative action isn't working for African-Americans.</p><p style="line-height: 1.4em; ">Anderson, who said he wrote the first affirmative action plan in 1970, argued that black people are worse off now than immediately following the Civil War. &quot;(Affirmative action) does nothing for black people and helps others coming into this country to piggyback on you,&quot; Anderson said.</p><p style="line-height: 1.4em; ">Ald. Dorothy Tillman (3rd), an outspoken member of the council's black caucus, who crossed racial and ethnic lines to gather signatures of more than 20 colleagues who support hearings on the matter. Tillman compared the bid for reparations to the United States granting money to Japanese-Americans who were interned during World War II.</p><p style="line-height: 1.4em; ">Under a 1988 Federal Restitution Law, about 80,000 survivors of the 120,000 Japanese-Americans sent to internment camps received roughly $20,000 apiece. &quot;I think it's time for black folks to receive reparations, too.&quot; Tillman said. Asked how it would be possible to determine which blacks would be eligible for reparations, Tillman said: &quot;When I look at blacks they are all direct descendants of slaves.&quot;</p><p style="line-height: 1.4em; ">Tillman said that a cash settlement &quot;might be impossible.&quot; But reparations advocates nationally are discussing such options as low-interest loans &quot;to help rebuild the black community,&quot; special health initiatives targeted at African-Americans, and educational help, including scholarships, for black youngsters, she said.</p><p style="line-height: 1.4em; ">Tillman acknowledged that state and federal governments ultimately will be the primary venues for deciding the reparations issue, but &quot;the city can do some things&quot; as well. She declined to elaborate. U.S. Rep.Danny Davis(D-Ill.) told the committee that many problems facing the African-American community -- poor health care, high unemployment and a disproportionate number of blacks in prison -- stem from the continuing effects of slavery.</p><p style="line-height: 1.4em; ">After testifying, Davis said that by approving reparations Chicago would have an &quot;opportunity to move head and shoulders above the rest of the country.&quot;</p><p style="line-height: 1.4em; ">Chicago &ndash; Ten Square Restitution Project feels that the time is now.&nbsp;</p>]]>
    </content>
</entry>

<entry>
    <title>Seven Characters, One Very Tired Actor (or am I an Actress?)</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/05/seven-characters-one-very-tired-actor-or-am-i-an-actress.php" />
    <id>tag:www.mpaact.org,2009://4.88</id>

    <published>2009-05-05T20:18:22Z</published>
    <updated>2011-10-30T06:55:01Z</updated>

    <summary><![CDATA[By Carla Stillwell Normal 0 false false false EN-US X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-style-parent:""; line-height:115%; font-size:11.0pt;"Calibri","sans-serif"; mso-fareast-"Times New Roman";} So here I am once again on stage with MPAACT.&nbsp;And as usual I&rsquo;m in a...]]></summary>
    <author>
        <name>MPAACT</name>
        
    </author>
    
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        <![CDATA[<p>By <a href="http://www.mpaact.org/about/artists/company-members/carla-stillwell/">Carla Stillwell</a><meta content="text/html; charset=utf-8" http-equiv="Content-Type" /><meta content="Word.Document" name="ProgId" /><meta content="Microsoft Word 12" name="Generator" /><meta content="Microsoft Word 12" name="Originator" /><link rel="File-List" href="file:///C:%5CDOCUME%7E1%5Cmnance%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml" /><link rel="themeData" href="file:///C:%5CDOCUME%7E1%5Cmnance%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_themedata.thmx" /><link rel="colorSchemeMapping" href="file:///C:%5CDOCUME%7E1%5Cmnance%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_colorschememapping.xml" /><!--[if gte mso 9]><xml>
 
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<![endif]--></p><p>So here I am once again on stage with MPAACT.&nbsp;And as usual I&rsquo;m in a show,<a href="http://www.mpaact.org/shows/radical-hearsay/"> <b>Radical Hearsay</b></a>, that is not traditional.&nbsp;What does she mean by that you ask?&nbsp;MPAACT very rarely if ever produces a nice safe work where an actor can play one roll.&nbsp;Create one character.&nbsp;A sweet little show where the characters have a simple storyline and their last line in the show is something like, &ldquo;Things always work out for the best.&rdquo; or &ldquo;Thank God for you Mama&rdquo;.&nbsp;</p><span style="display: inline" class="mt-enclosure mt-enclosure-image"><a onclick="window.open('http://www.mpaact.org/assets_c/2009/05/daiqwan-123.php','popup','width=2443,height=1494,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false" href="http://www.mpaact.org/assets_c/2009/05/daiqwan-123.php"><img style="margin: 0pt 20px 20px 0pt; float: left" class="mt-image-left" alt="daiqwan.JPG" width="168" height="102" src="http://www.mpaact.org/assets_c/2009/05/daiqwan-thumb-168x102-123.jpg" /></a></span><p>&nbsp;No, no, no, not MPAACT&hellip;this little theatre company has to test an actor.&nbsp;Now 13 years ago when I first came to MPAACT these shows were an actors (or am I an actress?) paradise for me.&nbsp;I could jump around and have bodies fall on me and run up and down stairs and play characters that talked about emotionally draining subjects and feel great about the $40,000 I spent on my college theatre education.&nbsp;I was using every actor and actual muscle I had in every show and was loving it.</p><p>&nbsp;So here I am, 13 years later playing 7 different characters.&nbsp;And although I still enjoy using my actor muscles, my actual muscles are really not happy with me.&nbsp;<a href="http://www.mpaact.org/shows/radical-hearsay/"><b>Radical Hearsay</b></a> is a radical departure from what my knees and back want from me.&nbsp;My knees want me to find a nice role where I play one nice fat mama and spend a large portion of the show sitting on some comfortable furniture.&nbsp;My knees are not happy with MPAACT.&nbsp;So, if you come out and you enjoy the show and you love what the theatre company does, that&rsquo;s great.&nbsp;But just know this&hellip;Carla&rsquo;s knees are not feeling it and if you can&rsquo;t see the pain on her face then that is truly a testament to her $40,000 theatre education.</p>]]>
        
    </content>
</entry>

<entry>
    <title>Lydia Diamond&apos;s Stage Black Rocks the Storefront</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/02/lydia-diamonds-stage-black-rocks-the-storefront.php" />
    <id>tag:www.mpaact.org,2009://4.87</id>

    <published>2009-02-19T03:03:23Z</published>
    <updated>2009-02-19T03:09:21Z</updated>

    <summary><![CDATA[February 18, 2009Kerry Reid - Chicago Tribune Review&nbsp;Playwright Lydia Diamond's sharp self-deprecating broadside against the worn-out tropes of African-American theater features a saintlike, albeit catatonic, black matriarch on a couch. This dig at the theatrical images of long-suffering black women,...]]></summary>
    <author>
        <name>MPAACT</name>
        
    </author>
    
        <category term="News" scheme="http://www.sixapart.com/ns/types#category" />
    
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    <category term="heatherireland" label="Heather Ireland" scheme="http://www.sixapart.com/ns/types#tag" />
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        <![CDATA[<p>February 18, 2009</p><p><b>Kerry Reid - Chicago Tribune Review&nbsp;</b></p><p>Playwright Lydia Diamond's sharp self-deprecating broadside against the worn-out tropes of African-American theater features a saintlike, albeit catatonic, black matriarch on a couch. This dig at the theatrical images of long-suffering black women, such as those found in Lorraine Hansberry's &quot;A Raisin in the Sun,&quot; isn't completely original with Diamond. George C. Wolfe covered similar territory in 1986's hit comedy revue &quot;The Colored Museum&quot; with his biting sketch, &quot;The Last-Mama-on-the-Couch Play.&quot; But Diamond brings her own unique spin to exploding the stereotypes.<br /><br />Diamond's &quot;Stage Black,&quot; now in a world premiere with MPAACT (Maat Production Association of Afrikan Centered Theatre), also contains elements familiar to anyone who has followed this extraordinarily talented writer over the last several years.<br /><br />As in &quot;The Gift Horse&quot; and &quot;Stick Fly,&quot; Diamond's characters come out of a comfortably upper-middle-class black experience, not inner-city poverty. But in her latest, they don't save the drama for their mama or each other. They let their creator have it with both barrels, and the verbal fusillades offer side-splitting insights into the creative process and the dominant mind-set of theatrical producers in choosing what's &quot;marketable&quot; when it comes to black narratives onstage.</p>]]>
        <![CDATA[<p>The Writer (Heather Ireland), who looks suspiciously like Diamond, tries to wrestle her recalcitrant creations in the ironically named Normal family into submission. The characters constantly search out the author to air their grievances with the way they're being portrayed. <br /><br />Before it descends into the mega-madness of the slapdash ending, Diamond's play, cunningly staged by Mignon McPherson Nance, delivers plenty of beefy laughs at the expense of both the self-appointed guardians of black cultural heritage and well-meaning white liberal audiences who expect tales of sexual abuse, self-sacrificing women, angry young men and wise-if-randy grandfathers in plays about black family life. LaNisa Frederick's spirited Monica, the lesbian slacker daughter at the heart of the story, remains sturdy, warmhearted and touchingly vulnerable. At times, it doesn't feel as if Diamond's attempts to update the script (first penned 15 years ago) for the Obama era have gone far enough. But when a character angrily suggests that perhaps they should don blackface &quot;so we can say we're being deconstructivist,&quot; the very recent howls over the Wooster Group's staging of &quot;The Emperor Jones&quot; in the Goodman's O'Neill Festival leap immediately to mind, serving as proof that Diamond's foxy and funny criticisms remain relevant.</p>]]>
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<entry>
    <title>Stage Black </title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/02/stage-black.php" />
    <id>tag:www.mpaact.org,2009://4.85</id>

    <published>2009-02-09T02:54:48Z</published>
    <updated>2009-02-09T02:57:32Z</updated>

    <summary><![CDATA[&nbsp;...]]></summary>
    <author>
        <name>MPAACT</name>
        
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        <![CDATA[<p>&nbsp;</p><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/roZS_oxLLf8&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/roZS_oxLLf8&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>]]>
        
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<entry>
    <title>Time Out Chicago Review - Stage Black</title>
    <link rel="alternate" type="text/html" href="http://www.mpaact.org/blog/2009/02/time-out-chicago-review---stage-black.php" />
    <id>tag:www.mpaact.org,2009://4.84</id>

    <published>2009-02-09T02:45:20Z</published>
    <updated>2009-02-09T02:54:41Z</updated>

    <summary><![CDATA[http://www.timeout.com/chicago/articles/theater/71169/stage-blackFebruary 5, 2009Christopher SheaDOPPEL YOUR GANGER, DOPPEL YOUR FUNThe cast of Stage Black features Diamond&rsquo;s stand-in.As a young, black playwright striving to produce relevant material, Lydia Diamond&rsquo;s got some bones to pick with her audience. Black viewers crave nothing more...]]></summary>
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        <name>MPAACT</name>
        
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    <category term="lydiardiamond" label="Lydia R. Diamond" scheme="http://www.sixapart.com/ns/types#tag" />
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        <![CDATA[<p>http://www.timeout.com/chicago/articles/theater/71169/stage-black</p><p><b>February 5, 2009</b></p><p><b>Christopher Shea</b></p><p><u><b>DOPPEL YOUR GANGER, DOPPEL YOUR FUN</b></u><br />The cast of Stage Black features Diamond&rsquo;s stand-in.<br /><br />As a young, black playwright striving to produce relevant material, Lydia Diamond&rsquo;s got some bones to pick with her audience. Black viewers crave nothing more incendiary from her than woe-begotten tales of buppie strife. And white folks? They just want sagas of sexual abuse. Diamond uses meta means to settle her score, writing herself (or an indistinguishable doppelganger) straight into her script, and hashing things out with characters as she creates them. At times, the antsy audience members she&rsquo;s appeasing feel more than a bit like straw men (one beguiled white lady hints aloud that black writers just &ldquo;need to get over that whole slave thing.&rdquo; Really?). Diamond warns us not to label her self-aware tale &ldquo;Pirandello-esque.&rdquo; As her pomo conceit assumes a ludicrousness that threatens to overtake the broken-home story, David Ives gone frantic springs more readily to mind.<br /><br />Still, Diamond&rsquo;s got a whip-smart feel for character, and, with MPAACT, a cast that can&rsquo;t be beat. Diamond&rsquo;s fear of the archetypical tends to serve her well. Her array of total weirdos, from sleazeball, Boogie Nights Grandpa to sissified, but hetero nerd Sasha, reaches legitimately uncharted waters. Watch in particular for <a href="http://www.mpaact.org/about/artists/company-members/lanisa-frederick/">LaNisa Frederick&rsquo;s</a> Monica: The Writer intends to forge her protagonist as a hearty woman of uncommon get-up-and-go. She instead births a 23-year-old slacker with a warm heart, and a stunted need for Mom. In Frederick&rsquo;s hands, Monica&rsquo;s both hopelessly na&iuml;ve and boisterously authoritative, a joy to watch when she commands center stage, and even better when she regards her family with eye-rolling, adolescent abandon from the sidelines.</p>]]>
        
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