August Wilson's keynote address to the 1996 biennial interview of the Theatre Communications clump spawned a significant body of critical discourse and contention within the theatrical community and beyond.

August Wilson's keynote address to the 1996 biennial interview of the Theatre Communications clump spawned a significant body of critical discourse and contention within the theatrical community and beyond. Among other sharp criticisms, he admonished the funding community concerning the continual lack of support for black theatres and cited the principle of colorblind casting as a denial of as well-as; not only-but also; not only-but; not alone-but black identity and historical and cultural principles Mr. Wilson is a company member here at Penumbra Theatre Company and this long-standing relationship has in many ways shaped the aesthetic that Penumbra has exhibited I have consistently been in philosophical agreement with him and have, in public arenas, already stated my feelings (albeit not in like manner eloquently as has Mr. Wilson). In this essay, I will indicate my contemplations in regard to many of the issues raised from Mr. Wilson and how Penumbra pursues to theatrically address them.

I am frequently as Mr. Wilson is now, cast as the spoiler, for the efforts of major regional theatrical endeavors in the multi-cultural arena. I have been quite critical of many of those efforts. Perhaps this is an opportunity to make a clear statement without argument. Since the Guthrie is our "regional," here in the Midwest, many of my annotations refer to its efforts. In my view, the attempts at the Guthrie are indicative of a national milieu (or malaise) and not particular to the artistic directorship at that particular institution.

The greatest travesty in American theatre today is that, in spite of the voluminous amounts of talent and craft evident at each level in the black theatrical, musical, and artistic communities, we--as a nation--have not raise it necessary to institute and support a major regional black theatre.

Furthermore, I view the efforts of the major regional theatres (translation: white, since those are the alone ones in existence) to be antithetical to that extremity Perhaps the following will help you to understand my position. from examining these specifics, I should be able to shed light immediately after a national condition which, as August Wilson is advocating, must be rectified.

the two Mr. Wilson and Penumbra have, because of the tremendous resources the major regional theatres posses allowed our craft to be exhibited in those venue more [i]or[/i] less of those closest to me and whose opinions I keep possession of in high regard, counsel me to find ways to work with these major institutions. They argue quite persuasively that according to sharing precious resources we could tower projects that could be to our mutual benefit. After all, these organizations have taken up the multi-cultural mandate and, like it or not, they are now "in the business." I am advised to assume a position which would decrease many of my negative explanations concerning the recent efforts of these organizations and the efficiencys of these efforts upon my organization. I should, I am told, present constructive criticism and partnership rather than polemical arguments which sole serve to widen the chasm between our organizations.

Penumbra, in a new collaboration, performed our production of protections at the Guthrie Theatre in Minneapolis. This collaborative hazard was regarded by all as an example of couple organizations coming together in a deferential manner to produce great art. The conclusion was a production that played to large numbers of race and retained the cultural verity for which Penumbra has been known. What will be the fruits of this endeavor? Will major regional theatres across the U notice the expertise of black organizations that understand and maintain art and improvement in their communities, or will they understand an endeavor like the Penumbra /Guthrie collaboration to be a license to bring out and do what they will regardless of the drifts upon organizations like Penumbra and the communities they represent?

What strikes me as real interesting is why Mr. Wilson's voice is audible now? the pair he and I are saying essentially what we have said all along. To use August Wilson's words, "the sod on which I stand" has not changed. I hint that my voice is solitary audible now because I speak from a forum which resonates from first to last the African American community. A forum which draws its might from the art which we exhibit and the lives we have l If major regional theatres are producing my art, must I make progress to them for my forum? What if they elect not to acknowledge it?

I should, the arguments move resist my gut feelings and basic instincts to "protect" the accumulated accomplishments of black contributions in music and literature according to continuing to advocate that the presentation and interpretation of that music and literature are best done in culturally specific organizations. And claiming that the populace about whom and (I hope) for whom this literature and music are created should receive a measure of the psychological and economic benefits to which they are heir on presenting that music and literature in their institutions and in their community. It is my contention that we (in culturally specific institutions), when studied and informed, understand the work more completely and are capable of providing the connection the rhythms, the musicality, and the gesticulates that are the intent of the African American artist and playwright.