Kc melting pot theatre

With the kc melting pot theatre being in production for its 10 th year and welcoming one of the most diverse audiences in the city, I can say that the passion and dedication was evident from the moment I walked through the doors. As a first-time visitor to the theater, I found myself feeling immersed in the experience, kc melting pot theatre. The upbeat staff greeted me at the door and gave clear directions on seating. After taking my seat, I took note of the structure of the room.

Family dynamics are often fodder for comic relief and a staple for writers — including playwrights. Their plan is to confront their sister, Barbara, about her drug and alcohol use and convince her to go to rehab. She explains that the main subjects are "intervention, addiction, family dynamics, politics and the kind of universality of those issues. Brittany Evans plays another sister, Marie, who, also struggles with addiction. But, she says, the dialogue is surprisingly funny. The same characters, the same situation — but they are Black instead of white. And like most arts organizations, KC Melting Pot pivoted to online programming.

Kc melting pot theatre

Over a number of recent productions, the KC Melting Pot Theater has chosen to explore questions about the ways in which race and class play out in the acts of producing and consuming theatre. The company has put on a number of plays that are specifically about the ways in which race informs the plays themselves and the institution of theater—the implications of putting on plays about race and racism, often with all or majority-POC casts, for audiences that are, on an institutional level, still usually majority white. These questions have been central to quite a few Melting Pot shows, but Fairview takes them to an entirely new level, using structure-busting absurdity to push our expectations and our assumptions as far as possible. The play, written by Jackie Sibblies Drury and winner of the Pulitzer prize, tells the story of an unassuming, even borderline dull upper-middle-class Black family. This is, by all accounts, a pretty quotidian comedy of manners. The moment comes so late in the play around the minute mark and is so brief that it actually feels jarring, and like a structural misstep. From here, Fairview is a staunchly unreviewable play for any playgoers who want to remain unaware of its massive second-act twist. I will say that I was exceptionally glad to know absolutely nothing about this show going into it. These characters, as you might have guessed, are white. Or rather, they are not African-American. It seems as though they were all written as white, or at least played by white actors in the original production. One of these so-called surveyors, Bets, is French, inserted among three Americans. Not that Bets has a perspective free of ignorance, having the privilege of wealth and clearly considering her above the entire issue, which she dismisses as being exclusively American and therefore not worth discussing. No one here has the answers because the point of the play is to raise questions—questions of who gets to be centered in these conversations, of what it really means to be able to tell your own stories and to make space for others to do so. The play draws us in with its increasingly extreme humor but as it becomes more comedic, it also becomes more insidious as the surveyor characters talk over the Black characters and talk for them, making themselves central to a story they insist on taking full control of before the whole show abruptly twists once again to land its poignant final moments.

Williams, Ms.

KC Melting Pot Theatre strives to create a public sphere where the contributions of emerging and established Black playwrights can be shared in an enriching community environment. It works toward building diverse, equitable, and inclusive theater experiences that teach, critique, and model a better America; identifies, trains, and incubates theater talent from historically underserved communities; and it collaborates with artists across the diversity spectrum to create work dedicated to social change. In the two decades of its existence, KC Melting Pot has become one of the most intriguing and provocative arts groups in Town, with its savvy mix of classics by August Wilson, Ntozake Shange, and Amiri Baraka and a bold series of new plays by locally based playwrights such as Lewis Morrow. Learn more at KCMeltingPot. Featured in the February 4, issue of The Independent.

This month marks a first in the history of Kansas City theater — a local playwright will see three of his works published by an internationally respected publishing house in a single volume. Linda is the general manager. Gradually and with determination the theater company has grown the scope of its mission and solidified its structure. What began as essentially a community theater is now professional. Bloomsbury, a publishing house whose history includes a unique distinction as the original publisher of J. Morrow, despite the fact that he will be among such august company, said he felt a bit like a spectator as the book release looms. Morrow said nothing he has written should be considered strictly autobiographical.

Kc melting pot theatre

Requirements: Prepare two contrasting monologues dramatic and comedic —preferably contemporary material. Bring current headshots and resume. All Kansas City talent are welcome to audition. Jawbone Crack Quick by Lewis Morrow Directed by Ile Haggins DEC Synopsis: In this riveting drama, a small-town community grapples with the aftermath of a tragic event, exposing the tensions and secrets that lie beneath the surface of their seemingly idyllic lives. Troy Maxson, a former baseball player turned sanitation worker, struggles to reconcile with his past while navigating the challenges of fatherhood and marriage. The playwrights selected this season will probe important questions about striving for the American dream and the right to pursue life, liberty, and happiness. Our season will examine the ways in which race, gender, sexuality, and class shape how we understand equality and our capacity to affirm those unalienable rights during such a fragile socio-historic moment in time.

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The other dynamic duet on set was between Margaret and her sister Odessa portrayed by Lynn King. From here, Fairview is a staunchly unreviewable play for any playgoers who want to remain unaware of its massive second-act twist. She covers pop culture and politics for a national audience at The Mary Sue and theatre and film locally, with bylines in The Pitch. December 11, I could almost feel the Harlem summer heat coming through the storefront windows of the sanctuary. See stories by Laura Spencer. This event will be held every 3 rd Tuesday of the month and FREE to attend of course, you can always donate if you want. Or rather, they are not African-American. You'll soon be able to find more Black Kansas Citians on Wikipedia. Type your email…. Not on KCUR.

KC Melting Pot Theatre will require proof of vaccination or proof of a negative COVID test within the last 48 hours for audiences, volunteers, performers, crew, and theatre staff. Proof can be provided by presenting either a physical or digital copy along with ID. Properly worn masks will be required for everyone inside the theatre building except for performers during the performance.

For more information, visit www. Categories Articles Visual. As the characters revel in the craftmanship and the time put into the piece, it felt like Baldwin was including a small ode to visual artists. I will say that I was exceptionally glad to know absolutely nothing about this show going into it. The other dynamic duet on set was between Margaret and her sister Odessa portrayed by Lynn King. As the low chatter filled the room, my eyes wandered through the different elements of the stage design. From here, Fairview is a staunchly unreviewable play for any playgoers who want to remain unaware of its massive second-act twist. Read More. As the premier African American theater company in Kansas City, our primary goal is to explore theatrical works, old and new, that feature complex stories of African American life as a lens through which we realize our shared humanity. Not that Bets has a perspective free of ignorance, having the privilege of wealth and clearly considering her above the entire issue, which she dismisses as being exclusively American and therefore not worth discussing. I was blown away by the acting in Sunset Baby last night! This is, by all accounts, a pretty quotidian comedy of manners. Black Violin and the promise of busting genres. After taking my seat, I took note of the structure of the room.