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Unova’s nation-states are divided, Gym Leaders vie for power among themselves, and the fall of the mysterious N has enabled the rise of Neo Team Plasma, a shadowy organization with far-reaching goals and the drive to accomplish them no matter the cost.
Emboldened by battle and tempted by prophecy, six young people from all walks of life embark on a journey to change their fate—and the fate of all Unova. But there are ancient forces at work far beyond their understanding, and a dark history that refuses to be forgotten. They soon find themselves on a collision course with monsters, myths, and the men who dare to control them.

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Contemporary plays by African American women: ten complete works
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English
Pages 433 pages
[433]
Year 2015

African American women have increasingly begun to see their plays performed from regional stages to Broadway. Yet many o

This is the first major anthology of plays written by women in translation. It represents a very significant interventio

The fifteen Native women writers in Reckonings document transgenerational trauma, yet they also celebrate survival. Thei

Ann Beattie, Annie Dillard, Maxine Hong Kingston, Toni Morrison, Cynthia Ozick, Grace Paley, Marge Piercy, Anne Redmon,

John Stuart Mill was an English philosopher and economist, who was also noted as a leading exponent of Utilitarianism. A
CONT E MPORA RYPL A Y SBY A F RI CA NA ME RI CA NWOME N T E N COMPL E T EWORK S E DI T E DBYS A NDRAA DE L L Contemporary Plays by African American Women Contemporary Plays by African American Women Ten Complete Works Edited by Sandra Adell University of Illinois Press Urbana, Chicago, and Springfield Compilation and introduction © 2015 by the Board of Trustees of the University of Illinois All rights reserved Manufactured in the United States of America 12345cp54321 ∞ This book is printed on acid-free paper. Due to space limitations, author copyright information and citation credits appear at the back of the book, which serves as continuation of this copyright page. Except for brief passages quoted in newspaper, magazine, radio or television reviews, no part of this book may be reproduced in any form or by any means, electronic or mechanical, without permission in writing from the publisher. Professionals and amateurs are hereby warned that this material, being fully protected under the copyright laws of the United States of America and all other countries of the copyright union, is subject to a royalty. All rights, including, but not limited to, professional, amateur, recording, motion picture, recitation, lecturing, public reading, radio and television broadcasting, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed on the question of readings and all uses of this book by educational institutions, permission for which must be secured from the publisher. Library of Congress Control Number: 2015954294 isbn 978-0-252-03971-3 (hardcover) isbn 978-0-252-08119-4 (paperback) isbn 978-0-252-09781-2 (e-book) These are works of fiction. Characters, places, and events are the product of the authors’ imagination or are used fictitiously and do not represent actual people, places, or events. For the Makers of Theatre Magic Contents Acknowledgments ix Introduction xi Blue Door Tanya Barfield 3 Levee James S. M. Shephard-Massat 39 Hoodoo Love Katori Hall 71 Carnaval Nikkole Salter 119 Single Black Female Lisa B. Thompson 169 Fabulation, or The Re-Education of Undine Lynn Nottage 201 BlackTop Sky Christina Anderson 245 Voyeurs de Venus Lydia R. Diamond 291 Fedra J. Nicole Brooks 343 Uppa Creek: A Modern Anachronistic Parody in the Minstrel Tradition Keli Garrett 377 Copyright/Agent Information 407 Acknowledgments I thank the University of Wisconsin–Madison for granting me a Vilas Associate Award, which enabled me to attend performances of new plays by African American women playwrights in regional theaters throughout the country. The award also provided me with much-needed funding to participate in two Black Theatre Network conferences and, in 2011, the National Black Theatre Festival in WinstonSalem, North Carolina. I thank the members of the Black Theatre Network, whose collective knowledge about all things concerning black theater is a living archive. Special thanks are due Kathy Perkins, who unselfishly offered advice and guidance based on her many years of working in theater as this country’s premier African American lighting designer. I also thank Sandra G. Shannon and Sandra L. Richards, whose work on black theater and performance studies has helped establish black theater history and research as a solid academic area of inquiry. Thank you to the women who graciously contributed their plays to this anthology and to the editors at the University of Illinois Press. Finally, I thank Lisa B. Thompson, who suggested to me several years ago that it was time for a new anthology of plays by African American women, and Dawn Durante and Derek Zasky, who taught me important lessons about the business of publishing. Sandra Adell University of Wisconsin–Madison Introduction One hopes that the decades that are focused on the literature of African American women will provide success for the playwrights as it has for the novelists. —Darwin T. Turner In the introduction to the 1994 expanded and revised edition of Black Drama in America, the literary scholar Darwin Turner lamented the fact that although African American women novelists had finally begun to receive the recognition they deserve from the literary mainstream, their playwriting counterparts were barely visible in the world of professional theater. As Turner showed in his historical overview of black drama, with the exception of Alice Childress, whose play Trouble in Mind was produced Off-Broadway in 1955, and Lorraine Hansberry and Ntozake Shange, who had Broadway successes with A Raisin in the Sun in 1959 and for colored girls who have considered suicide/when the rainbow is enuf in 1976, most African American women playwrights by the early 1990s had yet to break through the racial and gender barriers that kept their work off the stages of professional regional theater companies. Tracing the development of African American theater from the early 1900s through the beginning of the last decade of the twentieth century, Turner noted that by 1990 only three black playwrights had won the coveted Pulitzer Prize for drama.1 He also mentioned that since 1950, when Gwendolyn Brooks became the first African American to win a Pulitzer Prize in any genre, “several African American writers have earned Pulitzer Prizes for poetry and fiction. But no African American woman has ever won a Pulitzer Prize for drama.”2 Turner didn’t live long enough to see the publication of his revised anthology or witness the accomplishments of African American women playwrights in the first two decades of the twenty-first century. He died in 1991. By that time, a few were beginning to attract some of the attention their sister novelists and poets have been enjoying since the black feminist movement of the 1970s helped launch them xii • Introduction onto the stages of national and world literature. In 2002, Suzan-Lori Parks won a Pulitzer Prize for drama for her play Topdog/Underdog, making her the first African American woman to be so honored. Lynn Nottage received the award in 2009 for her play Ruined, making her the fifth African American playwright and the second African American woman to receive a Pulitzer for drama. An even more stunning achievement was the 2011–2012 theater season, when the works of three African American women playwrights were produced on Broadway: Lydia R. Diamond’s Stick Fly, Katori Hall’s The Mountaintop, and Suzan-Lori Parks’s adaptation of Porgy and Bess. In the December 2011 issue of Black Enterprise magazine, whose cover hailed the season as “The New Look of Broadway,” senior editor Carolyn M. Brown attributed this “new look” to the people behind the scenes—an elite group of African American investors, producers, and directors, including the singer-songwriter Alicia Keys, who are helping “pav[e] the way for a greater diversity of faces, voices, and stories onstage.”3 A year later, during the 2012–2013 Broadway season, the faces, voices, and stories of black women playwrights had all but faded away. Not one of the dramas produced that season was by an African American. During the 2013–2014 season only one African American playwright made it to Broadway—Lorraine Hansberry in a revival of A Raisin in the Sun, with Denzel Washington playing the role of Walter Lee Younger and LaTonya Richardson Jackson as Lena (Mama) Younger.4 There were no works by blacks on Broadway during the 2014–15 season. The 2011–2012 Broadway season might have helped raise the visibility of a few African American women playwrights, but for the most part they continue to struggle to have their work produced on any of the country’s stages. A major obstacle to recognition of black women playwrights as participants in the construction of a truly American theater is that, with the exception of the few women who’ve won awards, most of them have yet to see their work published. Unlike black women novelists who benefited greatly from the institutionalizing of African American literature, black studies, and gender and women’s studies in colleges and universities across the country, black women playwrights have yet to find a comparable and consistent audience of readers among college students. Their work also has not generated the kind of critiques and scholarly studies that developed along with black women’s literature as an academic discipline. As much as writers, painters, and others who make their living making art are leery of scholars and critics, their work cannot survive without them. Critics, even those who write negative reviews, help create theater history. The same is true for scholars. The work of theater scholars and critics ensures that the archive, the historical record, is preserved and that the artists’ legacies are passed on to future generations. This anthology is a step toward creating the archive for the twenty-first century. It also is my effort as a literary scholar to make new plays by African American women available to artistic directors, educators, and students who have little or Introduction • xiii no knowledge about this group of writers for the theater. I feel strongly that those of us who are in a position to help steer their work to an interested public—that is, those of us who are scholars and critics—are in some ways perpetuating what is happening with a
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