Toronto Review: 'The Negroes Are Congregating' at Theatre Passe Muraille
Joe Szekeres, Chief Toronto Critic
The following statement from Aislinn Rose made me do a great deal of reflecting about the extraordinary performance of Natasha Adiyana Morris’ ‘The Negroes are Congregating’ now on stage at Theatre Passe Muraille this week: “Theatre isn’t always a safe space, but it should strive to be an accountable one.”
Sometimes theatre is and can be safe, and there’s nothing wrong with that. Let’s not forget, though, that being human is sometimes not a safe space to be. Actor and audience become vulnerable, and perhaps uncomfortable, in their openness and this is risk taking. Will this moment/play/scene trigger some emotional connection? How does this knowledge assist or hinder me in this moment/play or scene? It is in this risk taking where theatre becomes a powerful form of an immediate and live connection we make with and to others.
And in this risk taking to make connections, theatre must also be held accountable for its actions. This accountability stems from the fact that theatre, good theatre in fact, makes us want to listen to others and to hear others. This is a huge responsibility for theatre which is not always safe to do.
To be honest, ‘The Negroes Are Congregating’ is a risky play that sometimes did create discomfort for me and for my invited guests. There are no apologies for this discomfort either from TPM or the production itself. The play is billed on the TPM website as “an unapologetic and impolite perspective about the ongoing effects of racism in Canada and throughout the world delivered through a fusion of spoken word, satire, and soulful dialect…to experience raw truth up close and personal…of what it means to be Black, proud and ready” so there is advanced warning even before my guests and I enter the auditorium.
Thankfully, although some of the sketches and vignettes might have come close to a personal objection on my part, that line was never crossed at all during the production and I’m grateful for that. Performers Christopher Bautista, Christopher Parker and Uche Ama skillfully handled and manipulated dexterously the subject material sometimes through laughter, sometimes through silence, sometimes through anger and sometimes through poignancy. TPM Managing Director Regine Cadet says in her Managing Director’s Note in the Programme that the title of this play “invites everyone to engage with it”. In this performance, I saw a celebration of the journey of the people, sometimes not as smooth as it should have been. I was appreciative that I could witness and engage with not only the disappointments, fears and sorrows but also the wins and strengths.
It is a theatre in the round setting where Production Designer Nalo Soyini Bruce’s suggested setting of a gospel church. There are four pews seated around the pulpit and audiences are encouraged to sit there if they wish. A gorgeous, large wooden crucifix is suspended right over the playing space. To me, it doesn’t look as if this cross will be lifted into the rafters so I wonder how Christianity will play into the production.
Christopher Parker has the daunting task to open the show as the Gospel minister. His soaring, lush baritone a cappella voice reverberates clearly throughout the auditorium. This is an effective way to gauge my attention and for me, it worked beautifully. Mr. Parker is the one who tells us the production is an interactive piece where audience members are encouraged to participate if they wish but are not forced to do so. He also plays a variety of roles throughout the production, but my favourite was him playing the game show host. I’m positive there was a lot of adlibbing, but it appeared Mr. Parker was enjoying himself immensely in his kibitzing with the audience.
Christopher Bautista’s lanky frame made him ideal to play a variety of roles just like Mr. Parker. I don’t want to spoil the end of the production for future audiences, but all I’ll just say is Mr. Bautista plays a police officer who pulls over Mr. Parker. What was so compelling about Mr. Bautista’s work is his control of his voice and emotions during the questioning and interrogation. But just hold on as the tables are horrifically turned and to watch Mr. Bautista at the end is highly captivating and spellbinding in the horror and terror of the situation. Incredible work to witness.
I especially liked several of the short comic bits Uche Ama provided from the upper level of the stage. There was one bulls eye and sharp comment about our continuous acknowledgement of the current Indigenous discussion of the pipeline out west while wondering why a pipeline is not taking fresh water up north to the reservations. Bingo! Take that, federal government!
The pacing of the production for the roughly 65-minute run was very smooth in its transitions with lights and music. There were a couple of quick moments where all three did not find their light as quickly as they could have done so. There were a few issues with voice projections from all three performers. From my seat, there were times when a back was turned, and I couldn’t hear what was said. As well, from the second level, Uche Ama’s voice was so quiet that I had to strain to hear what she was saying. Perhaps a standing microphone might help or a head microphone?
FINAL COMMENT: Natasha Adiyana Morris says in her programme note she worked her arse off to offer up her own bold creation [of] a product of Canadian theatre. Much like there is the French-Canadian voice we have in this country, ‘The Negroes Are Congregating’ allowed me to listen and to hear the voice of empowering the unheard of our world.
Yes, go and see this production. Don’t forget to stay for the discussion later as I learned a great deal further about the voice of this production.
Production runs approximately 65 minutes with a discussion following the performance of approximately 30 minutes
Photo of the cast courtesy of Sean Dean Brown. L-R: Christopher Parker, Uche Ama and Christopher Bautista.
THE NEGROES ARE CONGREGATING
Written and Directed by Natasha Adiyana Morris
Runs to March 14 at Theatre Passe Muraille, 16 Ryerson Avenue, Toronto. For tickets call the Box Office at 416-504-7529 or visit www.passemuraille.ca
Produced and Production Managed by Troy De Four
Lighting Design by Lance Braithwaite
Production Design/Wardrobe Design by Nalo Soyini Bruce
Audio Description by Kat Germain
Production Assistance by Tinesha Richards
Performers: Uche Ama, Christopher Bautista and Christopher Parker