Home / Arts and entertainment  / Andi Chapman, Nambi E. Kelley ‘Native Son’ stage adaption premieres, April 19 

Andi Chapman, Nambi E. Kelley ‘Native Son’ stage adaption premieres, April 19 

'This is the story of a young Black man’s life in 1939 America'

Compton Herald | Native Son
Director Andi Chapman (left), and writer Nambi E. Kelley confer during rehearsals for the Antaeus Theatre Company production of Native Son. Photo source: Antaeus Theatre Company Facebook.

Antaeus Theatre Company’s Native Son runs April 19 – June 3 at the Kiki & David Gindler Performing Arts Center in Glendale

GLENDALE, Calif. — Andi Chapman directs the Southern California premiere of Nambi E. Kelley’s visceral, groundbreaking stage adaption of Richard Wright’s racially charged novel, Native Son, for Antaeus Theatre Company. Wright’s iconic novel about oppression, freedom and justice comes to life on stage at the Kiki & David Gindler Performing Arts Center in Glendale on April 19.

Set in 1930s Chicago, where opportunities for African American men are elusive, Kelley’s adaptation focuses on the inner workings of the protagonist’s mind as a series of unleashed events violently and irrevocably seal his fate.

Jon Chaffin stars as Bigger Thomas, suffocating in rat-infested poverty on Chicago’s South Side, with Noel Arthur as “The Black Rat” — the manifestation of Bigger’s double consciousness. When a job as the family chauffeur brings him into the White world of wealthy Mrs. Dalton (Gigi Bermingham), her free-thinking daughter, Mary (Ellis Greer) and Mary’s Communist boyfriend, Jan (Matthew Grondin), circumstances spiral out of control. The ensemble also features Mildred Marie Langford, Ned Mochel, Victoria Platt and Brandon Rachal. (Unlike most Antaeus productions, Native Son is single-cast.)

Double consciousness, according to W.E.B. Du Bois, refers to the effects of White racism — to “the sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity.”

“This is the story of a young Black man’s life in 1939 America, who from birth is compelled to pass through a tragic gauntlet of oppression,” says Chapman. “The play moves like a runaway train. The tension starts at the top and ratchets up from there.”

“Everything is told from Bigger’s point of view, through his lens,” explains Kelley. “The adaptation is an exploration of the concept of double consciousness as it relates to the concept of one’s ability to fly or be free. Think of it as a mind-map.”

One of the earliest successful attempts to explain the racial divide in America in terms of the social conditions imposed on African Americans by the dominant White society, Native Son was an immediate best-seller when it was published by the Book-of-the-Month Club on March 1, 1940. In his 1963 essay “Black Boys and Native Sons,” Irving Howe wrote: “The day Native Son appeared, American culture was changed forever… [it] brought out into the open, as no one ever had before, the hatred, fear, and violence that have crippled and may yet destroy our culture.”

The novel’s first stage adaptation, written by Wright and Paul Green, was directed by Orson Welles and ran on Broadway for three years. Kelley’s 2014 adaptation premiered at the Court Theatre in Chicago, where it was nominated for five Jeff Awards including Best Adaptation and Production of the Year and was the highest grossing production in the Court’s 60-year history. It was included on the 2015 Kilroy List, an annual collection of highly recommended plays by women and trans-identified authors, and is published by Samuel French.

“The birth of Bigger Thomas goes back to my childhood,” Wright wrote. “But there was not just one Bigger, but many of them, more than I could account and more than you suspect… The Bigger Thomases were the only Negroes I know who consistently violated the Jim Crow laws of the South and got away with it, at least for a sweet brief spell. Eventually, the Whites who restricted their lives made them pay a terrible price. They were shot, hanged, maimed, lynched, and generally hounded until they were either dead or their spirits broken.”

The Kiki & David Gindler Performing Arts Center is located at 110 East Broadway, Glendale (between N. Brand Blvd. and Maryland Ave.) [MAP]. The first 90 minutes of parking is free, then $2 per hour, in the Glendale Marketplace garage located at 120 S. Maryland Ave (between Broadway and Harvard) [MAP]. The theater is air-conditioned and wheelchair accessible.

For reservations and information, call 818-506-1983 or go to antaeus.org.

Compton Herald is a digital news publication providing clear, fair and current news, information and commentary about Compton and the Los Angeles metropolitan area of California, and the world.

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