And his assistant (Ian Lassiter), who looks rather like a Native American, blackens up to embody both an old family retainer and an addlebrained boy slave. Neighbors, Appropriate, and An Octoroon all attest to Jacobs-Jenkinss fascination with genre or old forms as interesting artifacts. But it is his detailed, scholarly knowledge of minstrel shows, American family drama, and nineteenth-century melodrama that enables him to manipulate these forms and the audience responses they typically generate to elicit an archeology of seeing. Jacobs-Jenkinss sensitivity to and command over the forms he appropriates are apparent in the tropes of the plays themselves, in the characters own commentary on the genres they are inhabiting, especially in Neighbors and An Octoroon, and in the playwrights numerous comments in interviews on the generic affiliations of his work. All of these historically situated stereotypes, Jacobs-Jenkins implies, are based in white views of black performative behavior deriving ultimately from the minstrel shows. [28] In the end Bo is prevented from selling the photos because Franz feels called to cleanse himself and his family by jumping into the nearby lake, taking the photos with him: I took everythingall my pain, all Daddys pain, this familys pain, the picturesand I left it there. And neither do you.". Vivian Oparah and Cassie Clare in An Octoroon. By excavating one of the most memorable stage images in the drama of the American family and layering his own meaning on top of it, Jacobs-Jenkins italicizes his original contribution to the genre. The plantation is in dire financial straits, but could be saved if George were to marry Dora (Zo Winters), a wealthy young heiress from a neighboring estate. As in Neighbors, [37] Thomas P. Adler, Repetition and Regression in Curse of the Starving Class and Buried Child, in Matthew Roudan, ed. Mr. Bloomingdale, Rhoda's first suitor, a white man, Dr. Olney, Mrs. Meredith's physician and Rhoda's eventual suitor, a white man, Mrs. Meredith, Rhoda's aunt, a white woman, This page was last edited on 23 January 2023, at 21:41. But Jacobs-Jenkinss adaptive strategy in this play is less explicit than it is in Neighbors or An Octoroon, in which he incorporates explanations of the genres or texts he adaptsin the Crow familys comments on their work in Neighbors and in educational addresses to the audience from dramatist BJJ and Dion Boucicault himself in An Octoroonfor the benefit of those who might not be familiar with his sources. By opening up the old form of the minstrel show, Jacobs-Jenkins exposes old meanings and layers new ones onto them. . Already a member? You may use these HTML tags and attributes . In scenes added to Boucicaults play Jacobs-Jenkins humanizes Dido, Minnie, and Grace by giving them distinct backgrounds and personalities and voices, desires, and agency of their own. About their apparently imminent sale, for example, Dido says, This is about the worst damn day of my life! document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); The Journal of American Drama and Theatre is a publication of the, The Journal of American Drama and Theatre (JADT), http://www.signaturetheatre.org/News/An-Archeology-of-Seeing.aspx, http://archive.boston.com/ae/theater_arts/articles/2011/01/16/neighbors_exposes_racial_history_on_stage/, http://www.nytimes.com/2010/03/10/theater/reviews/10neighbors.html, http://blastmagazine.com/2011/01/14/stage-review-neighbors-at-company-one/, http://www.broadwayworld.com/boston/article/Company-One-Wants-You-to-Meet-the-Neighbors-20110117, http://www.latimes.com/entertainment/arts/la-ca-cm-branden-jacobs-jenkins-20150927-story.html, http://jadtjournal.org/2015/04/24/visibly-white-realism-and-race-in-appropriate-and-straight-white-men/, http://wfpl.org/review-family-secrets-fester-appropriate/, Attribution-NonCommercial-ShareAlike 4.0 International, Creative Commons (CC) license unless otherwise noted, Excavating American Theatrical History: Branden Jacobs-Jenkinss, Mabou Mines Tries Again: Past, Present, and the Purgatory of Performance Space by Jessica Brater, Rehearsing Bereavement with Laughter: Grief, Humor, and Estrangement Affect in Sarah Ruhls Plays of Mourning by Seokhun Choi. . The book is about Rhoda Aldgate, a young woman who discovers she is one-sixteenth African American, after living her whole life as a white person.
It's a strenuous and daring display of theatricality that goes far beyond issues of race in. The book is about a "Tragic Mulatta" character, a stereotype used by 19th-century American authors to explore racial miscegenation. [21] At the same time, as Charles Isherwood of the New York Times notes, Jacobs-Jenkinss contextualization of the performances of these later artists within Topsys act suggests that they too can be seen as just another form of minstrelsy. "Branden is like a performer whose material is text," Benson observes. http://www.signaturetheatre.org/News/An-Archeology-of-Seeing.aspx (accessed 19 May 2017). View our Privacy Policy. That, however, is only the bare outline of a work that is infinitely playful and deeply serious and which dazzlingly questions the nature of theatrical illusion. At the same time by theorizing and teaching his audience about the history of blackface entertainment through the dialogue of the minstrels themselves, Jacobs-Jenkins invites a more dispassionate Brechtian evaluation of the emotionally charged minstrel show devices he depicts. The auction begins and MClosky aggressively bids on Zoe, winning her. An Octoroon most closely adheres to, though it also transcends, Hutcheons definition of an adaptation as an extended, announced, deliberate revisitation of a particular work of art. Neighbors and Appropriate expand the parameters of adaptation in other ways, the former by adapting and recontextualizing an historical form of popular entertainment, the latter by adapting not a particular play, but an entire dramatic subgenre. Also, it's incredibly funny. David Krasner Jump-start your essay with our outlining tool to make sure you have all the main points of your essay covered. Jacobs-Jenkins reframes Boucicault's play using its original characters and plot, speaking much of Boucicault's dialogue, and critiques its portrayal of race using Brechtian devices. Directed by Sarah Benson, in a style that perfectly matches its mutating content, An Octoroon is a shrewdly awkward riff on Dion Boucicaults The Octoroon (notice the change in article), a 19th-century chestnut about illicit interracial love. The actor who plays BJJ in this case, the astonishing Ken Nwosu goes on to don whiteface and appear as both the heroic George and the villainous MClosky. [9] Hutcheon, A Theory of Adaptation, xvii, 6, 21. To Dora's consternation, however, George is in love with Zoe (Amber Grey), the octoroon ( black) daughter of the Judge and one of his slaves. "An Octoroon" begins with BJJ an onstage realization of the melodrama's playwright Branden Jacobs-Jenkins talking to his imaginary therapist about the public's tendency to view most of his. Brooks' idea is that melodrama is about binaries and opposites, where there is always good and bad with no gray area. This strategy is most apparent in his depiction of the enslaved female characters, who are little more than comic props in The Octoroon. England, England, Foyer Security at Sondheim Theatre
Nataki Garrett directed the first production of An Octoroon outside of New York with Mixed Blood Theatre Company in the fall of 2015. Beth Osborne The Crows wear black paint, have huge red lips, and, except for Jim, and Zip in his conversations with Jean, speak with the caricatured dialect and malapropisms of their nineteenth-century originals. BJJ clarifies that in the time of the play, a photograph was a novel/innovative/contemporary way for the plot to be resolved. Director Sarah Benson pushes a breakneck pace to squeeze Boucicault's four acts, as well as Jacobs-Jenkins' metatheatrical frame, into 2 hours, 15 minutes. Ed. And in both plays verbal conflict degenerates into physical violence. Paulwith the mailbagsstops to take a photo of himself with Georges camera. Yet in its current incarnation, An Octoroon feels even richer and more resonant than it did before, both funnier and more profoundly tragic. Looking back over the semester, I thought it was only fitting to end on An Octoroon. Not only does it apply multiple themes from across the class, even going all the way back to January, but it brings all this history together to put his own spin on it, making parts of the play nearly incomprehensible without the proper context of these older texts and plays. [9] Prior to the first performance, Alexis Soloski for The Village Voice published an email from cast member Karl Allen who wrote, "the play has transformed from an engaging piece of contemporary theatre directed by Gavin Quinn to a piece of crap that wouldn't hold a candle to some of the community theater I did in high school". She is currently working on ambivalent motherhood in contemporary adaptations of Medea. But as audiences laugh (or squirm) at the Crows outrageous minstrel show turns, or speculate knowingly about the quarrels of the Lafayettes, or weep for Zoe and laugh at the performances of Minnie, Dido, and Pete, Jacobs-Jenkins simultaneously compels contemporary spectators to confront the racial assumptions he has excavated along with the dramatic forms that contain them and to worry about their own and each others complicity in the continuing legacy of those assumptions. Jorge Huerta The Graduate Center CUNY Graduate Center In fact, Jacobs-Jenkins hits on so many ideas per minute, you'll wish you had a little more time to catch your breath. Enjoy live events at insider prices. An Octoroon is set way down yonder in the land of cotton during the antebellum period. Assistant announces that the boat explodes. Maurya Wickstrom eNotes Editorial. But white actors assume blackface and even, in the case of a Native American, redface in order to reinforce a key point: that, while Boucicaults original was progressive in its anti-slavery message, it also traded on racial stereotypes that are still deeply embedded in todays consciousness. Significantly, the character of Zoe loses the definite article she has in Boucicaults title to become simply an octoroon: one of many rather than a symbol of her race. [1] Jeff Lunden, One Playwrights Obligation To Confront Race And Identity In The US, All Things Considered, National Public Radio, 16 February 2015. Again, Wahnotee and Paul are presented so sympathetically (especially Wahnotee) that it seems to confirm the author's approval of their feelings and characters. [12] Charles Isherwood, Caricatured Commentary: Minstrel Meets Modern, The New York Times 9 March 2010. http://www.nytimes.com/2010/03/10/theater/reviews/10neighbors.html (accessed 1 May 2017). [16] Jacobs-Jenkins takes these grotesque depictions to a new level, savagely satirizing white obsession with black male sexuality and white appropriation of black female fecundity. Racial thinking has the potential to limit black authors to a very specific style because of fears of being insensitive to racial issues as youve hinted at. The dead patriarch has counterparts in Big Daddy in Cat on a Hot Tin Roof and Beverly in August: Osage County, both of whom are absent (dying or dead) for much of their respective plays. Mary Wiseman and Austin Smith in "An Octoroon. The album is deeply embedded in the action of the play as the characters try to figure out what it means and what to do with it. But as well as preserving much of Boucicaults work, not least his artistic focus in manipulating his audiences emotions, Jacobs-Jenkins incorporates his own words with Boucicaults, transforms melodramatic techniques into Brechtian techniques, and uses racially cross-cast actors in whiteface, blackface, and redface, inviting audiences to join him in excavating the plays different levels of meaning and to see them simultaneously. Subsequent references are indicated in parentheses. But the questions it never stops posing light up a very murky night. This is Terrebonne, a Louisiana plantation that George Peyton (Myers in whiteface) inherited after the death of his uncle, the Judge. Alistair Toovey and Vivian Oparah in An Octoroon. [26], An Octoroon was staged by the Georgia Southern University Theatre & Performance Program from November 8 to November 15, 2017.[27]. [30] In Appropriate, contrary to Hutcheons exclusion of short intertextual allusions to other works from consideration as adaptations,[31] Jacobs-Jenkins works primarily through such brief allusions to adapt, not a particular prior text, but a whole genre. Though I cant remember any of them now. This place has historyour history.[25] If the plantation clearly symbolizes Americas history, the members of the Lafayette family represent its contemporary cultural geography. An Imperative Duty Full text HTML version scanned from 1893 edition published by Harper . I think this play is a work of genius. Topsys Interlude late in the play (labeled Interlude/Interruption [309] to mark its difference from the other Interludes) contributes in a different way to Jacobs-Jenkinss creation of an archeology of seeing in Neighbors. http://jadtjournal.org/2015/04/24/visibly-white-realism-and-race-in-appropriate-and-straight-white-men/ (accessed 30 December 2016). Thats race as a subject that no one can get a comfortable hold on. Even the notion of what makes a play is up for grabs, as this tumultuous piece is both an adaptation of The Octoroon, a popular 19th-century melodrama by Dion Boucicault, and a postmodernist critique of it. date the date you are citing the material. [11], Mark Ravenhill staged a workshop production of the play featuring Saycon Sengbloh in April 2012. Though she is legally a slave and the property of Mr. Peyton, she has not been treated as one; he tried to free her, not realizing that a legal loophole prevented it. Sign up today to unlock amazing theatre resources and opportunities. This play is set in Creole Louisiana, before the Civil War, on a plantation called Terrebonne. We then launch into a condensed rewrite of Boucicaults original: a mortgage melodrama in which the Peyton familys Louisiana plantation seems destined to fall into the unscrupulous hands of its former overseer, MClosky. In this moment Jacobs-Jenkins blurs illusion and reality by introducing the actors as actors and by inviting any spectators present (or at least readers) to imagine what the attitude of the twenty-first century actor playing Jim Crow might really be towards the part he has played. The Crows have been on hiatusthe word is used repeatedly (231, 235, 242)after the death of Jim Crow, Sr. for an uncertain period of time, suggesting that they may have come literally from the nineteenth century, and are, like Pirandellos Six Characters, in search of their life on the stage in the form of their much-vaunted comeback (261). I don't have a therapist. Themes Questions & Answers Critical Essays . The same can be said about Wahnotee's love for Paul, a young slave. This point goes all the way back to our early readings of Gilroy and theory, so Jacobs-Jenkins uses these well known texts as his foundation for An Octoroon, while also moving drastically past these notions. Rather than execute this, the actors explain and act out what happens. Jacobs-Jenkins introduces Jims real feelings. [40] Suzan-Lori Parks, Topdog/Underdog (New York Theatre Communications Group, 2001), 13. An Octoroon is weird in all the right ways, but it's also just so clever! Adaptation is a creative, interpretative, and political act. [42] On nineteenth-century American melodrama, including its depiction of slavery, see Rosa Schneider, Anyway, the Whole Point of This Was to Make You Feel Something: Branden Jacobs-Jenkins and the Reconstruction of Melodrama, Journal of American Drama and Theatre 31, no. [1] Jacobs-Jenkins considers An Octoroon and his other works Appropriate and Neighbors linked in the exploration of theatre, genre, and how theatre interacts with questions of identity, along with how these questions (such as "Why do we think of a social issue as something that can be solved?") Hutcheon also notes the Darwinian implications of the term adaptation. A Theory of Adaptation, 31. Zoe falls in love with George as well, though others are shocked that the two would wish to marry (it being, of course, illegal at the time). The implicit contrast is hilarious, and harrowing. . On this Wikipedia the language links are at the top of the page across from the article title. Effectively, he adapts melodramas audience for his own meta-melodramatic and political purposes. Humana Festival 2013 The Complete Plays, edited by Amy Wegener and Sarah Lunnie (New York: Playscripts, Inc., 2014), 146. AN OCTOROON. [44] Lisa Merrill and Theresa Saxon, Replaying and Rediscovering The Octoroon, Theatre Journal 69, no. For his research into Boucicaults aesthetic principles and into melodrama see Foster, Meta-melodrama, 286, 290, 293 and Schneider, Anyway, the Whole Point of This Was to Make You Feel Something.. (depending presumably on the resources of the theatre).
By boasting that he was as good a hunter as the goddess Diana, Agamemnon had the gall to get uppity with the gods (291).
After setting a pile of leaves on fire with a cigarette, Mammy puts out the fire with milk spurting from her enormous breasts, with which she also feeds two white babies, twirling them around in the air from her appendages. Interspersed among the Crows comically fraught rehearsal scenes and the Pattersons emotionally fraught domestic scenes are two lectures on Greek tragedy given by Richard to his students and four Interludes, in which Zip, Sambo, Mammy, and Topsy each in turn performs a grossly exaggerated version of the specialty acts typically included in minstrel shows. Boucicault portrayed Wahnotee, and in his play Jacobs-Jenkins explores the connection between a person and their identity as artist. Asserting that he was not afraid of black images that would generally be found offensive, in the earliest play in the trilogy, Neighbors (2010), Jacobs-Jenkins adopts tropes from the nineteenth-century blackface minstrel show that are uncomfortably crude and undeniably racist. In the first lecture Richard explores the origin of tragedy in our lives, suggesting that it comes from choices we have made in the past that haunt us deep into our very present (240). He does acknowledge, however, that his wife, Halie, has a family album that can explain the heritage . Pete is Paul's grandfather. Checking on the audiences reactions is a whimsical giant Brer Rabbit (clearly an authorial figure and originally played by Jacobs-Jenkins himself) who wanders through the show at will, staring at the spectators (much as the Crows stare at their audience at the end of Neighbors). Photos The Octoroon Themes Racial Identification and Discrimination Set in the pre-Civil War South, The Octoroondeals heavily with racial themes. The citation above will include either 2 or 3 dates. Following Boucicault, Jacobs-Jenkins skillfully manipulates how his audience responds from moment to moment. Directed by Sarah Benson, featuring music by Csar Alvarez (of The Lisps), choreography by David Neumann, set design by Mimi Lien, and lighting design by Matt Frey. Jacobs-Jenkins developed his take on The Octoroon while he was a Dorothy Strelsin Fellow at Soho Rep in the 2009/10 season. And forget about running or dancing or hopping like a bunny, as the characters sometimes unwisely attempt in An Octoroon, Branden Jacobs-Jenkinss coruscating comedy of unresolved history, which opened on Thursday night at the Polonsky Shakespeare Center in Brooklyn. think were related! (250). While the minstrel show provides the bedrock of his dramatic archeology, Jacobs-Jenkins also exposes the later cultural and political stereotypes of blackness that have been layered onto the tropes of minstrelsy. Text HTML version scanned from 1893 edition published by Harper mary Wiseman and Austin Smith ``! 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