The Colored Museum

Performance Dates

Friday February 12
Preview
7:30pm
Saturday February 13
Opening
8pm
Sunday February 14 3pm
Saturday February 20 8pm
Sunday February 21
Sold-Out
3pm
Saturday February 27
Sold-Out
8pm
Sunday February 28
Sold-Out
3pm*
Saturday March 5 3pm
Saturday March 5
Sold-Out
8pm
Sunday March 6
Sold-Out
3pm

Running Time: 90 minutes
Recommended Minimum Age: 12

* February 28th 3pm Performance
is a fundraiser for the Phi Beta Sigma Fraternity, Inc. – Alpha Nu Sigma Chapter.

Talkback Schedule

Saturday February 13 after the show
Sunday February 21 after the show
Sunday February 28 after the show

Talkbacks are an opportunity to discuss with the artists and/or directors of the production. You may ask questions or share your own knowledge pertaining to the performance.

Reviews
SF Weekly
Optimism and Humor in the African-American Shakespeare Company’s The Colored Museum by Peter Lawrence Kane

The San Francisco Examiner
‘Colored Museum’ a sharp, spot-on satire by Jean Schiffman

48hills
Enter ‘The Colored Museum’ by Marke B.

February 13 – March 6, 2016

The Colored Museum

By George C. Wolfe
Directed by Velina Brown, L. Peter Callender, Edris Cooper-Anifowoshe, and Michael Gene Sullivan

A poignant, socially-conscious, satirical comedy, THE COLORED MUSEUM is a depiction of black culture in America, especially relevant in today’s world of “Black Lives Matter”. Tony Award-winning playwright, George C. Wolfe, takes us on a journey of Black culture with an “in-your-face” non-apologetic, “take no prisoners” satire that electrifies, unsettles, and delights audiences of all colors. THE COLORED MUSEUM redefines our ideas of what it means to be black in contemporary America as the various exhibits depicts old and new stereotypes.

For the first time in the Bay Area, our own “Fantastic Four” — four distinguished directors, collaborate to bring 11 vignettes to life.

“Mr. Wolfe is the kind of satirist…who takes no prisoners. The shackles of the past have been defied by Mr. Wolfe’s fearless humor, and it’s a most liberating revolt.” —NY Times

“Brings forth a bold new voice that is bound to shake up blacks and whites with separate-but-equal impartiality. True satire.” —Newsweek

Directors’ Notes

Velina BrownL. Peter CallenderEdris Cooper-AnifowosheMichael Gene Sullivan

It’s a pleasure to circle back to this fascinating piece. It is a full circle experience of sorts because I earned my Equity Card performing in the Eureka Theatre/Lorraine Hansberry Theatre co-production back in 1988. Now as part of an amazing directing team I get to revisit a few of the pieces I performed in the West Coast premiere.

The references are older now but the issues remain the same. In fact the central issue for all of the characters and for all of us today is how does one deal with the horror that was slavery, that continued with Jim Crow, and still plagues us today with the nearly daily news stories of yet another black person murdered at the hands of those who are entrusted with the job of serving and protecting?

What does one do with the fear when showing fear attracts abusers? What does one do with the anger when anger attracts condemnation and violence? Each exhibit in this Colored Museum illustrates a different response to the unique pressure that comes with being black in America. As Aunt Ethel describes it the United States has “cooked up a batch of Negros” but doesn’t know what to do with them. We as African Americans need to love and respect ourselves and each other and do what we will with ourselves.

—Velina Brown

Creating the extraordinary. “Permutations” deals with the altering of the given. Transforming that which has been thrown away in to a greater life force. I am intrigued by the idea that a young girl, thrown away by her mother for having relations with a throwaway man, imagines she can create a whole race of people unlike any other; a new race of brilliant people, born of throwaways, to grace the new world. Protected. Self-sufficient. Honored. Breaking out of/from oppression and white dominance; emerging from a white egg and starting to live a new, enlightened existence. “Permutations” reminds us all that when politicians tell us we are not welcome; or neighbors, even family, tell us we are not desired… wishing to throw us away, we should be resolved in knowing that no one can trash us, or disown us, or dishonor us but ourselves. Fly!

—L. Peter Callender

Thirty years ago, George C. Wolfe revolutionized Black theater by smashing play structure, content, & language, and freed up Black theater artists to be able to create and innovate a theater practice with a new vision, a new Black. The Colored Museum talked about oppression in a different way and put onstage, with celebrity all members of the community—the ghetto party girl, the black business negotiating white corporate America, the Hollywood diva, the infamous snap queen. Many of these characters had never been seen before onstage and certainly, never without degradation or mockery. The Colored Museum helped us embrace our own diversity and love ourselves in a new and exciting way. Many have followed in his creative path, but The
Colored Museum was first!

I am thrilled to be a part of the third decade producing The Colored Museum and no better fit than African-American Shakespeare who are dedicated to “envisioning the classics”. Colored Museum is a classic and will certainly give vision to black life for years to come.

—Edris Cooper-Anifowoshe

White America has always tried to pigeonhole Blacks: We’re all dangerous, we’re all docile, we’re all stupid, we’re all devious, all Christians, all demons, too loud, too lazy, we love them, we hate them… of course the truth is all that and much, much more. And our experiences are so broad and deep we cannot be represented by one, or a thousand, or a million images. And even many Blacks use the same narrowed self-perception, and are surprised when they meet a Black atheist, or someone with a non-stereotype “Black” accent, or with whatever experience or philosophy that doesn’t fit a frame of “Blackness” that has been forced on us. The Colored Museum helps shatter all the stereotypes not only for those who would define blackness for us, but also for those of us who have—unconsciously—accepted them.

—Michael Gene Sullivan

Cast

Paige Mayes, Girl in “The Photo Session”, Ensemble in “The Hairpiece”, Ensemble in “The Last Mama-on-the Couch Play”, Normal Jean in “Permutations”, and Lala in “The Party”
Paige Mayes
Paige Mayes from Denver, Colorado, is an artist in every sense of the word. With an energetic, outgoing, and sociable personality it’s no wonder that performance is her passion. This extraordinary young woman is a soulful singer, energetic dancer, and enticing actress who is grateful to work with African-American Shakespeare Company. Ms. Mayes has wanted to be an entertainer since childhood. She spent her time perfecting her crafts and decided to pursue performance as a career. As a graduate of Arizona State University, Ms. Mayes earned a Bachelor of Fine Arts in Dance and Theater. She specializes in modern, jazz, and ballet technique. She has been involved in campus and community productions and is interested in television/film. Vocally, Ms. Mayes has performed in numerous local talent showcases and resorts, as well as with the sassy female vocal group, Hot Birds. Ms. Mayes participated in the American Conservatory Theater for the Summer Training Congress in 2014. Ms. Mayes recently moved to the Bay Area and is excited to be a part of the community while finding many ways to share her gifts and make people happy!
Clara McDaniel, Aunt Ethel in “Cookin’ with Aunt Ethel”, The Hairpiece in “The Hairpiece”, Mama in “The Last Mama on the Couch”, and Topsy Washington in “The Party”
Clara McDaniel
Clara “Clarae” McDaniel is a singer, actress, and a proud San Francisco native who has shared her many talents since childhood. Ms. McDaniel has performed solo concerts for churches and other audiences throughout the Bay Area. She is very excited to be returning to African-American Shakespeare Company! Ms. McDaniel studied acting and voice at City College of San Francisco, The Knox Performing Arts at Contra Costa College, and a Shakespeare workshop with the African-American Shakespeare Company. Some of Ms. McDaniel performances include Your Arm’s Too Short to Box With God, A Little Piece of God, Queenie Pie, Waiting To Be Invited, Ain’t Misbehavin’, The Eubie Blake Review, Hit It, The Bluest Eye, Black & Blue, The Amen Corner, all of the Black Nativity shows with the Lorraine Hansberry Theatre, Modern Musical, and AASC’s 2014 Cinderella. She performed at this year’s Juneteenth Celebration at the Ruth Williams Memorial Opera House. Ms. McDaniel is a Para Professional with the San Francisco Unified School District, with a passion for children with special needs, and for the arts. She attends Destiny Christian Fellowship Church in Fremont, and would like to thank her family and friends for their continued prayers and support!
AeJay Mitchell, Kid in “Symbiosis”, Narrator in “The Last Mama-on-the Couch Play”, Miss Roj in “The Gospel According to Miss Roj”, and Miss Roj in “The Party”
AeJay Mitchell
AeJay Mitchell is proudly joining AASC once again after being seen as Borachio in Much Ado About Nothing and E-Mem in the World Premiere of Xtigone. He was most recently seen as Gibbs in Dogfight at San Francisco Playhouse. You may have also seen his choreographic work on the stage, most recently in BAM!’s inaugural production of How To Succeed In Business Without Really Trying. He currently sits as the acting Managing Director of BAM!, San Francisco’s newest musical theatre company. Mr. Mitchell thanks these amazing directors for believing in him, and this ensemble for supporting him. Follow @AeJayMitchell on Instagram and Twitter for updates.
Tavia Percia, Miss Pat in “Git on Board”, Ensemble in “The Hairpiece”, Ensemble in “The Last Mama-on-the Couch Play”, and Miss Pat & Ensemble in “The Party”
Tavia Percia
Tavia Percia is excited to be working with the African-American Shakespeare Company once again! She was last seen on the AASC stage in Nambi E. Kelly’s Xtigone directed by Rhodessa Jones. Ms. Percia has also been seen in The Merry Wives of Windsor as Anne Page/Pistol, Much Ado About Nothing as Margret/Georgia Seacol, The Tempest as Miranda, and Cinderella as The Fairy Godsister. Ms. Percia has recently developed The TPC Theatre Troup, a group of artists whose mission is to help heal The Bay Area’s inner-city youth through the arts. The TPC Theatre Troup is scheduled for a tour in Oakland schools in the 2015–2016 school year. Ms. Percia would like to thank her parents, friends, family, L. Peter Callender and Sherri Young for their constant support.
Todd Risby, Guy in “The Photo Session”, Man in “Symbiosis”, Walter Lee in “The Last Mama-on-the Couch Play”, Man in “The Party”, and Waiter in “The Gospel According to Miss Roj”
Todd Risby
Todd Risby has an extensive career as an actor, spanning Percy the Slave-boy in Helen Keller’s the Miracle Worker at the age of nine, to Ira Aldridge in Zero Hour Nine AM at Richland Community College Theatre, and the Mayor in Hubba City at the Berkeley Black Repertory Group. TV/film credits include: television series, Midnight Caller; Sneakers and Nine Months; Drowning Hypothetically, an independent film; and as a college professor in Joe Runs Dry, an independent student project produced by Expression College for Digital Arts in Emeryville, CA. Mr. Risby last appeared in African-American Shakespeare Company’s 2015 production of Cinderella as Duke and Father. He was also in AASC’s A Raisin in the Sun as Walter Lee Younger.

Production Team

Velina Brown, Director of “Git on Board”, “The Photo Session”, and “Lala’s Opening“
Velina Brown
Velina Brown directed AASC’s 10th anniversary production of Cinderella in 2012 and is pleased to be part of the directing team for this George C. Wolfe groundbreaking piece. She has also directed Anita Johnson’s The Passing at Brava! for Women in the Arts, Michael Gene Sullivan’s Did Anyone Ever Tell You You Look Like Huey P. Newton? at the Eureka Theatre in SF, NY and Canadian Fringe Festivals, John Henry for Word for Word and most recently, Lysistrata at Cal State University East Bay. Ms. Brown is also an award winning actor as well as singer/songwriter and co-Artistic Director of the San Francisco Mime Troupe which has been her primary artistic home for the past 23 years. Next month you may see her in the Terrance McNally piece Mothers and Sons at the New Conservatory Theatre. You may have also seen Ms. Brown at the American Conservatory Theatre, Berkeley Repertory Theatre, The Magic Theatre, Theatre Rhino, TheatreWorks, Shotgun Players, Central Works, Symmetry Theatre, The Lorraine Hansberry Theatre, and The Denver Theatre Center among others. You may read Ms. Brown’s monthly advice column on the Theatre Bay Area website named after her coaching practice for actors called The Business of Show Biz. For more information please visit www.velinabrown.com.
L. Peter Callender, Director of “Permutations“
L Peter Callender
L. Peter Callender is Artistic Director of AASC and Associate Artist at California Shakespeare Theater. Mr. Callender received his formal training at the Juilliard School in New York City, Webber/Douglas Academy in London, and the Tadashi Suzuki Company in Toga-mura, Japan. He has appeared in over 20 Shakespeare plays around the country and abroad, teaches Acting Shakespeare locally and in private sessions, and is an award-winning Bay Area veteran actor appearing at Berkeley Rep, A.C.T., Aurora Theatre, Marin Theatre Company, The Magic Theater, San Jose Stage and many, many others locally, regionally and on Broadway. His directing credits include: Twelfth Night, A Raisin in the Sun, Cat on a Hot Tin Roof and Much Ado About Nothing at AASC; Fences and A Raisin in the Sun at the Harbor Theater in Fairfield; Dinner at Eight and Glengarry Glen Ross at SOTA, San Francisco and Gilded Six Bits for WordForWord (France Tour). Mr. Callender just directed Jitney at American Stage Theatre Company in St Petersburg, FL, and will be appearing at AASC as Antony in Antony and Cleopatra.
Edris Cooper-Anifowoshe, Director of “The Gospel According to Miss Roj”, “The Hairpiece”, and “The Party”
Edris Cooper-Anifowoshe
Edris Cooper-Anifowoshe is an award winning actor, director, writer and performer. She has directed around the country at Trinity Rep in Providence, Capital Rep in Albany, NY, WaterTower Theatre in Dallas, Curious Theater in Denver, Mark Taper Forum in Los Angeles, 42nd Street Playhouse in NYC, and Alabama Shakespeare, and has taught acting and directing at Naropa University and Indiana University. In San Francisco, she has directed at Lorraine Hansberry, Magic Theatre, GAP Festival at Aurora Theatre, A.C.T. MFA Program, and Bay Area Playwrights Festival. Ms. Cooper-Anifowoshe received a Dean Goodman award for Excellence for her direction of John Henry Redwood’s Old Settler at TheaterWorks in Palo Alto; and several Rabin Award nominations for her work at WaterTower Theatre in Dallas. She has taught at College of Marin and Berkeley Rep School of Theatre. She also directs with the company she founded: Black Artist Contemporary Cultural Experience, which was awarded recognition for Best Ensemble at the 2014 TBA Awards. She earned an MFA in Directing from the University of Iowa, and is Artist In Residence at Brava Theater Center in the Mission District, San Francisco.
Michael Gene Sullivan, Director of “Soldier with a Secret”, “Symbiosis”, “The Last Mama-on-the-Couch Play”, and “Cookin’ with Aunt Ethel”
Michael Gene Sullivan
Michael Gene Sullivan is an award-winning actor, writer, and director whose work includes productions at the American Conservatory Theatre, Berkeley Repertory Theater, the Denver Theatre Center, Theatreworks, the Magic, Marin, Aurora, and Lorraine Hansberry theaters, the S.F. Playhouse, and the San Francisco and Berkeley Shakespeare Festivals. He is also a member of the Tony and OBIE award-winning (and never silent) San Francisco Mime Troupe, where he has acted in and/or directed over 30 productions, and has also, for the past 15 years, been Resident Playwright. His scripts for the SFMT include Red State, Posibilidad, For the Greater Good, and last year’s SFMT hit playabout police brutality, Freedomland. Mr. Sullivan’s non-Mime Troupe dramas, musicals, and satires include the all-woman farce Recipe, his one person show, Did Anyone Ever Tell You-You Look Like Huey P. Newton?; a stage adaptation of Dickens’ A Christmas Carol: his historical drama fugitive/slave/act, and his award-winning stage adaptation of George Orwell’s 1984, which opened at Los Angeles’ Actors’ Gang Theatre under the direction of Academy Award winning actor Tim Robbins, and which has since toured nationally and internationally, and been published in two languages. Mr. Sullivan’s plays have been performed at theaters throughout the United States, as well in Germany, Australia, China, Greece, Spain, Columbia, Argentina, Canada, Mexico, Scotland, and England. Mr. Sullivan’s directing credits include work with the San Francisco Shakespeare Festival, Mystic Bison Theatre, Street of Dreams Theater, and the San Francisco Mime Troupe. He is very happy to be back with the African-American Shakespeare Company, where his previous work includes directing the critically-acclaimed adaptation of Julius Caesar, and his performance as Prospero in the Tempest. Mr. Sullivan is also a blogger for the political website The Huffington Post.
Annye Bone, Stage Manager
Annye Bone
Annye Bone is delighted to be working with the African-American Shakespeare Company for the first time. After running away to join the circus at a young age, she’s found that theatres tend to have fewer leaks than tents, which has made a huge difference to her career in show business. (Those of you who’ve followed previous of her bios will be glad to know that Hannibal the elephant is doing quite well, thank you.) In her “spare” time, Ms. Bone has been successfully pursuing True Love and developing her business, Parting Glass Event Planning.
Kevin Myrick, Lighting Designer
Kevin Myrick
Kevin Myrick has been lighting theatrical events since 1968, working for dance and theatre companies in Chicago, Atlanta, and here in the Bay Area. Mr. Myrick studied theatrical design at San Francisco State University, and has designed shows for the Oakland Ensemble Theatre Company, A Black Box Theatre Company, United Projects, Berkeley Black Repertory Theatre Company, Go Productions, SEW Productions, Dimensions Dance Theatre, Wajumbe Cultural Ensemble, the Alliance Theatre Company and Just Us Theatre Company in Atlanta, African-American Shakespeare Company, Cultural Odyssey, AfroSolo Theatre Company; and many other community and professional arts organizations.
Derrick Spiva, Musical Director
Derrick Spiva
Dr. Derrick Spiva has been a professional music director, singer, musician, and performing arts educator for over 30 years. He was a postdoctoral “Fulbright-Hays Scholar” to Egypt and Israel in 2000. He has been a lecturer of African American music, choir, and arts for the College of Ethnic Studies at San Francisco State University since 2009. He was Director of Performing Arts and professor of music at West Hills College; 12 years of producing the nationally syndicated television series, Through Our Eyes and The 411 for PBS, the Black Family Channel and the Urban Television Network. Most recently, Dr. Spiva leads and performs with “Circle Soul”, a rhythm & blues band based in San Francisco, a principle singer/dancer in Funky Town at the San Francisco Palace of Fine Arts. Other singer/dancer credits include Dream Girls and Sophisticated Ladies at Roger Rocka’s Dinner Play House in Fresno. Dr. Spiva has a Ph.D. in vocal music from San Antonio Theological Seminary, an MFA in Musical Theater from UC Irvine and a BA in Performing Arts/Communications from CSU Northridge.
Russell Leavitt, Set Designer
Russell Leavitt
With over 25 years of experience behind the scenes in performing arts, Russell Leavitt brings his talents as Set Designer to the African-American Shakespeare Company stage. His past work includes scenic design for Little Shop of Horrors and The Night No One Died at the Edward James Olmos Teatro de las Americas, West Hills College where he was also Technical Director, and instructor of theater design, lighting, sound and video production. His set design experience extends into television, designing 12 seasons of the Through Our Eyes, Create your Nature, and The 411, children and youth programming series on PBS television, the Urban America Network and the Black Family Channel. Mr. Leavitt studied film and television at the Academy of Art University here in San Francisco and earned a BA in Art from California State University. He is the lighting designer for the annual choreographer’s dance concert at San Francisco City College. He has been technical director for the Reel Pride Film Festival in Fresno California for the past 20 years. Currently, he serves as Chief Technical Officer for CEEDTV and CEEDTV Africa Networks.
Michelle Mulholland, Costume Designer
Michelle Mulholland
Michelle Mulholland is delighted to return to African-American Shakespeare Company where she last designed Cat on a Hot Tin Roof and previously Iph. A seamstress since the age of 13, Ms. Mulholland began designing costumes for theater while still in high school. Ms. Mulholland’s work includes Tenderloin for Cutting Ball Theater; The Oldest Profession for Brava Theater; and Night Over Erzinga for Golden Thread Productions. Ms. Mulholland is a BATCC 2011 Nominee for her work on Box Car Theatre’s production of Clue and has also worked with Teatro Zinzanni, A.C.T. and the Lorraine Hansberry Theatre. Outside the theater Ms. Mulholland designs and constructs clothing, accessories, and formal wear.
Kenan Arun, Wig Master and Make-up Artist
Bert van Aalsburg, Props Master
Bert van Aalsburg
Bert van Aalsburg returns, not as our set designer, but as our props master, for our production of The Colored Museum. An award winning scenic designer, Mr. van Aalsburg has designed and built props for many shows such as: Crumbs from the Table of Joy for the Lorraine Hansberry Theatre; First for Aluminous; and QED for Indra’s Net Theater. Most recently, Mr. van Aalsburg has also ventured back into lighting design, designing for Or for Anton’s Well Theater Company; and Soulful Christmas for the Lorraine Hansberry Theatre. Mr. van Aalsburg is committed as a theatrical professional and is a proud member of Actors’ Equity Association, the union for actors and stage managers.
LeShawn Holcomb, Associate Artist
LeShawn Holcomb
LeShawn Darnell Holcomb is a play wright, poet and performer living in Marin. Mr. Holcomb is excited to return to the African-American Shakespeare Company after playing Balthasaar in this season’s Romeo and Juliet. He is currently a theater teacher at Creative Arts Charter School, and serves as an Education Advocate at The Hannah Project where he leads educational workshops, leadership trainings, and art explorations for middle and high school students of Marin City. He recently worked with Marin Theatre Company, leading theater workshops throughout Marin County. Prior to the Bay Area, Mr. Holcomb taught playwriting residencies throughout Kentucky and Northern Indiana School Districts with Actors Theatre of Louisville. In 2012, Mr. Holcomb graduated from California State University (Fullerton), with a Bachelor of Science in Human Services and Afro Ethnic Studies. Mr. Holcomb’s plays have been produced and per formed at theaters in California, New York, Washington D.C., Arizona, Utah, and Michigan. Mr. Holcomb wishes to continue writing for the stage: more specifically, he wishes to continue creating theater with youth, where he gets the opportunity to foster and nurture young new voices.

Special Thanks

Circle Soul Band
Harold Spiva, Guitar
Georgia Jackson, Harmonica
Philip Casey, Keyboard
Michael McMackin, Drums