This Saturday, June 27, at 5:00 pm The Fountain Theatre is proud to present a reading of France-Luce Benson’s one-act play Showtime Blues, originally presented at the Ensemble Studio Theatre in New York in 2017. Showtime Blues will be presented online as The Fountain’s final Saturday Matinee program for June and will feature Cecil Blutcher, Suzette Azariah Gunn and Matt Kirkwood. Saturday Matinees will take a break in July, returning with France-Luce in August.
France-Luce produces and hosts Saturday Matinees and has generously presented several readings of her own work for our patrons enjoyment, including our May 20th reading of Detained, her powerful piece commissioned by the ACLU that featured the Tony-nominated actress, Kathleen Chalfant.
We wanted to take the opportunity to discuss Showtime Blues with France-Luce as it is a powerful piece of theatre in perfect pitch with the current moment and is part of a body of work in which France-Luce explores her identity as a Black American of Haitian descent, and examines broad socio-political concepts from the perspective of intimate human relationships.
Q: When did you write Showtime Blues? Did it arise out of one particular experience or in response to a lifetime of experiences?
FLB: I wrote it in 2016. That year, Alton Sterling and Philando Castille were killed by police. Prior to that…Sandra Bland, Eric Garner, Trayvon Martin, Micheal Brown…the list goes on and on. I was hurting, and angry, and terrified for my community. I have three brothers, a nephew, dozens of cousins — I couldn’t imagine how anyone could ever view them as a threat. Like all the black men in my life – they are loving, gentle, hard working, family men – they care about their communities, they are human and deserve so much better than what this country gives them. We all do. All of this was stirring in my head and heart. I didn’t know what the play would end up being, but I knew I needed to explore it, work through it, and I wanted to celebrate Black love in a way that transcended romance. I wanted to celebrate the love we as Black people have for one another, based on our shared trauma and triumphs.
Q: I’m curious about the secondary theme in the play which explores the way folks judge one another on appearances and stereotypes.
FLB: As a first generation American, I’m interested in the way we (black and brown people) “Other” each other; and I always believe that as individuals we need to hold ourselves accountable. Both Ameira and Demetrius are quick to judge, and maybe they’re justified. She’s getting hit on by some dude on the train, and he’s being dismissed by someone who can’t even be bothered to look at him – literally. They have both been conditioned by a sexist, racist society. The incident that they experience together exposes their vulnerability. That vulnerability is what interests me most. It is that vulnerability that many of us, black and white, often fail to see in each other. And certainly law enforcement officers – they see black and brown bodies void of vulnerability – void of humanity.
Q: It seems that this moment provides a unique window for artists of color to be heard and seen. What would you like your white friends and colleagues to understand about your experience as a black female artist in America?
FLB: I’d like them to truly understand how far reaching, how expansive, how insidious white supremacy is. My voice and stories matter as much as anyone else. The lack of opportunity artists of color experience is a result of systemic institutionalized racism. White people need to understand this country’s history, and then maybe they’ll begin to understand my experience. I’ve been writing a trilogy about the Haitian Revolution, and I’ve often been told that my cultural experience is not relevant to Americans. But I challenge anyone reading this to study the Haitian Revolution and tell me it’s not part of America’s history. The problem is, Americans have been in denial about a lot of her history; I would like my white friends and colleagues to investigate the ways they have been in denial.
Q: As a Black American. What makes you hopeful?
FLB: This new generation of activists makes me hopeful; the current uprising, the fact that white people seem more willing to listen and take real action.
Cecil Blutcher: Regional Theater: Pipeline (Actor’s Theatre of Louisville); Petrol Station (The Kennedy Center). NYC: The Hot Wing King (Signature Theatre); Tempo (Ensemble Studio Theatre); Showtime Blues (Ensemble Studio Theatre). Film: Premature (Dir. Rashad Ernesto Green); Skin (Dir. Guy Nattiv); Sketch (Dir. Mariama Diallo). Television: The Good Fight (CBS All-Access); Random Acts of Flyness (HBO). Training: M.F.A. (Penn State). Website: CecilBlutcherCreates.com
Suzette Azariah Gunn is an actress, writer, director from New York. She has a degree in acting from Howard University and Oxford University. She has recurred, starred and guest starred on television and been in film and Theater across the US. Most recently 21 Bridges film and Nya in Pipeline at Cleveland Playhouse. Honors- Los Angeles Film Award Best Ensemble, Golden Door International Film Festival Nominated Best Lead Actress, NBC Diversity Showcase, Named Up and Coming Actress to watch, Best Supporting Actress Planet Connections,.- For more info suzettegunn.com
Matt Kirkwood has been an actor and director in Los Angeles theatre for the last 30+ years. He was last seen in The Fountain’s production of HUMAN INTEREST STORY, and in the live stream reading of DETAINED.