by Freddy Puza~

What is the price of racial equality in America? At what length do we have to go to achieve it? More interesting, what, if anything, must be covered up in order to protect it? The Good Negro at the Stella Adler Theatre opens up a much-needed conversation about these fundamental issues as the country still struggles to deal with its complex relationship with race.

The Good Negro is an historical drama that follows three black leaders in Birmingham, Alabama, in the early 1960s who organize a boycott of downtown merchants and several protest marches in an attempt to create massive social change in one of the most segregated cities in the United States. Rev. James Lawrence, Rev. Henry Evans and Bill Rutherford agree to use a recent incident involving Claudette Sullivan and her 4 year-old daughter, who was arrested for using a whites-only restroom, as fuel to ignite the community and build a civil rights campaign. Despite protests fro Claudette’s husband Pelzie, the family goes along with participating in the movement. All the while the black community is under constant surveillance and manipulation from the FBI and are terrorized by constant threats from the Ku Klux Klan. Although fictional, the play most likely is based on the life of Rev. Dr. Martin Luther King, Jr. during the civil rights movement.

What elevates this play from a purely historical retelling is its courage in truthfully examining the characters at their core and the questions that that courage inherently raises. Playwright Tracey Scott Wilson presents us with three characters fighting for justice and, instead of lifting them higher on a pedestal, exposes their vulnerabilities and reveals their humanity. She does this to give the audience a more honest, well-rounded take on history, but the question is, does this discredit the overall efforts of the movement? Do their personal vices limit the vision of their quest for equality? The play reminds us that, while we may revere people for their efforts and their tremendous positive contributions, we should be mindful of how we record their history. This is especially true in America when discussing issues of race, which can be and have been contentious or simply ignored. The fear may be that to talk about the not-so-good aspects would cause people to discredit or not believe in the movement altogether. Wilson’s play gives us the chance to flesh out and continue this conversation.

Although the play takes place in the 1960s, the question of what it means to be a good negro is still relevant. Some people may argue that we’re at a post-race stage in America while others argue that the discussion hasn’t even begun to emerge. The distance in time in The Good Negro allows the audience to look at the racial tensions more easily as if it were something in the past, but I think Wilson does this to open up a conversation about these still looming issues. The best example in modern times, of course, would be President Barack Obama. Since he is the first black president, is he expected to live up to a “good negro” prototype? Do his actions represent himself or are they on behalf of the black community? What does it mean to the black community if he fails? If he succeeds? These questions don’t apply only to race but also include gender, religion and sexuality. America still has a long road ahead of it in terms of human rights.

Another issue that the play tackles is classism, something that people in America don’t like to discuss because America is supposed to be a classless society. Pelzie is a simple man who wants to live a simple life. He isn’t affected by the lures of wealth, and although uneducated, he has the common sense to know the situation he’s about to engage in. He knows that if his family is the centerpiece of the movement they’ll be targeted and he’ll be the one that has to pay the consequences. Even though Rev. Lawrence and Rev. Evans live in the community, they are out of touch with the everyday concerns of their less fortunate counterparts. They wear flashy suits and Pelzie is suspicious of where all their wealth is coming from.

Phrederic Semaj, who played Rev. Lawrence, performed well as he tackled the vast emotional landscape of a character trying the do the just thing while facing his personal temptations and demons. There were two scenes where Mr. Semaj particularly shined. The first is when he was riding in the police car to jail but mistakenly thought he was headed to his execution. His desperate cry for forgiveness and deliverance revealed the true fragility underneath this strong, imposing figure. The other was the final scene between Rev. Lawrence with Pelzie, played by Godwin A. Obeng. As Rev. Lawrence grappled with the successes and failures of the movement, Mr. Semaj played the humility that his character has come to know with amazing depth and sincerity, a moving evolution to witness.

A less interesting and less notable subplot was the two FBI agents, Paul and Steve, who are keeping tabs on the civil rights movement. They listen in on all of the organizers conversations, including intimate ones, and they convince Rowe, a racist local, to join the KKK in order to keep track of the latest happenings. This subplot does nothing more than drive and complicate the historical context. They rarely interact with the other characters and are on the other side of the stage for much of the play. Brian E. Smith made some interesting choices playing Rowe, a racist local, trying to breathe life into a flat character full of ignorance and hate.

The Good Negro is performed Thursdays, Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. through September 19.

The Stella Adler Theatre is located at 6773 Hollywood Blvd. in Hollywood, just east of Highland.

Ticket prices: $20 on Thursdays, Fridays and Saturdays; $18 on Sundays; ½ off for students, seniors and union.

Reservations online at www.Plays411.com/goodnegro or by phone at (323) 960-1054.