The Good Negro
Written by Tracey Scott Wilson
Directed by Chuck Smith

The Good Negro is set in Birmingham, Alabama during the height of the Civil Rights movement in 1963. This was the culmination of a triumvirate for me since a few days earlier I attended my nephews graduation from Howard University, and as usual when I’m in DC I like to pay homage to our President by stopping by his house, our house…you know the one I’m talking about.

This is where the message of The Good Negro starts to become more relevant and real. The play opens with Reverend James Lawrence (played by Billy Eugene Jones) speaking about injustice and firing up his congregation to not accept the position that they have been relegated to by those that are afraid of change and try to do everything in their power to prevent that change from occurring. Having been born in the 60’s, but not of age to be involved in the movement, I can only imagine that the Reverend’s character was emblematic of those stalwarts who risked their lives and positions and stood up for their beliefs. Jones’ ebullient oratory style summons King like an anguished family member desperate to communicate with their departed loved one at a séance. Aaaww yeah we’re ready for a “Holy Ghost” party up in here tonight . . . GP are you with me?

The idea that “the movement” requires strong, charismatic leadership and a cause to rally behind leaps out at you with every twist and turn in this poignant and piercing storyline. That strong leadership comes from Reverend James Lawrence; his longtime friend and solider in the cause, Reverend Henry Evans (played by Teagle F. Bougere), and an idealistic newcomer Bill Rutherford (played by Demetrios Troy). This perfect troika of leadership, (fashioned loosely against the legacy of Dr. Martin Luther King, Reverend Ralph Abernathy, and perhaps Andrew Young) is thrust in the middle of another tragic human calamity perpetrated by the resistant majority which sets the stage for their actions, that rallying cause célèbre that will eventually catapult Birmingham into turmoil.

Throughout the play we see these leaders struggle with their positions; living in the past, reliving past triumphs and failures; and desperately trying to redefine their relevance and engender their flock to stay the course and believe in them and their abilities. Not only is there the reflections of the past, but there is a healthy dose of jealously and rivalry in the present that exist between the seasoned protagonist, Reverend Evans (proverbial second in command) and newcomer Rutherford. Ironically, here is where the pursuit of “change” and the “movement” collide. More specifically Evans has become threatened by this young, light-skinned, strategic out-of-the-box thinker and tries to discredit him every step along the way. Rutherford is unmoved and continues to fight the good fight, offering new and radical ideas the “veterans” of the movement have yet to consider. It is this resistance to change, by Evans specifically, that creates the greatest paradox to the fundamental basis and driving force of their cause.

It is only the bumbling and sometimes keystone cop nature of the FBI agents (played by Mick Weber and John Hoogenakker), sent to Birmingham begrudgingly, that illustrates and exacerbates the utter insanity and ignorance that was pervasive during this time. The moronic local racist is tapped to work with and against the FBI at the same time, and it begs the question of who’s on first and who’s one second. It is evident, that neither side, is quite sure and that makes for some very serious laughter. Clearly the FBI agents have much disdain for the leaders of the movement and use the Ku Klux Klan and Tommie Rowe as subterfuge to discredit and disrupt what Lawrence and his compatriots are trying to achieve.

The play moves on using flashbacks of actual historical footage and it is displayed as a backdrop to a sparse but effective set. With this in mind, these flashbacks brings a level of authenticity and realness to the message that is being brought forth and conveyed and you actually feel like you are there during the beatings, during the fire hosing, during the bombings, and during the degradation and death.

The trio is successful with pulling the Negro people of Birmingham together in spite of setbacks and threats to their safety. In fact, Claudette and her husband Pelzie (played by Tory O. Davis) suffer unimaginable losses but they continue to believe in this cause and the men leading it. There is a level of predictability with Reverend Lawrence and the play gives a nod to some of the alleged and whispered bad behavior by Dr. King. Reverend Lawrence’s wife, Corrine (played by Karen Aldridge) continues to stand by her man against these rumors. She accepts her role in the movement being the confidante her husband needs to propel him forward and her humanity never wanes but her dignity is challenged.

Eventually through all the victories and failures a crisis of faith and confidence permeates this fragile and oftentimes embattled cabal of change, forcing Lawrence to consider leaving Birmingham for someplace new, accepting defeat. It is not until Pelzie Sullivan (Claudette’s husband) after a litany of personal sacrifices challenges and implores Lawrence to look at his reflection, in the mirror of turmoil he has created and started in Birmingham. It is at this moment where Lawrence and his compatriots muster the courage to continue the fight, despite the recent setbacks, and hold their ground until the job is done.

The Good Negro is gripping. It is part Sunday school revival, part Abbott and Costello, and part historical retrospective. But The Good Negro is also about recognizing where we’ve been and where we are today. It is a constant reminder that although we have a black President, CEO’s, and other highly accomplished and successful individuals in all facets of American life, we are still not that far away from the movement and the movement is still needed, relevant, and alive.

Larry D. Wayne

The Good Negro continues through June 6, 2010 at The Goodman Theatre.