illuminations A Guide to the 2012 Plays

1 Party People

world premiere

UNIVERSES (Steven Sapp, Mildred Ruiz Sapp and William Ruiz, a.k.a. Ninja)

Directed by Liesl Tommy

Amira Blue’s wife and former member. Protects Blue and his eccentricities. Notes by Eliza Bent Donna and Catherine Foster Widow of a murdered police officer.

Maruca Who’s Who Former Young Lords Party member. Both ruthless and romantic, she is not well accepted by others Jimmy “Primo” who have doubts about her past indiscretions. A new media/visual/performing artist, he is organizing an exhibit/installation/performance Marcus inspired by the activities of the A former young activist affiliated with Fred and the Young Lords. He’s invited members of Hampton’s Rainbow Coalition in . A col- both groups to the event. Tito’s nephew. lector of memorabilia.

Malik Jazz A Panther Cub, helping Jimmy coordinate the Former Black Panther Party member. Went into exhibit. He is trying to maintain a relationship exile after being accused of killing a Black Panther with his father, who is in prison. who was suspected of being an informant.

Tito Omar Primo’s uncle, a former Young Lords Party Former Black Panther Party member and Army member. Retired but still involved in union orga- war veteran. Seeks a public apology for having nizing and a prison reentry program. Was once in been tortured when others thought he was an a relationship with Helita. informant.

Helita Solias Former Young Lords Party member. A meticulous COINTELPRO agent provocateur for the Black collector of Young Lords historical documents. Panther Party. Clara’s godmother. Roger Clara COINTELPRO agent. Teaches informants how to Daughter of Young Lords’ members. Co-raised by infiltrate. Helita. Now successful, she wants nothing to do with a revolution that robbed her of her parents. Chorus All cast members are the chorus. Blue Former Black Panther Party member. Though ulti- mately proved not guilty, incarcerated for involve- ment in a shootout that left a police officer dead.

3030 mining the The Story memories

An opening at an art gallery of works inspired by Chicago, Detroit, Kansas City, Omaha, New When OSF’s American the 1960s and ’70s activities of the Black Panthers Orleans, Dallas, Denver, , , Revolutions: the United States and the Young Lords presents a unique opportu- San Francisco and Seattle. Membership peaked at nity for members of both groups to gather and 10,000 by 1969, and the Party’s newspaper, The History Cycle commissioned reflect on the past and present. As those from Black Panther, with as editor, had UNIVERSES to create a play younger generations confront party members, a circulation of 250,000. about a revolutionary moment they wrestle with how the ideals of yesterday are But this group, which worked with other reflected in the present. marginalized groups both here and overseas and in U.S. history, UNIVERSES mem- Old lovers reconnect, and friends who haven’t preached liberation and self-sufficiency, alarmed bers Mildred Ruiz Sapp, Steven spoken to each other in 25 to 30 years reunite. the government. The incoming U.S. Attorney Sapp and William Ruiz (a.k.a. Meanwhile, former frenemies—and informants, General John Mitchell, in a Newsweek article, too—meet and catch up. As the evening pro- vowed to “destroy the Panthers by the end of Ninja) knew right away what ceeds, however, certain facts that were taken 1969.” And FBI Director J. Edgar Hoover put all the interested them. as truths come into question. Songs and poetic resources of his vast anti-Communist Counter “Some of the greatest revo- monologues flare up to reveal the inner thoughts Intelligence Program, or COINTELPRO, against of party leaders as well as rank and file who had them. Hoover deemed the Panthers “the most lutionary moments for commu- contributed to the party’s cause. By evening’s end, dangerous group in America.” Agents began to nities of color in America—and history does not seem as black and white as it illegally monitor and infiltrate the groups; they America in general—were the sometimes reads in history books. sent falsely signed letters, made threats, tapped phones and pitted the Panthers against other movements of the ’60s and groups. Some of its strongest leaders, like 21-year- ’70s, and more specifically The Faces of Revolution old , who linked other activist the movements of the Black groups in the Rainbow Coalition, were killed. Panthers and Young Lords,” says While both the Black Panthers and the Young Members were on tenterhooks, suspecting Lords Parties are most known for their political those around them of being informants or infil- Ruiz Sapp. activism—and sometimes violence—there was trators. Violence and death often resulted. The In creating Party People, a humanitarian side to their activities, which FBI’s efforts destroyed marriages and shattered UNIVERSES drew on personal UNIVERSES explores in Party People. The groups, families, cost people their jobs. The Black Panther which were active in the 1960s and 1970s across Party was largely defunct by the early 1980s, experience. They grew up on the the United States, sought to improve the lives of although members continue to keep the social Lower East Side of Manhattan poor people in the inner cities. programs alive. and , where the Young The Black Panthers The Young Lords Lords, a group of primarily The Black Panthers was a black revolutionary The Young Lords Organization was founded in Puerto Rican activists, ran social party, started in 1966 in Oakland by Chicago, first as a Puerto Rican gang in 1965. programs similar to those of and Huey Newton as a defensive organization to But after Young Lords member José “Cha Cha” protect black people from police brutality. They Jimenez met Black Panther leader Fred Hampton the Black Panthers. UNIVERSES’ drafted a 10-Point Program, which laid out the in jail, he got a new vision. When he was released, families had been the beneficia- group’s demands. While they were working on Jimenez persuaded gang members to adopt the ries of those programs, includ- changing laws and policies, they also developed social programs the Panthers were starting. He a strong community service wing. During its 16 was successful, and the Young Lords Organization ing the free breakfasts. years, the Black Panthers launched 65 social ini- changed their focus. In 1969, a group in New York UNIVERSES realized they’d tiatives, including the popular Free Breakfast for City started the first chapter of the Young Lords have to interview original mem- Children program, a clothing program, programs Party there. Soon, it spread to six other states. for teens, geriatric health care, police patrol, Like the Panthers, the Young Lords were infuri- bers of both groups, who are home maintenance, free ambulance service, dis- ated by police brutality, but they also witnessed now in their 50s, 60s and 70s. abled person transport and free dental care. urban renewal projects that evicted members of Because some of this material By 1968, chapters had formed in New their families and community. Made up of primar- York City, Newark, Washington, DC, Baltimore, ily young working class people, the Young Lords is still painful, they needed to , Pittsburgh, , Cleveland, organized in Latin communities. They set forth a continued on next page 31 Party People

establish trust. That meant 13-point program, protested slum conditions, ran But the Young Lords also felt the effects of conducting in-person interviews social programs and started a newspaper, Palante, COINTELPRO. By 1973, the party’s strength had and a radio station with the same name. weakened. Still, many members from Young Lords in seven U.S. cities as well as Like the Black Panthers, the Young Lords held went on to fight for Puerto Rican independence in . Sapp said, “You political education classes for children. They and neighborhood empowerment, although more have to go and get blessings focused on community issues, such as the lack of covertly. decent housing, police brutality, lack of garbage As UNIVERSES conducted their interviews from people and let them know pickup. They organized door-to-door health test- for Party People, they said it was an illuminating this is real, out of respect. This is ing for tuberculosis and lead poisoning. They experience for the participants involved. Others what you do for an elder.” took over churches to house their free breakfast discovered that an old friend was actually an programs. They also staged dramatic takeovers informant. The cases of mistaken identity, forgery That was going to be of prominent institutions, like Lincoln and and conspiracy can seem to have an epic, almost financially difficult, particu- Gouverneur Hospitals, bringing media and pub- larger than life, quality about them—yet it is all larly because the members of lic attention to the plight of Puerto Ricans and based on historical fact. Latinos. The movements of the ’60s and ’70s were UNIVERSES were split between In the 1970s, the health depart- indeed revolutionary. “We were definitely at New York City and Puerto Rico. ment sent trucks and medical personnel into war—it just wasn’t called one,” says Ruiz Sapp. But OSF and three other the- neighborhoods to test residents for tuberculosis and provide medication. But the trucks weren’t Further Reading atres around the country played going to Spanish Harlem. So members of the crucial roles in its progress. Young Lords figured out one truck’s route. • Mumia Abu-Jamal. We Want Freedom: A Life in OSF gave the group an ini- “One day they ran into the truck and told the Black Panther Party. the technicians, ‘We’re not taking you hostage, tial commission fee and ongo- we just want to ‘liberate’ the truck to a different • Michael Abramson, photographs; text by ing support for the artists to neighborhood,’ ” explains Ruiz Sapp, adding that the Young Lords Party. Palante: Voices and work together. UNIVERSES facil- the group had brought sandwiches for the truck’s Photographs of the Young Lords, 1969–1971. doctors and technicians. Sure enough, more than itated contact with PlayMakers 100 cases of TB were discovered that day. • www.itsabouttimebpp.com. A website promot- Repertory Company in North ing the Black Panther Party legacy and alumni. Carolina, Center Theatre Group in Los Angeles, and Berkeley Repertory Theatre, who offered housing or travel support. The New England Foundation for the Arts gave a large grant for development and production. The group members inter- viewed more than 20 people at all levels of both parties. They gleaned stories and anec- dotes, as well as some people’s desires to come together with shames/polaris n other members as adults to say stephe things that can only now be ©1968, said. Black Panthers march at a Free Huey rally in deFremery Park, Oakland, in 1968. From The Black Panthers (Aperture).

32 A Ferocious, Fresh Voice serving the story

Every theatre company has its own distinctive UNIVERSES sums up their aesthetic on their Theatre has so many stripes history. Some form when friends from college website describing themselves as “a National and shades, the assortment can graduate and decide to strike out on their own, International Ensemble Company of multi- others start when artists decide to combine their disciplined writers and performers who fuse at times be dizzying. There’s shared professional interests and aesthetics. For Poetry, Theater, Jazz, Hip-Hop, Politics, Down musical, straight, classical, hip UNIVERSES, a Bronx-based ensemble founded in Home Blues and Spanish Boleros to create hop, spoken word, experimental, 1995, formation was almost happenstance. moving, challenging and entertaining theatrical “When the company came together, we were works.” devised, nonnarrative and dance individual artists in the New York City poetry The leap from poetry evenings and theatre. The list goes on. scene doing open mics,” says Steven Sapp, a appearances at political rallies to full-fledged Labels can, of course serve as founding member of UNIVERSES, who met his theatre performances was fortuitous. In 1998, wife and fellow founding member Mildred Ruiz Sapp was producing a theatre festival at his great identifiers—especially to Sapp, while the two were still in college. theatre, Live from the Edge, at The Point CDC, those who are unfamiliar with a In the early days of performing poetry—and a nonprofit organization dedicated to youth group’s work. But labels can also often music, too—alongside such poets as Reg development through the arts and the cultural E. Gaines, Sandra María Esteves and , and economic revitalization of the Hunts Point limit. “Once you call it one thing, UNIVERSES and fellow newcomers to the scene section of the Bronx, which he also cofounded then you lessen everything rued the fact that most open mics offered young with Ruiz Sapp in 1993. Sapp invited Mark Russell, else,” says Party People director poets only two minutes of stage time. UNIVERSES then artistic director of downtown Manhattan’s realized that if they worked together they could Performance Space 122, to speak on a panel Liesl Tommy. get eight consecutive minutes. The strategy during the festival. UNIVERSES, it seems, has a worked, but UNIVERSES didn’t have designs on Russell obliged and was impressed not only by complicated relationship with becoming a theatre group. Performing together the expansiveness of The Point (it is a whopping was just for fun. “We only named ourselves when 12,000 square foot space), but also by its the label by which they are a presenter who booked us as a group wanted us economic model: Much of The Point’s real estate often marked. to have a name,” Sapp says with a laugh. was utilized to help develop local businesses, “The UNIVERSES form has UNIVERSES from the Bronx Side, as they were which in turn rented the spaces that generated originally called, started performing together at income for the arts center. Sapp invited Russell to been called many things,” various poetry and jazz clubs around the city— attend a UNIVERSES performance the following explains group member Steven sometimes driving between boroughs to catch evening. Sapp, “from poetic theatre to multiple gigs in one night. As their reputation “It was just 60 minutes of our work; it didn’t grew, they began getting invited to attend really have a through line,” says Sapp, but a hip-hop theatre.” political rallies. “Our work was always politically special relationship was forged from those For UNIVERSES, art- minded,” explains Sapp, “but at rallies we were meetings. making is not about applying like the entertainment.” “Meeting UNIVERSES was a gift,” Russell said by phone. “Here was this crew of poets with a preferred or select rule or A multiplicity of styles a theatrical and musical bent, blessed with a aesthetic at all times. On the Entertaining how? Just what is work by ferocious, fresh voice. They were open and ready contrary. “For us, there are no UNIVERSES like? Imagine a visual art collage that to try new things, see where this form—they were draws from disparate mediums, styles and color inventing as they went along—took them. They rules,” Sapp asserts. “The group palettes—UNIVERSES does that for theatre. In a knew where they came from and were able to dabbles in whatever genre will review for Slanguage, a 2001 play by UNIVERSES, keep it real.” serve the story best at that Lawrence Van Gelder of The New York Times wrote, Russell booked UNIVERSES at PS 122 and the “Expressed in rap and riffs and gospel and bluesy previously borough-hopping group found yet particular point of the play. You laments, among other poetic forms, Slanguage is another artistic home. “We became a theatre have to yodel here? Fine. We a roller coaster of rhythm that takes the listener company overnight,” Sapp says. have prided ourselves on doing by the ear.” Taking in a UNIVERSES performance is What was not overnight, however, was the indeed an aural experience, as songs morph into characteristic kaleidoscopic style of the group. a little bit of everything. It is spoken word and spoken word melts into While often labeled as hip-hop theatre, Sapp dramatic monologue. believes the UNIVERSES aesthetic is broader continued on next page than that. 33 Party People

poetry. It is traditional theatre. It is musical theatre.” Director Tommy elaborates on UNIVERSES’ work: “It’s hip– hop. It’s blues. It’s jazz. It’s dance. It is anything and everything that people want to call it.” For Sapp, calling the work by a myriad of names opens up the possibilities of what the work can be. Speaking of a previous m graha piece, Ameriville, Sapp says, “We jenny used a lot of different styles to UNIVERSES: From left, William Ruiz (aka Ninja), Mildred Ruiz Sapp and Steven Sapp perform at a 2009 OSF Green Show. cover the topic of Hurricane “We draw on the talents of whoever is in the Making connections Katrina and its aftermath. To tell rehearsal room,” says Sapp. Aside from Sapp and Party People takes on the fraught history of the story of the Black Panthers Ruiz-Sapp, UNIVERSES’ membership has always the Black Panther Party and the Young Lords. been revolving with the longest-standing core UNIVERSES has been talking to legends of the and the Young Lords he says members being Gamal A. Chasten and William movements, along with everyday people who that UNIVERSES asks, “Do we Ruiz (a.k.a Ninja). “I often joke that if we had a contributed to the party. Like UNIVERSES’ previous want to tell it as a monologue? yodeler in the group, we’d be yodeling,” he says. shows, Party People is expected to tour around Sapp points out that members of UNIVERSES the United States, yet UNIVERSES always strives Do we want to tell it as a poem? are currently black and Latino and utilize the to make local connections wherever they go. A song? Maybe we could have artistic influences at which they excel. Says Sapp, For Party People, UNIVERSES is hosting national all of those things.” “Mildred might start doing a flamenco song salons, where Black Panthers and Young Lords will in Spanish. One of us might add a beat box to be invited to speak and engage in community To see the ensemble underscore it—does that necessarily make it hip- dialogue pre- and post-performance talks. A go from poetry clubs and hop?” Semantics aside, it is fair to say that poetry, grant from the New England Foundation for the community centers and move music, dramatic text and four-part harmony are Arts has helped UNIVERSES further develop the just some of the ingredients UNIVERSES uses to show and will aid theatres around the country in to performance spaces, colleges, tell their stories. producing it. As William Ruiz lives in Puerto Rico, Off-Broadway and regional As for what kind of tales UNIVERSES tells, says rehearsing can be hard and often gets scheduled theatres is a testament to the Sapp, “We try to give voice to the people who while the group is on tour. don’t have one—or whose stories don’t often get UNIVERSES has been around for 16 years. evolution of the work. told in theatre.” Slanguage, directed by Jo Bonney What will the next 16 years be like? Sapp hopes For UNIVERSES, theatre can (American Night, 2010) at New York Theatre to continue to develop the UNIVERSES brand as be an unlimited act of Workshop, was, according to Sapp “the way we well as the next crop of emerging artists (Jadele learn language in our communities.” Their next McPherson has recently been added to the revolution. ensemble-created work was Ameriville, a critical UNIVERSES roster). examination of American society told through “There are a lot of ensemble companies out the lens of Hurricane Katrina. Chay Yew (Our there,” says Sapp, citing groups like the Wooster Town, 2008) directed the premiere at the Humana Group, Rude Mechs and Elevator Repair Service. Festival in 2009, and it bowed again at New York “But in terms of ensemble companies of color, City’s Under the Radar festival in 2011. from our generation, who have thus far withstood the test of time, there’s just us. I don’t want to seem arrogant—that’s what we are and that’s what we have to continue to be in a great way.” 34