Feb. 21 - Mar. 28, 1976 Proscenium Theatre

PERFORMING ARTS THEATRE presents

A SATIRE BY ABRAM HILL

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Left to-right standing: Donald White, Elnora Winslow, Chester Eberhardt, Mary Conley, Mickey Woods. Seated left to right: Marcia Evans, Calvin Levels, Yvetta Lockett, Milton Franklin. :-··=·-BIBB'S'":'.·=······ RECORDS FOR THE BEST IN D.J. service

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CLEVELAND TRUST 9701 Euclid Avenue ORIGINAL CERAMICS Phone: 687-3345 BURNS ART STUDIO 9:30 to 2:30 M-T 9 :30 to 6:00 Fri. ::L.\SSES - SUPPLIES - GIFTS Member FDIC THE KARAMU PERFORMING ARTS THEATRE

presents ST RIVERS ROW

a Satire by Abram Hill

Directed by Dorothy Silver

Set and Lighting Design by Costume Design by James Merrill Stone Carol Blanchard

Sound Design by Propsmistress Lance Rosenthal Debbi Jasien THE CAST

Sophie ...... MARY CONLEY Dolly Van Striven ...... TEREZ E. WOODS Prof. Hennypest ...... DONALD WHITE Tillie Petunia ...... DIANE WE/\VER Chuck ...... CALVIN LEVELS Cobina Van Striven ...... DEBORAH STOVER Oscar Van Striven ...... DONALD WAKEFIELD Mrs. Pace, ...... NORMA POWELL Lily Livingston ...... : ...... MICKEY WOODS Rowena ...... LINDA FLOURNOY Ed Tucker .. : ...... GORDON PARKS Dr. Leon Davis ...... MILTON FRANKLIN Louise Davis ...... ·...... EVA WITHERS Ruby Jackson ...... YVETTA LOCKETT Beulah ...... , ...... ELNORA WINSLOW Joe Smothers ...... CHESTER EBERHARDT Understudy - AUGUSTINE ALFORD Understudy - MARCIA EVANS Understudy - WILLIE HICKMAN PRODUCTION STAFF

Stage Manager, Lloyd Strother; Assistant Stage Manager: Michael Hart; Lighting Operators : Tony Jacobs, Amanda Brown, Dana Perry-Cooper, Yolandia M. Hurtt; Sound Operators : Lynna Snyder, Reginald Reed, Ron Hester; Props Crew: Pamela Hamilton, Quentin Van Wilson, Guy Cournoyer, Chico Kilburn, Nicole Strother, Raymond Harris; Dresser: Alieshia Cobb.

ACKNOWLEDGEMENTS The Collector Antiques.Bijou Antique Bazaar, Browse House Antiques, Brownstown Gal· leries, Bernice Kent, Chris Colombi, Calvin Levels, Olivia Martin, Black History Archives; Western Reserve Historical Society, Jean Hutson, Curator, Schomburg Collection, Case Western Reserve University, Salvation Army, Ohio University Theatre Department, Dodds Camera, Peter Bailey, Ebony Magazine; Carol Khan White.

This project is supported by a grant from the Education and Expansion Arts Programs of the National Endowment for the Arts in Washington, D.C., a federal agency. THE PROGRAM

TIME -1930's

PLACE - Strivers' Row, Harlem

ACT I Scene 1: Morning Scene 2: Evening

ACT II Scene 1: A little later the same evening Scene 2: Later still

The Van Striven's residence stands high and mighty in the heart of Harlem on West 139th Street between 7th and 8th Avenues. In bygone days ( 1913), when this and similar homes in the block were built, they became the town­ houses for upper-class whites. As the complexion of Harlem changed, the "noire bourgeoisie," especially those yearning for social status, purchased these properties. By.the 1920's, the block had become known as "Strivers' Row", a trim, tree-dotted, exclusive community of "society" blacks. Fearing slum en­ crochment, affluent lawyers, doctors, teachers, real estate brokers, business people and renowned celebrities established a rigid pattern of disciplined living, guarded orderliness and more than a hint of luxury. Striving to set an exclusive and fashionable way of living became the order of the day. Neigh­ bor competed with neighbor to outdo one another. Musicals, teas, and soirees set the social vogue in their homes, whereas yacht parties, theater, concerts, opera-attending, week-end retreats at resorts and summer homes....,.. added luster to the doings of the tribe. The Van Strivens considered them­ selves socially miles ahead of their neighbors. It is no mere coincidence that our story deals with a family by the name of Van Striven. -ABRAM HILL

MEET THE DIRECTOR

DOROTHY SILVER

Now in her twenty-first season with Karamu, Dorothy Silver first came here as a free-lance director and later joined the staff on a full-time basis. In her tenure here she acted in, as wel I as directed a number of Karamu produc­ tions. Her list of directing credits in­ cludes TAMBOURINES TO GLORY, VIET ROCK, BOESMAN AND LENA, AMEN CORNER, RUN CHILDREN RUN, THE HYMIE FINKLESTEIN USED LUMBER COMPANY, MAT­ TERS OF CHOICE and HAMLET JONES, which she adapted to a musical from Langston Hughes' classic, LITTLE HAM. Her most recent Karamu acting credit was an appearance in WHO'S AFRAID OF VIRGINIA WOLF? THE PLAY

"There certainly is a place in American literature for the strivings of the Negro middle class to record its dogged struggle, and satirize its pretensions." - STERLING BROWN (Howard University) In his classic Harlem comedy, STRIVE RS ROW, Abram Hill attempts to deal with an aspect of black life not previously dramatized on stage. "As a director and a play­ wright, I have tried to bring about a balance in the Negro Theatre. Most big-time commer­ cial productions on race themes have dealt with only about 10% of the Negro people - as a rule the exotic lower depths. All I'm trying to do is to introduce a few of the other types who run the gamut from the professionals, middle class, and the everyday Dicks, Toms and Harrys." ~ STRIVERS ROW, a hilarious comedy about the upper middle class residents of Harlem's "blue-vein district," and their silly attempts to make themselves living proof JI that the American Dream works, is based, in part, on life experiences of the playwright. Says Peter Bailey in a perceptive article about the Striver's Row district, "Hill, who grew up on a distinctly unfashionable section of W. 139th Street, often had to pass through the elegant row on his way to school. In passing through, he says, "I developed an impression of the people living there. Later on during my college years, I met some of those people's children. From these experiences I wrote the play. I wanted to do something amusing and light." Originally entitled ON STR IVERS ROW, the play has been received well by lower and middle class audiences alike. It was presented briefly by the Rose McClendon Players in 1939 and again in 1940 by the American Negro Theatre (of which Hill was a co­ founderf where it ran for 101 performances. By then a Harlem classic, STR IVERS ROW was revived by the ANT in 1946 and was recently done by New York's New Heritage Repertory Company in 1974. Gilbert Moses, one of Karamu's distinguished alumni, is currently negotiating for a Boadway production later this year. Striven' Still ... Strivers' Row, which was declared a landmark by the New York City Landmark Preservation Commission on March 16, 1967, remains today as it did in 1919, an enclave for black middle class residents. The spacious four-story homes in this exclusive residential area, now known offi­ cially as the St. Nicholas Historic District, were built by Stanford White in 1913 for a group of affluent whites, who after six years, fled in panic, leaving house after house and block after block in yawning vacancy in the "black scare" of 1919. Despite the current market value of $100,000 for the historic rowhouses, which characteristically have 12-14 large rooms, two baths, French doors, hardwood floors and elegant courtyards, original purchases were made during this period for an average of $8-9,000, and three years ago these homes could be purchased for as little as $25-35,000. Since the first black family moved into the Row in 1919, its inhabitants have existed almost as a separate entity, with only a slight, nodding acknowledgement of the Harlem surrounding it .. Although th.ere are vestiges of the old order remaining, newcomers to the area have become actively involved in the surrounding community. Today, the Row is a stable community of blacks who are responsive to the needs of their total community. And in the words of Ebony journalist, Peter Bailey, "No doubt the younger, more socially aware homeowners will determine the ultimate future of Strivers' Row ... · And if the older residents, with their security and stability, can work together with the energetic and resourceful newcomers, Strivers' Row will endure another fifty years - not as a middle class island, but as a responsible, involved leader of the total Harlem community." Above photo taken in the '50s, shows distinguished row residents, the Louis T. Wright family, leaving home of over 32 years.

An exterior view of the row. WHO'S WHO IN THE CAST

MARY CONLl;Y (Sophie) has appeared in a number of Karamu productions including OUT OF TH IS WORLD, 110 IN THE SHADE, CLARA'S OLD MAN and FLOWER DRUM SONG. She has also appeared with t he John Ke nley Players in such productions as THE WOMEN, FUNNY GIRL, FINIAN'S RAINBOW, HOW NOW, DOW JONES and THE MAN WHO CAME TO DINNER .

CHESTER EBERHARDT (Joe Smothers) was last seen in the role of Skeeter in the recently closed product ion of T HE RIVER NIGER, and Hot Stuff Man in the revival of HAM L ET JONES. Eberhardt, who has had t wo years of t raining at t he Black Drama Workshop at Kent State University , has also appeared in HOTEL HAPPINESS, EL HAJJ M A LIK and THE DEVIL A ND OTIS REDDING.

LINDA FLOURNOY (Rowena) who is making her acting debut at Karamu this season , recently grad ­ uated from Spelman College in Atlanta, Geo rgia, with a BA in Drama. Wh i le at Spelman , she appeared in a number of productions includ ing J.B., TO BE YOUNG, GIFTED AND BLACK, IDABELL'S FORTUNE, A SON COME HOME, LYSIST RATA, SHO ' IS HOT IN THE COTTON PATCH, THE AMEN CORNER , CHANGE OF MIND, SON OF UMBELE, ANANSI AND THE SPIDERMAN and DR . B. S. BLACK. A recipient of of a 1974 fellowship, she spent a three-month internship in New York w ith the American A ssociation of Advertising Agencies. It is interesting to note that she also did Props for the Spelman production of STRIVERS ROW in 1971 .

M ILTON FRANKLIN (Dr . Leon Davis) received his dramatic training at Karamu and at Kent State, w here he studied radio, T .V . and drama. In addition to doing SORRY, WRONG NUMBER for WBOE-FM and THE RED SHOES for WKYC-TV , he has al so appeared as Cootie in MOON CH I LOR EN, SMOKEY in SHOES, Bobby Parker in CEREMONIES IN DARK OLD MEN and the Fireman in the 69-70 production of THE FIREBUGS (by Max Frisch) .

CAL VIN LEVELS (Chuck) is curre ntly studying voice at the Cleveland Institute of Music, dance at Morge nstern Dance Studio, and music at CCC . In the two and a half years he has been at Karamu, Levels has appea red in THE SKIN OF OUR TEETH , stage-managed BOESMAN AND LENA, operated lights for ICE WOLF , acted in RUN CHILDREN RUN, and played the lead role in both versions of HAMLET JONES. L evels, who recently understudied the roles of Mo, Skeeter, and Jeff in THE RIVER NIGER, pe rformed for two y ears with the Central Stree t Pl ayers, appeared in three productions at-CCC (USA, GODSPELL, and THE INDIAN WANTS THE BRONX) as well as in the Heights Youth Theatre pro ­ d uctio n of ALI BABA AND THE FORTY THIEVES.

GORDON R. PARKS (Ed) is making his acting debut at Karamu with this production . Parks, who st ud ied ret ail management at the University of Cincinnati, also appeared in the chorus in a Junior High productio n of SHOWBOAT in 1961 .

NORMA POWELL (Mrs. Pace) has appea red in approximately 65 operas , musicals, comedies, and dramas since sh e came t o Karamu in 1957 . Her long list of theatre credits includes roles in JAMAICA, A MEN CORNER , THE KING AND I , HANSEL AND GRETEL, CEREMONIES IN DARK OLD M EN , THE MEDIUM, PIPE DREAM , SIMPLY HEAVENLY, FREEMAN! FREEMAN !, FIVE ON T HE BLACK HAND SIDE, ME AND JULIET, OKLAHOMA, PEPITA, FLOWER DRUM SONG , PAJAMA GAME, LANGSTON HUGHES ALBUM, SUSANNA, SWEET BETSY FROM PIKE, LITTLE RED RIDING HOOD, HOTEL HAPPINESS, and TURK IN ITALY. She- has also appeared at Musica rnival , Huntington Playhouse, East Cleveland Community Theatre and The Washington, D.C. Arena Club .

DEBORAH STOVER (Cobina) who played the role of Ann Vanderguild in THE RIVER NIGER , re­ ceived her dramatic training in an undergraduate theatre program at Wayne State University in Detroit where sh e was grad uated with a B.F .A . in June 1975. Her theatre credits include the role of Lutiebelle in PURLIE VICTORIOUS, Wendy Wa rren in THE STY OF THE BLIND PIG, and Natasha in THE LOWER DEPTHS, at Wayne State, Polly Pea­ chum in THE THREE PENNY OPERA, and various productions with the Karamu Children's Theatre in the 1960's.

DONALD WAKEFIELD (Oscar) has appeared widely in Karamu productions. Most recently seen as Sh ingle in HAMLET JONES, he has also appeared as a Deacon in TAMBOURINES TO GLORY, C. J. Pamphilion in DREAM ON MONKEY MOUNTAIN, Hound Dog in THE HYMIE FINKELSTEIN USED LUMBER COMPANY, Skeeter in MATTERS OF CHOICE and a member of t he ensemble in INNER CITY. WHO'S WHO - Continued ------

DIANE WEAVER (Tillie Petunia) who was recently seen as Mattie in THE RIVER NIGER, also ap­ peared as Madame Bell in HAMLET JON ES, and with the Ebony Tours, a black. professional touring company earlier this season. Ms . Weaver has appeared often on Karamu stages. A sampling of her Kara/nu productions includes roles in TAMBOURINES TO GLORY, PURLIE, INNER CITY, NO PLACE TO BE SOMEBODY and HOTEL HAPPINESS .. Her radio and T.V. credits include HERE IT IS, in Cleveland; LIKE 1T· 1s in Columbus and the GOSPEL CARAVAN radio show in Columbus.

DONALD WHITE (Prof. Hennypest) was a recent winner of the 1975 OCTA (Ohio Community Thea­ tre Association) Acting Award. Among the shows he has appeared in, in the seven years he has been with Karamu, are PURL IE, HOTEL HAPPINESS and DEATH OF BLACK JESUS. White has also appeared in ANIMAL FARM and COME BACK LITTLE SHEBA at Cain Park, YOU CAN'T TAKE IT WITH YOU with the Brandywine Players, and ONE FLEW OVER THE CUCKOO'S NEST at the Cleveland Play House.

EVA MARIE WITHERS (Louise) studied drama while a student at John Hay and at Karamu. Her Karamu productions include the role of Miss Dobbins in the Youth Theatre production of TOM SAW­ YER, Evie in NO PLACE TO BE SOMEBODY, Mina in MATTERS OF CHOICE and Lulu in HAM­ LET JONES, which was done this season and last.

ELNORA WINSLOW .(Beulah) has been with Karamu for three years. Miss Winslow, who is interested in pursuing ·a career in professional theatre, has appeared as Naomi in FAMILY PORTRAIT, Lena Younger in RAISIN, member of the chorus in TAMBOURINES TO GLORY and understudy for a variety of roles in the revival of HAMLET JONES done earlier this season .

MICKEY WOODS (Lily) credits John Adams High School, the Cleveland Play House and Karamu for her background in theatre. She has appeared in the Ebony Tours production of HOTEL HAPPINESS, and the two Karamu productions of HAMLET JONES. Miss Woods, who has done radio commercials for an Akron University station, enjoys modern dance,jazz and ballet.

TEREZ E. WOODS (Dolly) who was most recently seen in the role of Mattie Bea in the world pre­ miere of HAMLET JONES, assisted the Director and understudied the role of Millie in the comedy­ drama TROUBLE IN MIND. Miss Woods, who has studied drama at Cleveland State for two years, and is currently taking drama courses at Karamu, has appeared in John F . Kennedy productions of the MATCHMAKER, IN WHITE AMERICA, FIVE ON THE BLACK HAND SIDE,and GYPSY, as well as SIMPLY HEAV­ ENLY, at Playhouse East, and THE UNKNOWN GENERAL and MARAT SADE at Cleveland State.

A profile on Abram Hill . .. Playwright, director and co-founder of the American Negro Theatre in Harlem, Abram Hill moved with his family from Atlanta, Georgia to New York City in 1925. He graduated from DeWitt Clinton High School and attended City College for 2 years before going on to Lincoln Univer­ sity in Pennsylvania to study medicine. After spending most of his free time writing, studying and directing, he changed his major to English and drama and later became assistant in the Lincoln Univer­ sity Drama Department. He returned to New York in 1938 and joined The Federal Theatre as a con­ sultant in plays about "negro life", He later studied playwriting at Columbia University and won a scholarship to the Dramatic Workshop of the New School for Social Research .

In an effort to "discover something that could be called the art of negro acting", Hill and Frederick O'Neal co-founded the famed American Negro Theatre in 1939.

It was through this organization, located in the basement of the 135th Street library, that his first produced work, ON STR IVERS' ROW, was presented in 1939.

Among the other works that Hill has written are HELL'S HALF ACRE, a 3-act play about his great-grandmother's reminiscences of slavery; LIBERY DEFERRED, a Living newspaper, co-authored by John Silvera, which was published but never produced; and WALK HARD, a dramatization of Len Zinberg's novel, WALK HARD, TALK LOUD.

Abram Hill returned to Lincoln University in 1950 and remained there as an instructor until 1955- He is now teaching English in the New York Public School system in Queens, N.Y. 24 HOUR EMERGENCY SERVICE

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