THE LIGHTS COME UP ON A LONE DRUMMER . LONG...
Transcript of THE LIGHTS COME UP ON A LONE DRUMMER . LONG...
MAN
(sings)
THE LIGHTS COME UP ON A LONE DRUMMER .
AS HE PLAYS, ONE BY ONE THE REMAINING
CAST MEMBERS JOIN HIM.
LONG AGO AND TERRIBLY FAR AWAY
ALL
MAYBE YOU'VE HEARD OF THE PLACE
WOMAN 1
WHERE ONCE I LIVED WITH A MOUNTAIN AT MY·f3ACK
AND THE SUN SHINING DOWN UPON MY FACE
MAN
LONG AGO AND TERRIBLY FAR AWAY
ALL
HARD TO REMEMBER IT NOW
WOMAN 2
BUT THERE'S A LIGHT SHINING THRU A TINY CRACK
-AND I SEE THAT A DREAM CAN BE A VOW
~ALL
DAY AFTER DAY
YEAR AFTER YEAR
ALWAYS IT'S CLEAR
YOU'VE GOT TO HAVE A DREAM
A DREAM TO SEE YOU THRU
WHAT'S BUILDING UP IN YOUR HEART (BUILDING UP IN YOUR HEART)
LIVING UP IN YOUR HEAD
WILL BE REAL
WILL BE WISE
WILL BE TRUE.
AND THO YOU KNOW THE TROUBLE AROUND YOU
IS REALLY AS BAD AS IT SEEMS
HOLD ON, HOLD ON TO THE DREAM.
WOMAN 1
WE ARE MANY FACES.
WOMAN 2
WE HAVE MANY PERSONALITIES.
MAN
WE ARE MANY PEOPLE.
WOMAN 2
COLORED.
WOMAN 1
NEGRO.
MAN
BLACK.
WOMAN 2
AFRICAN-AMERICAN.
ALL
ALL ME.
MAN
AND THROUGHOUT HISTORY WE HAVE PERSEVERED ...
WOMAN 1
SUFFERED ...
WOMAN 2
HOPED.
WOMAN 1
AND WE HAVE DREAMED. AND IT IS THE DREAM THAT HAS TAKEN US
WHERE WE ARE TODAY. WE HAVE ALWAYS HAD A DREAM.
ALL
DAY AFTER DAY
YEAR AFTER YEAR
ALWAYS IT'S CLEAR.
YOU'VE GOT TO HAVE A DREAM
A DREAM TO SEE YOU THRU
WHAT'S BUILDING UP IN YOUR HEART
LIVING UP IN YOUR HEAD
WILL BE REAL
WILL BE WISE
WILL BE TRUE
AND THO YOU KNOW THE TROUBLE AROUND YOU
IS REALLY AS BAD AS IT SEEMS
HOLD ON (HOLD ON)
HOLD ON (HOLD ON)
HOLD ON
HOLD ON TO THE DREAM.
MAN
AND THE DREAM STARTED A LONG TIME AGO.
(DRUMMING IS HEARD AND VOICES SINGING IN THE
DISTANCE. WOMAN 2 AND MAN 1 REMOVE AFRICAN .ROBES FROM A TRUNK
AND DRESS WOMAN 1 AS SHE SPEAKS THEY THEN RETURN TO THE
UPSTAGE AREA AND DRESS THEMSELVES.)
WOMAN 1
I LIVED IN A VILLAGE. OH, HOW WELL I REMEMBER. FAR, FAR AWAY. MY
AFRICA. SO MANY MEMORIES. SO MANY FRIENDS.
(SHE JOINS THE OTHERS AND THEY ALL DANCE. AS THE
MUSIC QUIETS WOMAN 1 RESUMES SPEAKING)
WOMAN 1
LIFE WAS NOT ALWAYS EASY. BUT WE LAUGHED. OH, HOW WE LAUGHED.
UNTIL. .. UNTIL. .. (THE MUSIC STOPS) ONE DAY BIG SHIPS CAME. MANY MEN
WITH STRANGE WEAPONS. WE HAD HEARD THAT THEY HAD COME TO
OTHER VILLAGES. NOW - THEY WERE AT OUR VILLAGE.
MAN
I AM NOT RUNNING. I WILL STAY. I WILL FIGHT.
WOMAN 2
REMEMBER WHAT WE HAVE HEARD. WHAT THEIR WEAPONS CAN DO.
MAN
I DO NOT CARE.
WOMAN 2
(to Woman 1) AISHA, COME. WE MUST HURRY. (to Man 1) DO NOT BE
FOOLISH. THERE ARE TOO MANY.
WOMAN 1
(to audience) AND THERE WERE TOO MANY.
(MAN 1 AND WOMAN 2 HAVE REMOVED THEIR AFRICAN
ROBES AND SET THE 'SHIP'. THEY TAKE A LONG BLUE CLOTH AND FLOAT IT
IN FRONT OF WOMAN 1)
WOMAN 1 (cont)
WE WERE PUT ON A BIG SHIP. BUT THO THE SHIP WAS BIG, THERE WAS
NOT MUCH ROOM BECAUSE THERE WERE SO MANY PEOPLE. NO ROOM TO
MOVE. BAD AIR TO BREATHE. MANY WERE SICK. AND AS WE SAILED FOR
WHAT SEEMED LIKE FOREVER, THRU. IT. ALL .J DREAMED .. I DREAMED IT
~OULD SOON BE _ OVER.
(MAN 1 PULLS THE CLOTH AWAY. AS WOMAN 1
CONTINUES MAN 1 AND WOMAN 2 FLIP THE 'SHIP' AND IT BECOMES AN
AUCTION BLOC~.)
WOMAN 1 ( cont)
AND WHEN IT WAS OVER ... WHEN THE SHIP FINALLY STOPPED MOVING,
THEY TOOK US OFF THE SHIP. AND LATER. .. ONE BY ONE WE WERE PUT ON
PLATFORMS. PEOPLE STOOD AROUND LOOKING AT US. STRANGE WORDS
COMING FROM THEIR MOUTHS. IT TOOK US AWHILE TO UNDERSTAND
WHAT WAS GOING ON. BUT SOON ENOUGH, WE UNDERSTOOD. WE WERE
BEING SOLD. I DIDN'T BELIEVE IT. THEY WERE TREATING ME LIKE A PIECE
OF PROPERTY. AND SOON, THERE I WAS - LIVING IN A STRANGE HOUSE. IN
A STRANGE COUNTRY. AND THE PEOPLE AROUND ME WERE NOT THE
FAMILY I HAD IN AFRICA. BUT WE BECAME A FAMILY. TOGETHER. SHARING
OUR DREAM. '
(MUSIC IN. MAN 1 PICKS UP HIS CABIN CLOTHES AND MOVES
OFFSTAGE. WOMEN ARE CHANGING UPSTAGE INTO CABIN CLOTHES
WOMEN COVER PLATFORM WITH TABLECLOTH. WOMAN 1 THEN MOVES
TO 'WINDOW.')
WOMAN 2
(she is stirring something in a large bowl) STOP PEEPIN OUT THAT WINDOW,
THENIA. WHAT YOU EXPECTIN TO SEE? YOU THINK HARRIET TUBMAN
HERSELF GONNA BE CLIMBIN UP ON OUR BACK PORCH?
WOMAN 1
I AI NT LOOKIN FOR NO HARRIET TUBMAN. AND NO OTHER KIND OF TUB
EITHER. .. .
WOMAN 2
DON'T YOU BE DISRESPECTIN MISS TUBMAN.
WOMAN 1
I AINT DISREPECTIN NOBODY. I'M JUST ANSWERIN YOUR QUESTION.
WOMAN 2
SO? WHAT WERE YOU LOOKIN AT?
WOMAN 1
I WAS TRYIN TO SEE IF POOR BOY WAS COMIN. I DON'T KNOW WHAT'S
TAKIN HIM SO LONG.
WOMAN 2
MAYBE HE NEEDS TIME TO GET HIS THINGS TOGETHER.
WOMAN 1
HE CAN'T BE CARRYIN A LOT OF JUNK WITH HIM. IT'LL JUST BE IN THE WAY.
UNDERGROUND RAILROAD AINT GOT NO BAGGAGE CAR.
WOMAN 2
THENIA, SOMETIMES YOUR MOUTH JUST RUNS AWAY WITH YOUR BRAIN.
WOMAN 1
YOU THINK HE'S GOT SOMETHIN WORTH TAKING? I DON'T THINK SO.
SHOOT. I COULD GET MY STUFF TOGETHER IN TWO SHAKES OF A LAMB'S
TAIL.
(POOR BOY ~NTERS)
WOMAN 2
THAT'S BECAUSE YOU AINT GOT NO STUFF.
MAN 1
(laughing) I HEARD THAT. (kidding her) YOU AI NT GOT NO STUFF.
WOMAN 1
YOU DON'T KNOW WHAT STUFF I GOT. I DON'T GO SPREADIN MY BUSINESS
ALL OVER THE PLANTATION.
WOMAN 2
SHUSH, THENIA. POOR BOY, YOU GOTTA HURRY. THAT QUAKER MAN
THAT'S TAKIN YOU AWAY FROM HERE CAN'T BE WAITIN OUT IN THE WOODS
FOREVER. HE NEEDS TO GET MOVIN IF HE'S GONNA GET YOU OUT OF HERE
AND SAFELY UP NORTH.
MAN 1
YEH, I KNOW. I JUST HAD TO MAKE SURE NOBODY WAS STILL AWAKE UP IN
THE BIG HOUSE BEFORE I CAME OVER HERE.
WOMAN 2
COME HERE, CHILE, AND GIVE ME A BIG HUG.
MAN 1
SURE WISH YOU WAS ALL COMIN WITH ME, LOTTIE.
WOMAN 2
YES. I WISH THAT TOO, POOR BOY.
WOMAN 1
NOW WOULDN'T THAT BE SOMETHIN? ALL OF US DISAPPEARIN FROM
HERE. ALL AT ONCE. NOBODY LEFT TO GET ANY WORK DONE.
WOMAN 2
WHERE'S THAT PLACE YOU'RE GOIN? TELL ME AGAIN. I FORGOT. WHAT'S
IT CALLED?
MAN 1
DON'T MATTER WHAT IT'S CALLED, LOTTIE. IT'S WHAT IT MEANS. FREEDOM,
LOTTIE. FREEDOM. AND IT'S MY DREAM.
WOMAN 1
(back at window) UH OH. SOMEBODY JUST LIT A CANDLE UP AT THE BIG
HOUSE.
MAN 1
I BETTER GIT. I'LL BE WAITIN FOR YOU UP NORTH, THENIA.
WOMAN 1
AND I'LL BE COMIN ... 'COURSE, I HEAR IT GETS KIND OF COLD UP THERE , SO
I'LL HAVE TO SEW ME UP SOME SNUGGlES AND LONG UNDERWEAR TO
STAY WARM.
WOMAN 2
THENIA, IF FOOLISHNESS WAS MONEY, YOU'D BE A RICH WOMAN.
MAN 1
(Hugs Thenia) Y'ALL TAKE CARE OF YOURSELVES.
THEN lA
. YOU DO THE SAME.
MAN 1
BYE, LOTTIE
WOMAN 2
GOODBYE, POOR BOY. (pats his cheek) NOW, GIT.
(HE LEAVES)
WOMAN 2(cont)
COME ON, THENIA. LET'S SING A LITTLE BIT. MAKE THE FOLKS UP IN THE BIG
HOUSE THINK WE'RE HAVIN A PRAYER MEETIN OR SOMETHING. IF
WHOEVER LIT THAT CANDLE HEARS US SINGIN THEY'LL THINK EVERYTHING
DOWN HERE IS JUST FINE.
WOMAN 1
(starts to sing and dance)
JIMMY CRACK CORN AND I DON'T CARE
JIMMY CRACK CORN AND I DON'T CARE
(notices Lottie staring at her) WHAT ARE YOU STARIN AT? YOU SAID SING.
WOMAN 2
I DIDN'T SAY NOTHIN BOUT NO JUBER DANCIN. YOU SING WHAT I SING.
(sings)
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME
(spoken) SING!
TOGETHER
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME
(THE WOMEN CONTINUE SINGING SOFTLY AS THEY REMOVE
CABIN COSTUME PIECES. MAN COMES BACK AND SPEAKS)
MAN
THE SINGING OF SPIRITUALS WAS ONE OF THE THINGS THAT FED THE SPIRIT
OF SLAVES ON THE PLANTATIONS. AND THEY SANG ... IN THE CABINS ... IN
THE FIELDS ... WHENEVER AND WHEREVER THEY NEEDED IT.
WOMEN
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME
SWING LOW SWEET CHARIOT
COMING FOR TO CARRY ME HOME
COMING FOR TO CARRY ME HOME.
ALL
SWEET CHARIOT COMIN FOR TO CARRY ME
MAN
A BAND OF ANGELS COMIN AFTER ME
ALL
COMIN FOR TO CARRY ME HOME.
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME.
SWING LOW (SWING LOW) SWEET CHARIOT
KEEP MOVIN, CARRY ME HOME . .
SWING LOW (SWING LOW) SWEET CHARIOT
KEEP ON MOVIN CAUSE I WANNA GQ HOME.
MAN
. I LOOKED OVER JORDAN AND WHAT OlD I SEE.
WOMEN
I SAW A BIG OLD CHARIOT
ALL
COMIN JUST TO GET ME
WITH A BAND OF ANGELS CALLIN OUT TO ME
COMIN FOR TO CARRY ME HOME.
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME.
HITCHIN UP MY CHARIOT, HITCHIN UP MY CHARIOT
HITCHIN UP MY CHARIOT, TRAVELIN HOME
WOMEN
SWING LOW
SWEET CHARIOT
ALL
MAN
SWEET, SWEET
SWEET CHARIOT
ANGELS GONNA 'CARRY ME HOME
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME
SWING LOW SWEET CHARIOT
COMIN FOR TO CARRY ME HOME
COMIN FOR TO CARRY ME HOME.
WOMAN 1
OH FREEDOM
OH FREEDOM
OH FREEDOM OVER ME
BEFORE I'LL BE A SLAVE
I'LL BE BURIED IN MY GRAVE
AND GO HOME TO MY LORD TO BE FREE.
MAN 1
FREEDOM. WHAT DID IT MEAN? IT HAD TO MEAN DIFFERENT THINGS TO
DIFFERENT PEOPLE. OR MAYBE NOT. MAYBE WE JUST FIND DIFFERENT
WAYS TO EXPRESS HOW WE FEEL ABOUT IT. THE ABOLITIONIST,
MAN 1 (cont)
FREDERICK DOUGLASS SAID (he reads from a book) "THOSE WHO PROFESS TO
FAVOR FREEDOM AND YET, DEPRECIATE AG ITATION ARE MEN WHO WANT
CROPS WITHOUT PLOWING UP THE GROUND." (closes book) I GUESS HE
MEANT, SOMETIMES YOU'VE GOT TO STIR THINGS UP TO GET SOMETHING
ACCOMPLISHED.
WOMAN 2
THE AFRICAN BORN POET, PHILLIS WHEATLEY IN THE EIGHTEENTH
CENTURY WROTE : "IN EVERY HUMAN BREAST GOD HAS IMPLANTED A
PRINCIPLE WHICH WE CALL LOVE OF FREEDOM; IT IS IMPATIENT OF
OPPRESSION AND PANTS FOR DELIVERANCE." PERHAPS SHE'S SAYING WE
ALL NEED FREEDOM. EVERY ONE OF US.
WOMAN 1
AND MUCH, MUCH LATER, MARTIN LUTHER KING, JR. SAID THIS: " ... THERE
ARE NEGROES WHO WILL SEEK PROFIT FOR THEMSELVES FROM THE
STRUGGLE. ... NO ONE CAN PRETEND THAT BECAUSE A PEOPLE MAY BE
OPPRESSED EVERY INDIVIDUAL IS VIRTUOUS AND WORTHY." I THINK HE
MAY HAVE BEEN TELLING US THAT THERE ARE GOOD AND BAD THINGS IN
OUR LIVES NO MATTER WHAT COLOR YOU ARE.
MAN 1
WE DREAMED OF FREEDOM, AND IT CAME. BUT THIS FREEDOM DID NOT
TAKE US BACK TO OUR HOMELANDS . NOT BACK TO THE FIELDS AND
PLAINS OF AFRICA. NO, IT WAS NECESSARY TO ADAPT AND EXIST IN OUR
NEW HOMELAND. AND THIS MEANT GETTING SOMETHING WHICH HAD
BEEN FORBIDDEN TO US BEFORE. AN EDUCATION.
(THE 'TABLE' USED IN THE CABIN IS TURNED ON END AND
NOW BECOMES A PODIUM)
MAN 1
(addressing audience as his classroom) WELCOME TO WILBERFORCE UNIVERSITY.
AS YOU KNOW, WILBERFORCE WAS ESTABLISHED IN 1856 AS THE FIRST
NEGRO COLLEGE IN AMERICA. RIGHT HERE IN WILBERFORCE, OHIO. WE
ARE PROUD TO HAVE YOU AS STUDENTS. NOW, AS PART OF OUR NEW
STUDENT ORIENTATION PROGRAM, WE WOULD LIKE TO HOLD A LITTLE
DISCUSSION PERIOD CENTERING AROUND EVENTS AFFECTING OUR
HISTORY IN THIS COUNTRY. PERHAPS SOMEONE COULD START US OFF BY
TELLING ME THE SIGNIFICANCE OF THE DATE. .. "1863?"
WOMAN 1
HERE. I CAN TELL YOU. IN 1863 THE EMANCIPATION PROCLAIMATION WAS ·
ISSUED BY ABRAHAM LINCOLN.
MAN
CORRECT. HOWEVER ... IT DIDN;T EMANCIPATE EVERYBODY. AND SOME
THOUGHT THAT MISTER LINCOLN WAS MORE INTERESTED IN ENDING THE
WAR THAN IN FREEING THE SLAVES. NOW WHO CAN TELL ME WHAT
HAPPENED IN 1865?
WOAMN 2
I CAN. IN 1865 WE HAD THE THIRTEENTH AMMENDMENT TO THE
CONSTITUTION.
MAN
AND THE THIRTEENTH AMMENDMENT DID WHAT?
WOMAN 2
IT ABOLISHED SLAVERY THRUOUT THE UNITED STATES.
MAN
CORRECT. HOWEVER ... THAT WAS ALSO THE YEAR THAT BLACK MINSTREL
SHOWS STARTED POPPING UP AROUND THE UNITED SATES NOW, WHAT IS
THE IMPORTANCE OF THE YEAR 1866?
WOMAN 1
IN 1866 A CIVIL RIGHTS ACT WAS PASSED WHICH GAVE CITIZINSHIP TO
BLACK MEN AND GUARANTEED THEM EQUAL TREATMENT UNDER THE LAW.
AND PLEASE NOTE THAT I SAID 'BLACK MEN' AND NOT BLACK WOMEN .
MAN
CORRECT. HOWEVER ...
WOMAN 2"
HOLD IT! WHAT IS IT WITH YOU AND ALL THESE HOWEVERS?
WOMAN 1
DIDN'T THESE CHANGES MEAN THAT WE COULD WHERE WE LIKE?
MAN
WELL. ..
WOMAN 2
UVE WHERE WE UKE?
MAN
WELL. ..
WOMAN 1& 2
WELL WHAT?
MAN
(removing his cap, etc) IN 1890 THE SOUTH LEGISLATED ENFORCED
SEGREGATION. THAT MEANT WHITES AND BLACKS HAD SEPARATE
FACILITIES FOR HOUSING, EDUCATION, RECREATION AND
TRANSPORTATION. THESE LAWS REMAINED ON THE BOOKS WELL INTO THE
TWENTIETH CENTURY AND WERE KNOWN AS THE "JIM CROW" LAWS.
(MUSIC IN. THEY ALL DO A QUICK SWITCH OF COSTUME
AND MOVE STOOLS INTO PLACE TO BE USED AS SEATS ON A TRAIN)
WOMAN 1
WHY CAN'T I SIT UP THERE IN THAT CAR? THE.RE ARE PLENTY OF EMPTY
SEATS.
MAN
(as train conducter) I'M SORRY, MISS. THAT'S JUST THE WAY IT IS DOWN HERE
IN THE SOUTH.
WOMAN 2
DON'T MIND HIM. SIT HERE. I'LL MOVE MY STUFF.
WOMAN 1
THANKYOU. I DON'T THINK I'LL BE VISITING DOWN HERE TOO MUCH IN THE
FUTURE. HERE IT IS 1922, I PAY MY MONEY FOR A TICKET, BUT I CAN'T SIT
WHERE I LIKE. WHAT'S THAT ABOUT?
WOMAN 2
JIM CROW, HONEY. THAT'S WHAT IT'S ABOUT. WHERE YOU FROM?
WOMAN 1
NEW YORK CITY.
WOMAN 2
WHAT PART?
WOMAN 1
HARLEM.
WOMAN 2
OH? I HAD A COUSIN MOVE UP THERE DURING THE WAR. HE SAID THERE
WAS PLENTY OF WORK.
WOMAN 1
LOTS OF GOOD JOBS.
MAN
WHAT KIND OF WORK DO YOU DO?
WOMAN 1
I'M A SINGER.
MAN
WHAT KIND OF MUSIC DO YOU SING?
WOMAN 1
ALL KINDS. BUT, THE BLUES, MOSTLY
MAN
YOU GET PAID TO SING THE BLUES?
WOMAN 1
UH-HUH.
MAN
HOW ABOUT THAT? I'VE BEEN SINGING THE BLUES FOR YEARS. FREE OF
CHARGE.
WOMAN 1
YOU MARK MY WORDS. THERE ARE GONNA BE LOTS OF FAMOUS
COLORED BLUES SINGERS. AND I INTEND TO BE ONE OF THEM.
MAN
YOU'RE DREAMIN, GAL
WOMAN 1 ·
YES, I AM. I'VE GOT ME A DREAM. AND IT'S GONNA COME TRUE.
{sings)
CAUSE BYE AND BYE WHEN MY SHIP COMES IN
{Man:l guess you'll want to sit up front on the boat, too.)
I'M GOIN PLACES THAT I'VE NEVER BEEN .
{Woman 2: Maybe you could take me with you.)
I'M GONNA SING MY WAY TO EASY STREET
(Man:Not too many towns got a street called 'easy.')
THEN, I'LL BE SITTIN IN A FIRST CLASS SEAT.
(Man: I guess that means she's gonna have some first class money.)
MY EYES ARE OPEN AND THEY'RE OPEN WIDE
GONNA FIND A NEW TRAIN TO RIDE
DON'T TRY TO STOP ME WHEN I HIT MY STRIDE
GONNA FIND A NEW TRAIN TO RIDE
SO CHILL THE BUBBLY AND THE CAVIAR
RESERVE MY SOFA IN THE PARLOR CAR
AINT GONNA TAKE IT CAUSE I'VE GOT MY PRIDE
GONNA FIND A NEW TRAIN TO RIDE.
WOMAN 2
(spoken) I know what you mean. Let me tell you a little story.
ONCE I WAS TRAVELIN DOWN IN MEMPHIS TENNESSEE
STOPPED OFF AT A STATION, I WAS THIRSTY AS COULD BE
FOUND A WATER FOUNTAIN, BUT THAT FOUNTAIN WAS TABOO
MISTER JIM CROW HAD A SIGN UP SAID "THIS WATER'S NOT FOR YOU"
(MAN:I've been there.)
AINT GONNA TAKE IT CAUSE I'VE GOT MY PRIDE
GONNA FIND A NEW TRAIN TO RIDE.
WOMEN
WE'VE GOT THE JIM CROW BLUES (Man: It's story tellin' time)
WE'VE GOT THE JIM CROW BLUES (Man: Well. I've got a story too)
HAVE YOU HEARD THE NEWS (Man: Probably, but you tell me anyway.)
WE'RE GONNA KEEP ON GOIN TILL JIM STOPS CROWIN
ALL
MY EYES ARE OPEN AND THEY'RE OPEN WIDE
GONNA FIND A NEW TRAIN TO RIDE
DON'T TRY TO STOP ME WHEN I HIT MY STRIDE
GONNA FIND A NEW TRAIN TO RIDE
WOMAN 1
WONT NEED NO THERMOS OR NO MASON JAR
WOMAN 2
WE'LL HAVE OUR CHILTLINS IN THE DINING CAR
ALL
AINT GONNA TAKE IT CAUSE I'VE GOT MY PRIDE
GONNA FIND A NEW TRAIN TO RIDE.
MAN
(spoken) Listen to this.
ONCE I WAS DRIVIN THRU A TOWN IN ARKANSAS
ON MY WAY TO VIS IT WITH MY MA AND WITH MY PA
I STOPPED TO GET A SANDWICH AND THE RESTAURANT I CHOSE
WAS JAMMED AND PACKED WITH PEOPLE, BUT THEY TOLD ME IT WAS
CLOSED
AINT GONNA TAKE IT CAUSE I'VE GOT MY PRIDE
GONNA FIND A NEW TRAIN TO RIDE
ALL
. WE'VE GOT THE JIM CROW BLUES
WE'VE GOT THE ·JIM CROW BLUES
AND HAVE YOU HEARD THE NEWS
WE'RE GONNA KEEP ON GOIN TILL JIM STOPS CROWIN
MY EYES ARE OPEN AND THEY'RE OPEN WIDE
GONNA FIND A NEW TRAIN TO RIDE
DON'T TRY TO STOP ME WHEN I HIT MY STRIDE
GONNA FIND A NEW TRAIN TO RIDE
GO CHILL THE BUBBLY AND THE CAVIAR
RESERVE MY SOFA IN THE PARLOR CAR
AINT GONNA TAKE IT CAUSE I'VE GOT MY PRIDE
GONNA FIND A NEW TRAIN TO RIDE.
MAN
HARLEM ... HARLEM ... HARLEM. DURING THE 1920s AND THE 1930s IT WAS
CALLED A BLACK BOHEMIA. BUT IT WAS ALSO CALLED THE HARLEM
RENNAISANCE.
WOMAN 2
RENAISSANCE. THAT'S LIKE A ... A REBIRTH. BEING BORN AGAIN. OH WHAT
A DREAM TIME THAT WAS. SOME OF THE BEST TALENT AMERICA HAD TO
OFFER WAS NURTURED BY THE HARLEM RENNAISANCE. THERE WAS
COUNTEE CULLEN, ZORA NEALE HURSTON. YOU SHOULD READ SOME OF
THOSE STORIES. AND THERE WAS JAMES WELDON JOHNSON,
W.E.B.DUBOIS ... AND LATER ON THERE WAS RICHARD WRIGHT AND JAMES
BALDWIN.
MAN
AND THERE WAS LANGSTON HUGHES. AND IT WAS LANGSTON HUGHES
WHO WROTE (reads) 'WE YOUNGER NEGRO ARTISTS WHO CREATE NOW
INTENND TO EXPRESS OUR DARK-SKINNED SELVES WITHOUT FEAR OR
SHAME.' AND THAT'S WHAT HE DID.
WOMAN 1
THE RENAISSANCE WAS A PRIDEFUL TIME, BUT IT WAS ALSO A PARTYING
TIME.
WOMAN 2
OH, YES. PEOPLE FROM DOWNTOWN NEW YORK WERE GOING UPTOWN
TO HARLEM BECAUSE ... WELL, BECAUSE IT WAS FUN.
MAN
AND THERE'S A DANCE I'M PRETTY SURE YOU KNOW ABOUT. BUT WHAT
YOU PROBABLY DON'T KNOW IS THAT IT STARTED IN HARLEM. (to women)
ARE WE READY?
WOMEN
READY.
MAN
THEN, LET'S DO IT.
(THEY DANCE "THE CHARLESTON")
WOMAN 1
THERE WAS A MAJOR WAVE OF IMMIGRATION INTO THE UNITED STATES
FROM THE WEST INDIES. VERY LITTLE OF IT OCCURED THRU ELLIS ISLAND.
IT CAME LATER ... AFTER THE ELLIS ISLAND CENTER HAD CLOSED. AND
THEIR ARRIVAL ADDED ANOTHER CULTURAL DIMENSION TO THE JOURNEY.
WOMAN 2
HENRY.
MAN
YES, LIZA?
WOMAN 2
COULD YOU FETCH ME SOME WATER, PLEASE.
MAN
CERTAINLY. LIZA?
WOMAN
YES, HENRY?
MAN
(sings)
IN WHAT SHALL I FETCH IT, DEAR LIZA, DEAR LIZA
IN WHAT SHALL I FETCH IT, DEAR LIZA, IN WHAT.
WOMAN 2
IN A BUCKET, DEAR HENRY, DEAR HENRY, DEAR HENRY
IN A BUCKET, DEAR HENRY, DEAR HENRY .. . A BUCKET.
MAN
THERE'S A HOLE IN THE BUCKET, DEAR, LIZA, DEAR LIZA
THERE'S A HOLE IN THE BUCKET, DEAR LIZA. .. A HOLE.
WOMAN 2
THEN FIX IT, DEAR HENRY, DEAR HENRY, DEAR HENRY
THEN FIX IT DEAR HENRY, FIX IT. FIX IT.
MAN
WITH WHAT SHALL I FIX IT Df:AR LJZA; DEAR LIZA
WITH WHAT SHALL I FIX IT DEAR LIZA WITH WHAT?
WOMAN 2 .
MAN
AND WHERE SHALL I FIND IT DEAR LIZA, DEAR LIZA
WHERE SHALL I FIND IT DEAR LIZA ... WHERE?
WOMAN 2
GO LOOK IN THE TOOL SHED DEAR HENRY, DEAR HENRY
GO LOOK IN THE TOOL SHED DEAR HENRY, GO LOOK.
MAN
THE SHED IS ON FIRE DEAR LIZA, DEAR LIZA
THE SHED IS ON FIRE DEAR LIZA ... ON FIRE.
WOMAN 2
(spoken) ON FIRE? DID YOU SAY ... 'ON FIRE?'
MAN
YES. THAT'S WHAT I SAID. ON FIRE.
WOMAN 2
THEN PUT OUT THE FIRE DEAR HENRY, DEAR HENRY
GO DOUSE THE FI.RE DEAR HENRY. ... DOUSE IT.
MAN
DOUSE IT?
WOMAN 2
YES. DOUSE IT.
MAN
WITH WHAT SHALL I DOUSE IT DEAR LIZA, DEAR LIZA
WITH WHAT SHALL I DOUSE IT DEAR LIZA .. . WITH WHAT?
WOMAN 2
WITH WATER DEAR HENRY, DEAR HENRY, DEAR HENRY
WITH WATER DEAR HENRY, DEAR HENRY ... WITH WATER.
MAN
IN WHAT SHALL I FETCH IT DEAR LIZA, DEAR LIZA
IN WHAT SHALL I FETCH IT DEAR LIZA IN WHAT?
WOMAN 2
IN A BUCKET DEAR HENRY, DEAR HENRY, DEAR HENRY
IN A BUCKET DEAR HENRY, DEAR HENRY ... IN A BUCKET.
MAN
(Hardly able to contain his joy at having trapped her, he speaks to audience) ALL RIGHT.
COME ON. LET'S TELL HER. EVERYBODY SING IT WITH ME. (leads audience)
THERE'S A HOLE IN THE BUCKET DEAR LIZA DEAR LIZA ...
WOMAN 2
WAIT! ONE MORE TIME.
MAN
YOU HEARD HER, ONE MORE TIME. (leads them again) . .
THERE'S A HOLE IN THE BUCKET DEAR LIZA, DEAR LIZA. ..
WOMAN 2
HENRY. YOU GOT ME.
ALL
THERE'S A HOLE IN THE BUCKET. .. AGAIN.
THE END.
(TRANSITIONAL 'TIME-PASSING' MUSIC STARTS AND
WOMAN 1 SETS UP DATE SIGNS ON AN EASEL. SHE READS THE FIRST DATE
'1936' AND THEN PICKS UP AN AUTOGRAPH BOOK AND PEN AND MOVES TO
MEET MAN 1 WHO IS JOGGING IN HER DIRECTION.)
WOMAN 1
EXCUSE ME. BUT I KNOW YOU.
MAN
YOU DO?
WOMAN 1
YES, I DO. YOU'RE JESSE OWENS. OH, MISTER OWENS, MAY I HAVE YOUR
AUTOGRAPH? JUST MAKE IT OUT TO 'SHARLENE.' THAT 'S MY NAME.
MAN
I'D BE HAPPY TO, SHARLENE.
WOMAN 1
MISTER OWENS, YOU MADE ME SO PROUD.
MAN
I DON'T UNDERSTAND. HOW DID I DO THAT?
WOMAN 1
YOU TAUGHT THAT ADOLPH HITLER A THING. OR TWO. HITLER DIDN'T
EXPECT A COLORED MAN FROM THE UNITED STATES TO COME OVER TO
BERLIN, GERMANY AND LEAVE THE OLYMPICS WITH FOUR GOLD MEDALS.
(speaks to audience) THAT'S WHAT JESSE OWENS DID. HE WON FOUR GOLD
MEDALS AT THE BERLIN OLYMPICS. (turns back to Man ) THANKYOU MISTER
OWENS. I SHALL TREASURE THIS AUTOGRAPH FOR AS LONG AS I LIVE.
(MUSIC IN AND WOMAN 1 CHANGES SIGN AND ANNOUNCES
'1955.' SHE THEN MOVES TOWARD WOMAN 1)
WOMAN 1
EXCUSE ME. BUT I KNOW YOU.
WOMAN 2
YOU DO?
WOMAN 1
YOU'RE MARIAN ANDERSON. OH, MISS ANDERSON, MAY I HAVE YOUR
AUTOGRAPH? JUST MAKE IT OUT TO "SHAUNDRA." THAT'S MY NAME.
WOMAN 2
I'D BE HAPPY TO SIGN YOUR BOOK, SHAUNDRA.
WOMAN 1
MY PARENTS LISTEN TO YOUR RECORDS ALL THE TIME. OF COURSE, I
LISTEN TOO.
WOMAN 2
I'M VERY FLATTERED.
WOMAN 1
(to audience) MARIAN ANDERSON WAS THE FIRST NEGRO WOMAN TO SING
AT THE METROPOLITAN OPERA. DO YOU .KNOW WHAT AN
ACCOMPLISHMENT THAT WAS? THE FIRST!
WOMAN 2
BUT I'M SURE I WONT BE THE LAST. THANKYOU FOR LETTING ME SIGN
YOUR BOOK. GIVE MY BEST TO YOUR PARENTS.
WOMAN 1
I WILL, MISS ANDERSON. AND THANYOU.
(MUSIC IN AND WOMAN 1 RETURNS TO EASEL TO CHANGE
DATE AND ANNOUNCE "1976" SHE PICKS UP A BOOK AND THEN MOVES TO
MAN)
WOMAN 1 (cont)
WAIT. (she looks at book cover, then looks back to man) I KNOW YOU.
MA N
YOU DO?
WOMAN 1
YOU'RE HIM. YOU'RE ALEX HAILEY. OH, MISTER HAILEY. MAY I HAVE YOUR
AUTOGRAPH? JUST MAKE IT OUT TO 'SHANIQUA' THAT'S MY NAME.
MAN
SHANIQUA? .
WOMAN 1
UH-HUH. SHANIQUA.
MAN
I'M SURPRISED YOU RECOGNIZED ME. NOT MANY PEOPLE RECOGNIZE
AUTHORS ON THE STREET.
WOMAN 1
(to audience) IS HE KIDDING? HE WROTE 'ROOTS.' (holds up book) THIS BOOK.
ALL ABOUT HIS ANCESTORS ... HIS FAMILY. EVERYBODY KNOWS ALEX
HAILEY. THANKYOU FOR SIGNING MY BOOK, MISTER HAILEY.
MAN
THANKYOU, SHANIQUA.
WOMAN 1
NO, THANKYOU.
MAN
OH, THANKYOU.
WOMAN 1
AND THANKYOU.
MAN
AND THANK ...
WOMAN 2
THANKYOU BOTH. JESSE OWENS AT THE OLYMPIC GAMES, ... MARTIAN
ANDERSON AT THE MET. .. ALEX HAILEY AT THE TYPEWRITER. THEY HELD ON ..
TO THEIR DREAMS UNTIL"THEY WERE REALITIES. AND THERE WERE
OTHERS. PEOPLE WHOSE DREAMS AFFECTED THE LIVES· WE LEAD TODAY.
(A drum cadence starts)
WOMAN 2(cont)
THE FIRST WOMAN IN AMERICA TO BECOME A "BANK PRESIDENT.
MAN
MAGGIE LENA WALKER ... AN AFRICAN-AMERICAN.
WOMAN 2
THE FIRST PERSON TO REACH THE NORTH POLE.
WOMAN 1
MATTHEW HENSON: .. AN AFRICAN-AMERICAN.
WOMAN 2
THE INVENTOR OF THE FIRST RAILROAD TELEGRAPH SYSTEM.
MAN
GRANVILLE WOODS ... AN AFRICAN-AMERICAN.
WOMAN 2
WHO DEVELOPED THE FIRST AUTOMATIC TRAFFIC LIGHT?
WOMAN 1
GARREn MORGAN ... AN AFRICAN AMERICAN.
WOMAN 2
WHO PERFORMRD THE FIRST OPEN-HEART SURGERY?
MAN
DANIEL HALE WILLIAMS ... AN AFRICAN AMERICAN.
(cadence out)
WOMAN 2
AND ... JUST WHO WAS 'THE REAL McCOY?' WELL, IT WAS ELIJAH McCOY.
ELIJAH McCOY WAS AN AFRICAN-AMERICAN INVENTOR WHO FOUNDED
THE McCOY MANUFACTURING COMPANY. IF ELIJAH MADE IT, YOU KNEW IT
WAS 'THE REAL McCOY.'
(MUSIC : AN IDENTIFIABLE MOTOWN SONG IS HEARD AND THE
MAN SPEAKS OVER THE MUSIC)
MAN
AFRICAN-AMERICANS HAVE ALWAYS HAD A TREMENDOUS INFLUENCE ON
AMERICAN MUSIC. YOU CAN'T DISCUSS AMERICAN MUSIC WITHOUT
MENTIONING SCOn JOPLIN, FATS WALLER, DUKE ELLINGTON, BILLIE
HOLIDAY, LEONTYNE PRICE, ARETHA FRANKLIN, STEVIE WONDER .... WELL,
YOU GET THE IDEA. THE LIST IS VERY LONG. BUT, WITHOUT A DOUBT,
IF YOU ASK ANYONE JUST WHAT POPPED BLACK MUSIC INTO THE
MAINSTREAM, YOU ARE GOING TO HEAR ABOUT ... MOTOWN.
(THE TWO WOMEN JOIN THE MAN AND THEY DO A
RENDITION OF "HEATWAVE.")
(AT THE CONCLUSION OF THE SONG WE HEAR A JIMMY
HENDRIX GUITAR RIFF.)
MAN
IN THE 1960s VOICES OF PROTEST WERE BEING RAISED ACROSS THE
COUNTRY. EVER SINCE 1770 WHEN CRISPUS ATTUCKS BECAME THE FIRST
MARTYR OF THE AMERICAN REVOLUTION, THE AFRICAN AMERICAN
PRESENCE IN THE MILITARY HAS PLAYED AN IMPORTANT.PART IN.THE
DEFENSE OF THE UNITED STATES AND ITS ALLIES.
WOMAN 2
BUT THESE CONTRIBUTIONS WERE NOT ALWAYS OFFICIALLY
RECOGNIZED. WE WERE FIGHTING FOR FREEDOMS THAT WE WERE BEING
DENIED. (She turns to move upstage and is met by woman 1)
WOMAN 1
WAIT. IS IT TRUE? WERE YOU REALLY ON A FREEDOM RIDE IN
MONTGOMERY ALABAMA?
WOMAN 2
YES. I WAS.
WOMAN 1
I WISH I HAD BEEN THERE.
WOMAN 2
NO. NO, YOU DON'T.
WOMAN 1
NO? WHY DO YOU SAY THAT? IT HAD TO BE EXCITING.
WOMAN 2
EXCITING? SCARY MAYBE.
WOMAN 1
WHAT DO YOU MEAN?
WOMAN 2
WHEN THAT BUS PULLED· INTO MONTGOMERY THERE WAS A MOB OF
PEOPLE WAITING FOR US. WAITING LIKE THEY WERE EXPECTING AN
INVASION. THEY LOOKED AT US LIKE WE HAD JUST COME FROM ANOTHER
· PLANET. ALL WE WANTED WAS TO BE ABLE TO SIT AT A LUNCH COUNTER
AND HAVE A CUP OF COFFEE. SIT WHERE WE WANTED ON A PUBLIC BUS.
BUT THEY LOOKED AT US WITH SO MUCH HATE. SO MUCH HATE .. . AND
THEY DIDN'T EVEN KNOW US. THE FIRST ONE OFF THE BUS WAS THIS GUY
FROM MY SCHOOL. .. IRA GOLDMAN.
WOMAN 1
GOLDMAN? IRA GOLDMAN?
WOMAN
YES. DO YOU KNOW HIM?
WOMAN 1
OH, NO. IT'S JUST THAT HIS NAME. WELL, IT SOUNDS LIKE A WHITE GUY.
WOMAN 2
HE IS. THERE WERE WHITE STUDENTS ON THE BUS TOO. DIDN'T MAKE ANY
DIFFERENCE TO THAT MOB. THEY ATTACKED THAT BUS -SHOUTING AND
THROWING THINGS- ROCKING THE BUS BACK AND FORTH ...
I WAS STILL INSIDE. IRA CALLED BACK TO ME "DON'T GET OFF THE BUS."
WOMAN 2 (cont)
I GUESS HE THOUGHT IF THAT MOB WAS ACTING LIKE THAT WITH HIM, GOD
ONLY KNOWS WHAT THEY WOULD DO IF A BLACK PERSON GOT OFF. GOD
ONLY KNOWS.
(sings)
I WANT TO WAKE UP IN THE MORNING AND LOOK AT THE SUN
AND KNOW THAT I'M FREE TO RUN IN THE SUN
I WANT TO GO OUT IN THE MORNING AND SIT BY THE BROOK
AND KNOW THAT I'M FREE TO LOOK AT THE BROOK
WOMAN 1
I WANT TO OPEN UP MY WINDOW AND SHOUT TO THE TREES·
THAT I KNOW, I KNOW THAT I'M FREE TO DO AS I PLEASE
I WANT TO STAND UP ON MY FEET
AND LOOK THE WORLD IN THE EYE
AND TELL THEM WHY
I WANT, I WANT TO BE FREE TO BE ME.
MAN
DON'T WANT HAND-OUTS, HAND-ME-DOWNS
ONLY HAND I WANT IS A HAND TO HELP ME OUT
ONLY LOOK AT ME
AND MAYBE YOU CAN SEE WHAT I'M AL ABOUT
ALL
I WANT TO FLY FREE AS THE EAGLE IN THE SKY
TO KNOW WHEREVER I GO
I'M FREE AS THE BUTTERFLY
FREE AS THE BUMBLEBEE
A DRIFTING CLOUD
A SUMMER BREEZE
I WANT TO WAKE UP IN THE MORNING AND LOOK AT THE SUN
AND KNOW THAT I'M FREE TO RUN IN THE SUN
I WANT TO GO OUT IN THE MORNING AND SIT BY A BROOK
AND KNOW THAT I'M FREE TO SIT BY THE BROOK
I WANT TO OPEN UP MY WINDOW AND SHOUT TO THE TREES
I KNOW, I KNOW THAT I'M FREE TO DO AS I PLEASE
I WANT TO STAND UP ON MY FEET AND LOOK THE WORLD IN THE EYE
AND TELL IT WHY
I WANT, I WANT TO BE FREE TO BE ME ..
RECORDED VOICE
·so, I SAY TO YOU MY FRIENDS, THAT EVEN THOUGH WE MUST FACE
DIFFiqUL TIES OF TODAY AND T~MORROW, I .STILL HAVE A D~EAM:. IT IS A
DREAM DEEPLY ROOTED IN THE AMERICAN DREAM THAT ONE DAY THIS
NATION WILL RISE UP AND LIVE OUT THE TRUE MEANING OF ITS CREED- WE
HOLD THESE TRUTHS TO BE SELF-EVIDENT, THAT ALL MEN ARE CREATED
EQUAL. I HAVE A DREAM ...
WOMAN 1
I HAVE A DREAM
MAN
I HAVE A DREAM
WOMAN 2
I HAVE A DREAM.
(MUSIC IN)
ALL
LISTEN EVERYBODY AND YOU SHALL HEAR
ABOUT A JOURNEY OF A PEOPLE GOIN YEAR TO YEAR
FROM THERE TO HERE
LET ME MAKE IT CLEAR
WE'RE GONNA KEEP ON MOVIN
CAUSE WE'VE GOT THE TEAM
AND WE'RE PLAYIN FOR A PART OF THE AMERICAN DREAM
SAY 'YEH'
LET ME HEAR YOU SAY 'YEH'
EVERYBODY SAY 'YEH'
LET ME HEAR YOU SAY 'YEH'
WOMAN 1
SOME CALL ME COLORED
SOME CALL ME BLACK
NEGRO, AFRO
ALL
YAKETY YAK!
WOMAN 2
NOW WHAT YOU CALL ME IS IMPORTANT
BUT YOU'LL ALWAYS CONNECT
IF YOU'RE CALLING ME EQUAL AND IT'S DONE WITH RESPECT
I KNOW YOU HEAR ME TALKIN AND YOU WANNA REACT
COME ON! SPEAK UP! YAKETY YAK.
ALL
SAY 'YEH'
LET ME HEAR YOU SAY 'YEH'
EVERYBODY SAY 'YEH'
LET ME HEAR YOU SAY 'YEH'
LOOK, WE'RE MOVIN
CAN'T YOU SEE WE'RE MOVIN
AND THE JOURNEY KEEPS GATHERIN STEAM
WE'RE ALL MOVIN FORWARD AS A PART OF THE TEAM
AND WE'RE PLAYIN FOR A PART OF THE AMERICAN DREAM
MAN
DON'T GIVE ME COKE
DON'T GIVE ME CRACK
WEED? I DON'T WANT IT
ALL
TAKE IT BACK.
MAN
IF YOU WANT TO GIVE ME SOMETHIN
THEN YOU'VE GOT TO PROVIDE
A WAY TO MY DREAM
A WAY TO MY PRIDE
ALL
SAY 'YEH'
LET ME HEAR YOU SAY 'YEH'
EVERYBODY SAY 'YEH'
SAY 'YEH'
LOOK, WE'RE MOVIN, CAN'T YOU SEE WE'RE MOVIN
AND THE JOURNEY KEEPS GATHERIN STEAM
WE'RE ALL MOVIN FORWARD AS A PART OF THE TEAM
AND WE'RE PLAYIN FOR A PART OF THE AMERICAN DREAM.
LISTEN EVERYBODY AND YOU SHALL HEAR
ABOUT A JOURNEY OF A PEOPLE GOIN YEAR TO YEAR
FROM THERE TO HERE
LET ME MAKE IT CLEAR
WE'RE GONNA KEEP ON MOVIN CAUSE WE'VE GOT THE TEAM
SAY 'YEH
LET ME HEAR YOL! SAY :YEH
EVERYBODY SAY 'YEH'
YEH!
(THEY MOVE UPSTAGE AND PICK UP BOOKS AND READ ... )
WOMAN 1
IN 1903, W.E.B. DUBOIS SAID THIS. "WOULD AMERICA BE AMERICA
WITHOUT HER NEGRO PEOPLE?"
MAN
IN 1964, MALCOLM X SAID ... "MANY PEOPLE WILL TEACH YOU THAT THE
BLACK MAN IN THIS COUNTRY DOES NOT IDENTIFY WITH AFRICA ... YOU
CANNOT HATE THE ROOTS OF A TREE WITHOUT HATING THE TREE ITSELF.
WOMAN 2
IN 1981, MAYA ANGELOU SAID ... " I HAD A HERITAGE, RICH AND NEARER
THAN THE TONGUE WHICH GAVE IT VOICE. MY MIND RESOUNDED WITH THE
WORDS AND MY BLOOD RACED TO THE RHYTHMS."
WOMAN 1
AND ... YOU ALL KNOW OPRAH WINFREY. WELL, OPRAH TELLS US ... "I WAS
RAISED TO BE BELIEVE THAT EXCELLENCE IS THE BEST DETERRENT TO
RACISM AND SEXISM. AND THAT'S HOW I OPERATE MY LIFE." MY NAME IS
MAN
MY NAME IS -------------
WOMAN 2
AND MY NAME IS -------------
WOMAN 1
AND WE WANT YOU ALL TO REMEMEBER ... NO MATTER HOW DIFFICULT IT
MAY SOMETIMES SEEM ...
ALL
(sing)
HOLD ON
HOLD ON
HOLD ON
HOLD ONTO THE DREAM.