"Sugar in Our Wounds" at Penumbra Theatre

In the beautiful and brutal play Sugar in our Wounds, two enslaved men fall in love, finding a song of love that sings in both of them. But this is the American South, shortly before the Emancipation Proclamation, so we know how this story ends. Still, it's a beautiful story to tell, one of love in the face of great danger, that reminds us of our ugly past, and also of the beauty that those who found themselves trapped in the ugliness were able to make for themselves. Penumbra Theatre's production of this play is gorgeous in every way - the design, the true and real emotions of the actors portraying these characters, and the light that it shines on the story of "queer Black love against a backdrop of imminent freedom." See it at Penumbra Theatre through March 19.

"Pipeline" at Penumbra Theatre

Penumbra Theatre has produced several works by Dominique Morisseau* (including Detroit '67 and Sunset Baby), and is now bringing us one of her newest plays - Pipeline. They're all really powerful plays about the African American experience, and Pipeline deals with racial inequality in our schools, which is a very real problem here in Minnesota. The title refers to the idea that some schools, with their heavy security and overly strict rules, are preparing students of color not for college or careers or life, but for prison (see also Wyatt Cenac's Problem Areas). The playwright explores these issues through a specific story of one family, one student trying to navigate the world as a young black man, a world that in many ways was set up to fail him. The result is a really powerful and sobering, sometimes funny, and very human 90 minutes of theater. And it goes without saying that Penumbra's production is all-around excellent.

"The Mountaintop" by Penumbra Theatre at the Guthrie Theater

Last Sunday I saw Abe Lincoln and Uncle Tom in the White House in the Guthrie Studio Theater, an imagined conversation between the two men, one real and one imagined, on the night before the historic signing of the Emancipation Proclamation. This Sunday I attended Penumbra's production of The Mountaintop in the Proscenium Theater, another imagined conversation between a real and imagined person on the eve of another important event in the history of Civil Rights. This time that conversation is between Martin Luther King, Jr. and a mysterious woman. It shows us a different side of this great and iconic man, one that's much more human. I found it to be funny, tragic, inspiring, and really beautiful.

As the audience is still filing into the rich red of the Guthrie Proscenium, Martin Luther King, Jr., in the form of the magnificent James T. Alfred, paces around his onstage hotel room, as we get a glimpse into the private time of this very public man. After several minutes, the lights go down and the play begins. Martin calls room service for coffee, which is delivered by the spunky hotel employee Camae (the delightful Erika LaVonn) on her first day on the job. The two embark on a frank and informal conversation, about Civil Rights as well as more mundane topics like cigarettes and style choices. It's soon revealed that Camae is not exactly who she says she is, and the play veers into the fantastical world of the imagination, although still grounded in reality. This play shows us that great leaders are not perfect. They have fears, flaws, and stinky feet, just like the rest of us. But yet they persevere and try to improve the world we live in, despite the personal costs.

This two-person cast, directed by Lou Bellamy, is absolutely captivating. James T. Alfred brings so much humanity and vulnerability to MLK, and he also portrays the commanding dignity of the preacher. Erika LaVonn is a true delight - charming, funny, spirited, and lively. The two of them create a wonderful space in which this inspiring story unfolds.

The Mountaintop judiciously employs some pretty fantastic technical elements of sets, sound, lighting, and video: the perfectly replicated 1960s hotel room, the weather effects of rain, snow, and lighting, Camae's special powers, the stars of the cosmos, and highlights of the last 45 years of history displayed in images on the back of the stage. Without these elements, the play would still be effective, but they make the message even more impactful. (Scenic design by Vicki Smith, lighting design by Don Darnutzer, and sound and video design by Martin Gwinup.)

One theme of the play is that Civil Rights and justice for all is a relay race, and Martin Luther King, Jr. ran just one leg of the race, albeit a pivotal one. This play makes me feel like all of us can and should take up the baton passed to us by MLK and continue his work and the work of so many others. Go see The Mountaintop, playing through April 19 at the Guthrie Theater, for an inspiring new look into the life of this legendary leader.

Like anybody, I would like to live a long life. Longevity has its place. But I'm not concerned about that now. I just want to do God's will. And He's allowed me to go up to the mountain. And I've looked over. And I've seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the promised land!*

*Martin Luther King's final speech.