The Pulitzer Prize-winning play about the murder of a Black Army sergeant in 1944, on a Louisiana Army base is on the road following its 2020 Tony Award for Best Revival is currently, at CIBC Theatre in Chicago and is a must-see.
CNW had the opportunity to speak with Norm Lewis, actor extraordinaire who portrays Captain Richard Davenport. . .“I intend to carry out my orders and I like these glasses,’ they’re like MacArthur’s,” says Captain Davenport making a powerful statement about himself to his white counterpart, Captain Charles Taylor who at this point recognizes that Davenport is confident and conscious of who his equal ranking officer is.
Captain Charles Taylor responds at some point in their introductory exchange, . . . “But I never met a Negro with any education until I graduated the Point hardly an officer of equal rank. So, I frankly wasn’t sure how I’d feel until right now, and (Struggles), I don’t want to offend you, but I just cannot get used to it the bars, the uniform; being in charge just doesn’t look right on Negroes!“ We began our discussion with the play’s importance. Written by Charles Fuller and published in 1981, the play tells a multi-layer story that captures a slice of the African American’s experience. So, why is it still relevant?
Norm answered, “It's relevant because it's about those things that are just so cyclical. We have been fighting for years for our civil rights, equality, and inclusion. Though written in the 80s, it’s about the '40s and now it's revived in the 2000s. Thus, there's nothing new under the sun, as the Bible says.” He continues, “I think it's reflective of who we are as African Americans revealing a very strong demonstration of brotherhood as well as the other. The Black soldiers wanted to defend their country because they thought that by fighting for their country would bring them respect. Most Black people didn't get what they were due. A lot of them were spit on and hung, even though they fought for this country. All that’s relevant.
I asked Norm, about his role on the hit show “Scandal“and he calmly stated, “I tell people all the time that the fact that I starred opposite Kerry Washington, engaged in a romantic entanglement made the difference and helped my television and film career flourish. Viewers got to know me as Senator Edison Davis in seasons two, three, and five making a huge difference from if I had made a single guest appearance. The fact that I shared scenes with Kerry was definitely a boost."
Norm is modest when asked about his current popularity. He says, “Well, I'm no Tom Cruise. But I will say that I get the finger pointing like, ‘I know you,’ a lot. And once, I say “Scandal,” they react, "Yeah," . . . Again, I attribute that to Kerry.”
Of course, those of us who watched him alongside Kerry know that his modesty is endearing because he definitely held his own.
We chatted about the 9 years since he played the lead in Andrew Lloyd Webber's, “The Phantom of the Opera” when he got the role in 2014.
Norm sat back and said, “I'll try to make it short, but I'll start from the beginning. I saw the show back in 1994 while in Toronto. I'd watched clips of Robert Guillaume playing the role in Los Angeles, who made history in 1990 as the first African-American to play the title role in “The Phantom of the Opera.” And I thought I had to bring that star quality and name recognition to the production. In interviews, I was often asked ‘what is your dream role?’ I’d say I want to play the Phantom. Twenty years later, my good friend was playing the Phantom and did not renew his contract. I seized the opportunity and auditioned. Before I walked onto the stage, I felt the souls and the voices of people who had come before me, William Warfield, Paul Robeson, even those who are still living, you like Andre DeShields, and, and I heard them say audibly go get it! So, I walked out on that majestic stage with all the confidence in the world. And whatever I did on that stage, there was nothing else I could do. And fortuitously, they chose me."
I asked him about the conversation in the universe about his growing reputation as a legend. And it was wonderful to see him blush. He responded, “I've been told that I have that title. My sense is that I'm an actor, grinding, trying to get the next job, and hopeful to have doors open for me to enter and be chosen for whatever job I go for.” He pauses then continues, “I am fortunate to have been in some rooms that a lot of African Americans haven't been able to get into. I hope that I can be inspirational as that symbol that others can look at to see as one who broke through, so they feel like they can do it too."
I asked, So back to “A Soldiers Play,” what made you say yes? Controlled, Norm replied, “I think the first thing was Kenny, Leon, a Tony Award-winning Broadway and film director. Kenny approached me and shared the idea of working with him and asked if I would be interested in going on the road with the production. I've known him for many years, but we never worked together, and I've always wanted to. Secondly, it would be a break from the musicals. I'm known as the musical theater King. So, I wanted to do more street theater. Finally, this is such a powerful play, I had to say yes."
. . . And working with Eugene Lee who because he was in the original company brings some of that gravitas that he got when he experienced what he describes as having done the play basically ripped right off the typewriter. When Charles Fuller finished the script, it was magical. It’s a metaphor. . . it’s not based on a true story. Lee says upon completing the first read, the cast experienced, a hush, a deafening silence and they felt like an angel had just flown over." He finished with, "You have to see it. You know, I love that about live theater, because there's nothing like it."
Though COVID as a major threat is behind us, America is still finding its rhythm of that before Covid during COVID we saw 7 plays by Blacks on Broadway emerge from the social-political climate so what are the pros and cons of that?” I asked.
Without hesitation, Norm responded, “There's a couple of answers to that question. I would say the fact that it was an immediate response to the pandemic slash George Floyd. There were, a lot of emotions and politics that came into play. Broadway looked at Black plays in light of all that. Another perspective expressed by some is that the producers/promotors thought, ‘Well, we'll give you a chance to do what you can do. But it was during a very vulnerable time. So, our concern had to be, is it a setup for failure? And respond, ‘Oh, well, we gave you a chance. And it didn't work out.” We’re still in the aftermath, so we don’t know.”
I'm hoping that that's not the case. But I will say that there shows that are coming to Broadway, like Fat Ham, currently is. What I do know is that people are now open to hearing different stories, of different people and cultures. I'm hoping that this will continue. I am part of a group called Black Theatre United and we are looking to make sure that the accountability for those kinds of stories are told, and reflected on stage."
Visionary Kai EL´ Zabar has worked as CEO of arts organizations and as editor, writer and multimedia consultant accumulating a significant number of years in experience as an executive, journalist,publisher, public relations, media training, marketing, internal and external communications. Kai currently continues her life’s work as Editor-in-Chief Of Chicago News Weekly where she has resumed her column, “E NOTES.” She is ecstatic to be in the position to grace Chicago and the world with a publication that articulates the Black voice.