June 1954. Harlem. “When I’m Called Home” by Paul Robeson quiets the theater. We hear an excerpt from W.E.B. Dubois’ eulogy in a resonant (alas uncredited) voice. Having not seen one another in 30 years, Jessie Fauset (Richarda Abrams), Nancy Cunard (June Ballinger), Nella Larsen (Petronia Paley), and Zora Neale Hurston (Elizabeth Van Dyke) meet at the funeral of writer/educator Alain LeRoy Locke, the acknowledged “Dean” of the Harlem Renaissance. (All are African American except Cunard.) The deceased raised overall awareness of potential Black equality, wrote extensively about culture and “The New Negro,” and mentored upcoming authors. All four women knew and/or were affected by the man and his work.
The program offers brief descriptions of its women. Locke is omitted. Read existing bios in order to better understand the piece.
Jesse Fauset was an editor, novelist, and educator who focused on portraying a true image of African American life and history. She was literary editor of The Crisis, the NAACP magazine and mentored Langston Hughes.
Richarda Abrams as Jessie Fauset
Heiress Nancy Cunard spent much of her life fighting racism and then fascism. “I cast my life with those who lived in steerage,” she says defensively. Cunard had a passionate affair with African American jazz musician Henry Crowder. In the play she admits to hoping he would represent her militancy and was disappointed. Cunard edited the massive Negro Anthology.
June Ballinger as Nancy Cunard
Nella Larsen was a mixed race novelist who addressed issues of racial and sexual identity. One of her novels, Passing, about a light-skinned African American passing for White, was recently made into an excellent film that can be streamed. Until her first novel, Larsen was a nurse and librarian. Accused of plagiarism in her short story Sanctuary, she returned to nursing despite receiving a Guggenheim fellowship for her writing.
Petronia Paley as Nella Larsen
Author and anthropologist Zora Neale Hurston focused on racial issues starting in the early 1900s. She was a prolific novelist, satirist, journalist and a central figure in the Harlem Renaissance. Hurston continued serious anthropological work including documenting African American song traditions with Alan Lomax.
Elizabeth Van Dyke as Zora Neale Hurston
At Cunard’s invitation, the four go to her hotel room for tea. Their hostess suggests they open up to one another no holds barred. She frames it as a kind of game. Each woman weaves personal history and accomplishments into dialogue. Just how to honestly portray African American life is approached differently. One doesn’t want to rub White people the wrong way for fear they’ll shut down; another thinks it’s about time. Several are volubly competitive. Cunard’s credibility (as an activist) is questioned because of her privileged existence.
Tea is replaced by vodka with Cunard (dancing evocatively by herself) and Hurston becoming (deftly) unsteady. Exhilarated by satisfied curiosity and perhaps their own exorcisms, they decide to “go deeper,” each sharing something at her core. With Hurston, it’s words “never far from my mouth.” Cunard chooses silence, citing relationships with her mother and ex-lover. Fauset calls out respect, something she never felt she secured; Larsen, sanctuary. When Larsen breaks down, the others go in for a group hug – a first gesture acknowledging sisterhood. The ending that follows has charm.
Petronia Paley’s Nella Larsen is convincingly well spoken, graceful, proud, and withheld. Paley makes her quietly compelling. As Zora Neale Hurston, Elizabeth Van Dyke is a force with which to contend. She exudes intelligence and passion, yet periodically slips back to (audible) southern roots (Brava). Richarda Abrams plays Jessie Fauset with dignity. The most weakly written of the four, she’s conceivably extraneous. Patrician Nancy Cunard, straight-backed and ladylike with a streak of erotic mischief, is skillfully inhabited by June Ballinger. Internal conversations and sinuous physicality are particularly appealing.
Director Woodie King, Jr. begins and ends with imagination. He allows his cast time to think, feel and react. Every silence serves. The women move about just enough. Small gestures color personalities. Neither temper nor despair is disproportionate.
Chris Cumberbatch’s Set manifests a conservative, upscale fifties hotel. One can’t help but wonder whether hanging a Renoir is intentional. Costumes by Gail Cooper-Hecht are terrific from tip to stern. Sound Designer Bill Toles selects just the right music at each telling juncture.
Telling Tales is an extremely smart, illuminating play with protagonists who offer insight into the period – but it wants editing. Defined characters emerge (these are excellent actors), yet density and specificity of references sometimes leave one lost.
Photos by Lia Chang
Opening: Petronia Paley (Nella Larsen), June Ballinger (Nancy Cunard), Richarda Abrams (Jessie Fauset), Elizabeth Van Dyke (Zora Neale Hurston)
Woodie King Jr.’s New Federal Theatre in Association with Castillo Theatre presents
Telling Tales Out of School by Wesley Brown
Directed by Woodie King, Jr.
Through November 12, 2023
Castillo Theatre
543 West 42nd Street
