Frederick Douglass Now and The Cambria
Tickets and Information
SHOW INFORMATION
Opened Sep 16, 2009
Closed Oct 22, 2009
WHAT IS IT ABOUT?
In 1845, as a relatively unknown escaped slave, Frederick Douglass was forced to flee the United States after publishing his life story, A
Narrative of the Life of an American Slave. With false papers - and a bounty on his head from enraged slaveholders - he boarded the Cunard
Line paddle steamer The Cambria out of Boston bound for Ireland. He was greeted like a hero by the Irish people and spoke to mass meetings
on platforms with Daniel O'Connell, the leading Irish politician of the day. The Cambria is the thrilling tale of this historic voyage written by Donal O'Kelly and starring Mr. O'Kelly and Sorcha Fox and directed by Raymond Keane.
Roger Guenveur Smith is Frederick Douglass Now, illuminating our
present American moment with Douglass' ever-brilliant 19th century
texts. The speeches, letters and editorials of the pioneering
abolitionist and feminist are bookended by Smith with original
narratives, fusing Douglass' era with our own. Smith's nationally
acclaimed solo performance, most recently presented at the Kennedy
Center, returns to New York after sold-out engagements at Aaron Davis
Hall and La Mama, where it was originally commissioned. At the core of
Smith's Douglass is the fugitive slave turned statesman, whose quest
for an America free of racism, sexism, and economic deprivation is
still, tragically, relevant.
Frederick Douglass Now and The Cambria run in repertory. Click here for a detailed performance schedule.
THEATER/VENUE INFORMATION:
553 W 51st St
New York, NY 10019
The Mainstage's season consists of three new plays and three staged readings. The theater seats 99 and is handicapped accessible. Irish Arts Center is the premier showcase for Irish drama in America featuring classics as well as the best new Iris [...] Read More
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Roger Guenveur Smith's Frederick Douglass Now, at the Irish Arts Center, begins thrillingly, with an almost Beckettian barrage of words that blurs the lines between the period in which the writer's subject lived and our own. As Smith commandingly delivers this blisteringly furious, and frequently insightful, prologue, he remains affixed to one spot. His head and shoulders bob in rhythm to the words that stream from his mouth. There's something wonderfully hypnotic and provocative about it. We may have elected the country's first African-American president just under a year ago, but as Smith's collage of words makes clear, the dialogue about race in America has not come to an end.
Unfort[...]