By Langston Hughes, Leslie Catherine Sanders, Nancy Johnston
But sometime somebody'll
rise up and speak about me—
Black and beautiful—
And sing approximately me.
And wear performs approximately me!
I reckon it will be
sure, it will be me.
Langston Hughes is least identified for his theatrical endeavors, but his cognizance to the theater used to be lifelong. His love of the level all started in adolescence, and from the past due Nineteen Twenties on he used to be regularly writing performs, for black group theater, for theater businesses he verified himself, and for the Broadway and off-Broadway degree. His early performs recreation to supply "authentic" representations of African American existence, either to counter and proper the stereotypical level portrayals of African american citizens in white theater and to supply appropriate performs for black theater businesses hungry for scripts that may entertain and problem black audiences.
Volume five of The amassed Works of Langston Hughes comprises the performs Hughes wrote among 1930 and 1942, by myself and in collaboration. just about all the performs have been played through the similar interval; a number of have by no means visible the degree, yet are integrated simply because they point out the diversity of Hughes's inventive and political issues. simply because only a few of the performs during this quantity were formerly released, they divulge a facet of Langston Hughes's artistry that's almost unknown. the gathering drastically expands our knowing of the Hughes legacy, and makes us reconsider the historical past of African American theater.
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Additional resources for The Plays to 1942: Mulatto to The Sun Do Move
Oh, Cora! CORA: (Heard above) Yes, sir, Colonel Tom. NORWOOD: I want to know if that child of yours means to leave here this afternoon? CORA: (At head of steps now) Yes, sir, she’s goin’ directly. I’s gettin’ her ready now, packin’ up an’ all. ’Course, she wants to tell you goodbye ’fore she leaves. NORWOOD: Well, send her down here. Who’s going to drive her to the railroad? That train leaves at three—and it’s after two now. You ought to know you can’t drive ten miles in no-time. CORA: (Above) Her brother’s gonna drive her.
Hurry, chile! ROBERT: Yes, mama. I can go out the front way now, easy. But if I see they gonna get me before I can reach the swamp, I’m coming back here, ma, and (Proudly) let ’em take me out of my father’s house, if they can. (He pats the gun under his shirt) They’re not going to string me up to some roadside tree for the crackers to laugh at. CORA: (Moaning aloud) Oh-o-o! Hurry! Hurry, chile! ROBERT: I’m going, ma. (He opens the door and the sunset streams in like a river of blood) CORA: Run, chile!
Grandly) Am I not Mr. Norwood, Junior? ) CORA: (Utterly serious) I believes you goin’ crazy, Bert. I believes you wants to get us all killed or run away or something awful like that. I believes . . ) WILLIAM: Where’s Bert? He ain’t come round back. (Seeing his brother in the room) How’d you get in here? ROBERT: (Grinning) Houses have front doors. WILLIAM: Oh, usin’ de front door like de white folks, heh? You gwine do that once too much. ROBERT: Yes, like de white folks. What’s a front door for, you rabbithearted coon?