{"id":368507,"date":"2025-05-21T10:50:25","date_gmt":"2025-05-21T14:50:25","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=368507"},"modified":"2025-05-21T10:50:25","modified_gmt":"2025-05-21T14:50:25","slug":"in-series-revives-once-banned-play-ethiopia-and-adds-revealing-response","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2025\/05\/21\/in-series-revives-once-banned-play-ethiopia-and-adds-revealing-response\/","title":{"rendered":"IN Series revives once-banned play ‘Ethiopia’ and adds revealing response"},"content":{"rendered":"

In 1935, President Franklin D. Roosevelt\u2019s Works Progress Administration established the Federal Theatre Project to fund live entertainment and employ out-of-work theater artists during the Great Depression. One of the Federal Theatre Project\u2019s first initiatives was the creation of \u201cLiving Newspapers\u201d \u2014 collaborating with journalists in creating stage works drawn from speeches and newspaper headlines of the day. The first Living Newspaper, Arthur Arent\u2019s Ethiopia<\/em>, an account of the Italian invasion of Haile Selassie\u2019s Ethiopia and the global response, was set to open in January 1936. When the Living Newspaper\u2019s creators attempted to obtain a recording of one of FDR\u2019s speeches to conclude the play, the Roosevelt administration issued a directive<\/a> that \u201cno one impersonating a ruler or cabinet shall actually appear on the stage,\u201d effectively censoring a work that featured multiple world leaders (including Benito Mussolini) and cabinet members. Ethiopia<\/em> was canceled after a single dress rehearsal and never appeared on the American stage \u2014 until now.<\/p>\n

\"\"
LEFT: Marvin Wayne in \u2018Ethiopia\u2019 by Arthur Arent; RIGHT: Elise Jenkins, Shana Oshiro, and Madison Norwood in \u2018Ethiopia\u2019 by Sybil R. Williams. Photos by Bayou Elom.<\/figcaption><\/figure>\n

Nearly 90 years after Arent\u2019s Ethiopia<\/em> was shut down by the FDR administration, IN Series mounted the first production of Ethiopia<\/em> as the final installment in its 2024\/25 season, Illicit Opera,<\/a><\/em> featuring works banned at the time of their creation. Two weeks prior to opening night, in an eerie echo of 1936, the National Endowment for the Arts under President Donald Trump\u2019s administration canceled its funding for the show. Yet IN Series, with the support of private foundations and donors to its emergency \u201cSave ETHIOPIA\u201d campaign, soldiered on to open the production on schedule last weekend in Theater Alliance\u2019s pop-up space at The Westerly at DC\u2019s Southwest Waterfront. (The production moves to Baltimore Theater Project from May 30 to June 1.)<\/p>\n

\"\"
Elise Jenkins, Madison Norwood, Nakia Verner, Ezinne Elele, and Marvin Wayne in \u2018Ethiopia\u2019 by Arthur Arent. Photo by Bayou Elom.<\/figcaption><\/figure>\n

IN Series\u2019 version of Ethiopia<\/em>, directed by Artistic Director Timothy Nelson, presents Arent\u2019s Living Newspaper as the first act, with a second act written in response by Sybil R. Williams, playwright, dramaturg, and director of African American and African Diasporic Studies at American University. Each of the cast members (Ezinne Elele, Elise Jenkins, Madison Norwood, Shana Oshiro, Daniel J. Smith, Nakia Verner, and Marvin Wayne) moves fluidly between multiple roles, with all save Oshiro appearing in both acts. In a testament to the cast\u2019s flexibility and IN Series\u2019 determination that the show must go on, when Oshiro lost her voice during opening weekend, Norwood voiced many of her lines from stage right while Oshiro performed her characters through mime, conveying wordless emotion through her expressive face and movements.<\/p>\n

The first act moves quickly between the Ethiopian highlands, the League of Nations in Geneva, and the cities of Europe and the United States, conveyed by newspaper headlines and black-and-white photographs projected behind the actors (Hailey LaRoe, projections designer). Rakell Foye\u2019s costumes feature simple white button-down shirts and dark-colored pants and skirts for the cast in the first act, with sashes denoting the country each actor represents in the League of Nations meetings. Smith stands out as Ethiopian Emperor Haile Selassie, appearing before the League in a navy-blue coat bedecked with military medals. As world leaders from France, England, and the USA refuse to take meaningful action in support of his country when Italy invades Ethiopia, Smith as Haile Selassie addresses both the diplomats on stage and the audience off it with regal posture and piercing gaze as he says, \u201cIt is far better to die on the field of battle, a free man, than to live as a slave!\u201d<\/p>\n

This viscerally expressed desire for freedom by the African peoples of the world unites Arent\u2019s first act with Williams\u2019 response, which illuminates the response of African Americans (and diasporic Africans worldwide) to Ethiopia\u2019s struggle against Italy\u2019s attempted colonization. Where the first act plays out in the black and white of 1930s newspapers, the second act springs to life in brilliant color. The set design (by Tsedaye Makonnen, Adrienne Gaither, and Kathryn Kawecki) shifts to include latticework evoking the traditional meskel<\/em> (cross) designs of the ancient Ethiopian Orthodox Church, and a backdrop of Ethiopian textiles. Verner takes center stage in the second act as Mayme Richardson, an African American opera singer from Michigan who traveled the world and performed for Emperor Haile Selassie and his wife, Empress Menen. Captivated by the \u201cspirit of freedom, untrammeled freedom!\u201d that she felt on Ethiopian soil, Richardson spread the word to Black people in the United States and in the Caribbean of a land grant offered by the Emperor to the African diaspora in appreciation of their support for the Ethiopian resistance to the Italian invasion. Oshiro plays Chloe, a fictional descendant of Richardson\u2019s who begins to explore her African heritage through uncovering the story of her ancestor\u2019s travels and adopts the Ethiopian name Tsehay (meaning sunshine). She is guided by a pan-African chorus (Elele, Jenkins, and Norwood) who appear wearing beads, sashes, and headwraps in green, gold, and red, and quoting Rastafarian prayers, weaving in yet another Black diasporic thread linked to, and inspired by, Ethiopia.<\/p>\n

\"\"
Elise Jenkins, Shana Oshiro, Madison Norwood, and Nakia Verner in \u2018Ethiopia\u2019 by Sybil R. Williams. Photo by Bayou Elom.<\/figcaption><\/figure>\n

Janelle Gill\u2019s musical score is the thread that ties both acts \u2014 and the many expressions of Blackness contained in the play \u2014 together. From African American spirituals sung by the cast, to Ethiopian masenqo<\/em> played by Woretaw Wubet, to Rastafarian nyabinghi<\/em> drumming by Baba Ras, to literal drumbeats of war accompanying the Living Newspaper headlines, Gill\u2019s score adds depth to the storytelling at every turn. That she performed at the piano dressed all in white and with her head covered in the traditional netela<\/em> headscarf, as Ethiopian women do in church, further underscored the feeling that a sacred story was being told on stage.<\/p>\n

Playwright Williams noted in a recent interview<\/a> that this production of Ethiopia<\/em> \u201cis really a first draft, and there are many threads that I am still weaving.\u201d The historical, political, cultural, and artistic threads are so numerous that some may be easy to miss, and audiences could have benefited from more comprehensive director\u2019s or playwright\u2019s notes in the program or opportunities for Q&A. A planned talkback at the performance I attended on Saturday was scrapped when the show ran nearly 30 minutes over its stated time.<\/p>\n

Ethiopian American mixed media artist Mygenet Tesfaye Harris, whose works (along with ceramic artist Ayda Biru\u2019s) were displayed in the lobby at the DC performances, noted that the collection she chose to accompany IN Series\u2019 production is titled \u201cWax & Gold\u201d after an Amharic phrase deeply embedded in Ethiopian literary and cultural tradition and referring to \u201cunseen complexities and symbolism \u2026 below the surface.\u201d Williams\u2019 (and IN Series\u2019) expansion of Arent\u2019s original Living Newspaper is a richly layered work of art that explores the unseen complexities and symbolism beneath the original 1930s headlines and prescient warnings against fascist aggression, to illuminate the ancient culture and history of Ethiopia itself and the complexities of the pan-African movements it inspired. Wax and gold, indeed.<\/p>\n

Running Time: Approximately two hours and 30 minutes, including one intermission.<\/p>\n

Ethiopia <\/em><\/strong><\/a>played from May 16 to 18, 2025, presented by IN Series,<\/a> performing at 340 Maple Drive (DC Waterfront\/Wharf), Washington, DC.<\/p>\n

Ethiopia<\/em><\/strong><\/a>\u00a0plays May 30 to June 1, 2025, at the Baltimore Theatre Project
\n45 W Preston St, Baltimore, MD. Tickets (general admission, $30; student, $20) are available online.<\/strong><\/a><\/p>\n

The program for Ethiopia<\/em> is online here.<\/a><\/p>\n

Ethiopia<\/em><\/strong>
\nA Living Newspaper by Arthur Arent
\nA New Play by Sybil R. Williams
\nWith New Music by Janelle Gill<\/p>\n

Stage Director: Timothy Nelson
\nMusic Director and Composer: Janelle Gill
\nCostume Designer: Rakell Foye
\nSet Designers: Kathryn Kawecki
\n<\/strong>Design Artists: Tsedaye Makonnen and Adrienne Gaither
\nLighting Designer: Alberto Segarra
\nProjections Designer: Hailey LaRoe
\nStage Manager and Lightboard Operator: Mikayla Talbert
\nProduction Manager: Paige Washington
\nTechnical Director: Megan Amos<\/p>\n

FEATURING
\nEzinne Elele
\nElise Jenkins
\nMadison Norwood
\nShana Oshiro
\nDaniel J. Smith
\nNakia Verner
\nMarvin Wayne<\/p>\n

MUSICIANS
\nJabari Exum, Dave Foreman, Baba Ras, and Woretaw Wube<\/p>\n

SEE ALSO:<\/strong>
\nA look inside \u2018Ethiopia,\u2019 a world premiere Living Newspaper at IN Series<\/a><\/strong>
\n(interview by artistic director Timothy Nelson with playwright Sybil R. Williams, May 12, 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"

Uniting two richly layered musical works is the viscerally expressed desire for freedom by the African peoples of the world. By HANNAH ESTIFANOS<\/p>\n","protected":false},"author":22,"featured_media":368545,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[18],"tags":[530,531,282],"class_list":{"0":"post-368507","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-reviews","8":"tag-arthur-arent","9":"tag-sybil-r-williams","10":"tag-timothy-nelson"},"acf":[],"apple_news_notices":[],"yoast_head":"\nIN Series revives once-banned play 'Ethiopia' and adds revealing response - 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