By Henrik Eger

During a prayer service on June 17, 2015, nine members of the Emanuel African Methodist Episcopal (A.M.E.) Church in downtown Charleston, South Carolina, were killed by a 21-year-old white supremacist. He confessed to the shooting in hopes of igniting a race war.

Mother Emanuel: An American Musical Play, inspired by the lives of the Emanuel Nine, a.k.a. the Charleston Nine, was co-written by Adam Mace and Christian Lee Branch, and conceived, co-written, directed, and choreographed by Rajendra Ramoon Maharaj. It premiered at last year’s New York Fringe Festival to outstanding reviews.
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​Commemorating the second anniversary of the tragedy, the show just had its Philadelphia premiere at the New Freedom Theatre, American’s oldest black theater. “Although the show is ultimately the result of an act of hatred, the directors, writers, and actors involved made an intentional effort to magnify the love and faith that the nine victims shared, making it a celebratory production. There is no mention of the killer in the whole show as we wanted to tell the stories of the nine so that they live on through our voices,” according to actor Lauren Morgan.
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Morgan and her three fellow actors—Christopher Augustin, Christian Lee Branch, and Sabriaya Shipley—portray the Emanuel Nine, taking on numerous roles in rapid succession. All four not only agreed to an interview, but addressed a number of difficult subjects.

​Looking back at your childhood and adolescence, what were some of the pivotal scenes that made you feel connected to the theater world?

Christopher Augustin: I had a childhood full of the arts: growing up in the church, my father played piano and trumpet with the Praise and Worship team, and my mother directed the theatre department. She would put on full plays annually — writing and directing them herself — and I was regularly involved. Although I was also engaged with music and writing, I connected to theatre. The reality of imagination in theatre stuck out. I was never ashamed to share that experience with other people.

Sabriaya Shipley: I started doing theater when I was six after seeing my first musical, The Lion King, in my hometown of Baltimore, Maryland. I remember being not only fascinated by all the puppets and animation, but being completely captured by Rafiki. In her number, “Rafiki Mourns,“ I wept.

My mom was so caught off guard by how entranced and focused I was, even though I didn’t understand a word the actress was singing, that I simply said, “I feel it, Mommy.” From that day on, I wanted to be on a stage, making somebody feel something — not to control anybody, but to give others the gift I had received my first night at the theater.

Christian Branch: The first thing that sparked my love for theater and performing was singing with my family at Christmas time. We would visit my great-grandparents and all the cousins would stand at the front of the living room and sing carols for the adults. Ever since, I have been hooked on performing for people.

Lauren Morgan: In my childhood, I enjoyed singing and dancing. As an educator, I use music and movement to teach children. Even though I was late entering the world of theater, I recently took a chance auditioning. The experience felt so organic, as well as healing, that it has been a calling and a passion ever since.

Mother Emanuel shows the devastating results of racism. How did your personal experiences with racism affect your performances in this production?

​Sabriaya: I grew up in the Southern Baptist tradition, and although I don’t agree with all the ways of the church, I love and understand the important role the Black Church has played throughout American history. Performing in Mother Emanuel is my way as a black artist of paying homage to that part of my ancestral roots, filled with church mothers, soul steadying hymns, and guiding sermons.

That’s why it is important for me that people feel my work. As a proud black woman, I find myself wanting to dedicate my art to telling the vast stories and experiences of my people.

Christian: I feel fortunate to live in a community where racism is not blatant or condoned. However, this environment has not shielded me from micro-aggressions. For instance, when people are staring at me and I realize that I’m the only person of color in the room. While these kinds of incidents might seem small, but when repeated, they leave me with a feeling of being weird and sometimes even wrong for being different.

Lauren: I experienced two different types of prejudice. For many years, I struggled with low self-esteem because of the way I was treated by those I felt were supposed to be my brothers and sisters. Although I am African American, I have a lighter skin tone. For much of my life, I did not feel accepted by my ownrace because some folks thought that I’m not “black enough,” or they believed that I see myself as “better than others,” which is certainly not true.

The other experience was as a kindergarten teacher. When taking my group of children to outdoor parks in a predominantly white area, there were “looks” that I would catch from those who saw us coming from afar. They would then change route or leave. Sometimes these reactions could just be because it was a large group, but I noticed it.

Christopher: The most racism I faced was within my own culture. I was raised in North Haven, Connecticut, till I was 13, as only one of two or three students of color in the school. Then we moved to New Haven, where I went to predominantly black schools. It was there that I faced discrimination. At one point, in the middle of class, someone asked me “Are you sure you’re black?”

As a kid, it was rough. I even came to fear black people and black culture, but as an adult, I have grown beyond that. Racism isn’t just one race against another. I have been able to use that awareness to draw attention not only to this play, but also to cultural stereotypes that we may hold in today’s America.

What did you do in preparation for this demanding performance?

Christian: Being one of the co-writers, I was fortunate enough to have all the research that went into writing the show at my disposal. Also, having conversations with members of the A.M.E Church, coupled with my own religious traditions, helped me connect to the Bible study and church service experience.

Christopher: I researched both A.M.E and the Rev. Clementa Pinckney as pastor and senator, watched many newscasts and videos, and read articles about his work. I also used my personal Christian history and church life to connect and prepare for this role. Throughout this process, I listened to gospel music continuously to stay in character.

Lauren: In the writing process, there was much research that took place including articles, meeting with family members, and visiting churches. As the production actually falls on the date of the shooting this year, there are many resources available about the Emanuel Nine.

Lauren: As a company, we all researched the lives of those we had to represent in the stories, but eventually learned about each individual life as we brought it all to the table and still do to this day. I personally met with family members and visited churches.

Sabriaya: The process of bringing this piece to life has been a reflective study for me on my Southern Baptist upbringing. I not only had to gather information about the A.M.E Church and the black church in general, but I had to examine their roles in my life and that of the Charleston Nine.

What did you do to prepare for the difficult task of presenting a number of different roles?

Lauren: It took a lot of rehearsals, as well as one-on-one coaching with the directors, to best represent each of the nine. Although it was a great challenge to only have four actors to tell the story with minimal props, we all knew that this was bigger than us, and the most important thing was honoring the lives of the nine. Through this process, we had an understanding that we could never fully “portray” or “become,” but our goal was to use the information we had to represent each life to the fullest.

Christopher: As an actor, I have built a strong connection with breath — breathing in one character or idea and out another. But before that could happen, I had to define each character. So, really studying my characters, knowing who they are, was an important factor. Once I had made those personal connections, the breath did its work.

Sabriaya: My most pivotal task tackling these many different roles was making them distinct and specific, so that their stories are clear and honor each individual. In this play, I portray up to six different people, and all six contribute to the story at large.

Christian: The hardest part of performing multiple roles was making sure each character had a unique identity. Focusing on the way they sit, speak, and interact with the other characters took time and a lot of practice.

Is there anything else you’d like to share?

Lauren: In the beginning of the process, there was a lot of doubt on my part. I felt I was not good enough to really be a part of this production. Over time, I realized that this play was bigger than me. I felt honored play these women and tell their stories, which put everything in perspective.

As a teacher, I can relate to Myra Thompson and her love for her students, especially the impact that she had on them — something that no one can take away. Susie Jackson reminded me of my grandmother, who was full of love and energy. Lastly, I could relate to Rev. Sharonda Singleton, an athlete, because of my love of dance and being active. Linking up with her passion and fire for God took me to another level spiritually. My life will never be the same.

Christian: I began this journey with [co-writers] Adam and Rajendra, looking for a way to deal with the hurt of this tragic event. By researching, writing, and performing, I have come to a deeper place spiritually and in my relationships. More so than any other project, Mother Emanuel has inspired me to be a better human and citizen of the world.

Christopher: It has been a beautiful adventure and honor to pay respect to these nine individuals and their families. I am proud to have been a part of this process. This play has reminded me about the blessings in the storm, the center of calmness and silence, the blessings in tragedies — something that I plan to keep and use in my life from here on out, or, as Barack Obama once said, “a manual on how to avoid repeating mistakes of the past.”

Sabriaya: It has been an honor and privilege to pay respect with love to these lives lost at the hand of hate. Mother Emanuel is a representation of blessed storytelling and Sankofa [an African word from Ghana: “it is not taboo to fetch what is at risk of being left behind”].

Running Time: One hour and 30 minutes, with no intermission.

By Henrik Eger

Theatre Horizon (TH) is a professional nonprofit theatre company headquartered in Norristown, Pennsylvania, 20 miles west of Philadelphia. Since its inception, TH has presented critically-acclaimed productions that fulfill its mission of connecting audiences and students with professional theatre artists through relevant and compelling theatre. TH has received multiple Barrymore Awards for Excellence in Theatre. The company has presented original works and developed an extensive education program that reaches hundreds of students annually in the greater Philadelphia area. Through theatre, the company creates a community of artists, students, and audiences in which each member is encouraged to grow.

Erin Reilly, a graduate of the University of Pennsylvania, co-founded Theatre Horizon with Matthew Decker in 2005, and led a $1 million campaign to build a new venue for the company in Norristown in 2012. Erin has directed over 15 productions, and, as an Equity actress, has performed on numerous area stages, including the Wilma Theater and the Walnut Street Theatre. Twelve years ago, she established Theatre Horizon’s Education Department, serving over 900 children annually. She helped to found Theatre Philadelphia and currently serves as Board President. Erin was named one of Philadelphia’s 76 Creative Connectors by Leadership Philadelphia.

Matthew Decker is a three-time Barrymore Award winner and graduate of New York University’s Tisch School of the Arts, where he studied at the Atlantic Theatre Company. He is the Co-Founder and Resident Director of Theatre Horizon and Associate Artistic Director at Arden Theatre Company. His credits include work at 11th Hour, InterAct (Core Playwrights), Philly Fringe, PTC@Play, Villanova University, and the Walnut Street Theatre. Next season, he will be directing Kander and Ebb’s Cabaretat the Arden and Peter and the Starcatcher at Theatre Horizon.

Henrik: Could you share some of your earliest memories from childhood that drew you to the theatre world?  

Matthew: I grew up in the Philadelphia area. My mother used to take me to see plays at local community theatres when I was a kid. And my dad played guitar and piano all the time, leading my sister and me in living room sing-alongs. Because I was a very shy kid, they encouraged my interest in books. As a result, I became quite the voracious reader. I always felt a strong pull toward stories and music, but had terrible stage fright whenever I had to perform in elementary school pageants. It wasn’t until middle school when some teachers encouraged me to try out for the school plays, where I found kids just like me. Having a support system within my peer group gave me the confidence to be onstage. Coincidently, that’s the time I met Erin. We’ve been friends for twenty-five years.

What were the most important things that you learned about directing, supporting, and running a small theater before you worked at Theatre Horizon?

Matthew: I had done some internships with producers in New York, but we really were just brave and naive. Mostly naive. We were so young when we started TH that we really learned by doing. We made mistakes on the regular, and from those failures, reevaluated strategies.

The Philadelphia theatre community is extremely generous when it comes to mentorships. In the beginning days, Erin and I talked to a lot of theater leaders in town who shared their time and insights. If we had a question, we reached out and asked. And they responded. They still do.

After moving back to Philadelphia from New York, I assistant-directed Terry Nolen at the Arden on a couple of projects. I learned a lot about directing from him. He gave me great advice: “Stop assisting and start directing. That’s how you will learn.” So I did. I carry that advice with me to this day. Every story and every artist I work with teaches me something. That’s one of the best things about this job.

Although Theatre Horizon sits, tucked away, in working class Norristown, your productions, including Philadelphia and East Coast premieres, were so special that you not only received one raving review after another, but won quite a few awards. What were the main ingredients that led to that extraordinary success, apart from free tickets for all Norristown residents?

Erin: Our success is due in large part to programming exciting seasons. I constantly ask myself, “Does this play uphold our institutional values: celebrating the underdog, highlighting resilience, helping the viewer learn something new and better about themselves or their world? Does it present a diversity of roles—both racial and gender— and a balance of female and male playwrights and directors? Can we sell it to our core audience? Will it help us reach new constituencies? Can we logistically produce it well, given our production budget size?”

Matthew: I think also we’ve been lucky to attract the quality of actors, directors and designers who have worked with us. That is a testament to the programming, but also because we knew that Theatre Horizon would only be as successful as the Philadelphia artists we could get to come out and work in Norristown. We put a lot of time and effort into cultivating relationships with those artists over the years, which has strengthened the quality and integrity of our work.

James Ijames is one of the most talked about up-and-coming playwrights in Philadelphia. Even though the powerful Philadelphia Theatre Company had the right of first refusal, you managed to get the rights for the world premiere of White. Tell us more about that process and what it was like working with James on this production.

Erin: When PTC decided not to produce White, I asked James if Theatre Horizon could do it and he said yes. They say that collaboration moves at the speed of trust. James trusted us to bring this incredibly complex work to its first audience and so the collaboration was wonderful. He is a generous, brave, and compassionate artist to work with.

What are your plans for this year and the foreseeable future?

Erin: I’m having my third child in July. While I’ll be on maternity leave and a short sabbatical during the 2017-18 season, I’m looking forward to observing how next year’s plays at Horizon continue the dialogue we’ve been in with our audience for the last decade.

We are in the Year of the Woman. All over the U.S., women are mobilizing to run for elected office, working in partnership with men to campaign for women’s rights, and fighting for inclusion and equal justice for marginalized groups. I believe that when women embrace their own agency to build a kinder, more just world, powerful shifts can happen. So I wanted to organize an entire year of shows around strong heroines. We’ll continue our long-time commitment to female directors and playwrights. Next season also brings powerhouse actresses to our stage. Therefore, our tagline is “A season of women who dare.”

Matthew: Yes! I echo Erin’s excitement about next season and the stories we are telling. Lisa Kron (2.5 Mile Ride) and Lauren Gunderson (The Revolutionists) are two of the most dynamic and accomplished writers working in the American theatre, and to present the Philadelphia premieres of their plays is such a coup. Similarly, our approach to Peter and the Starcatcher--a play usually done with a cast of all men and only one woman--will include more women in the ensemble. We will also be presenting the world premiere of Hero School, an interactive children’s theatre experience that allows kids to attend training to become a superhero. Presenting work for kids is a brand-new endeavor for us, but feels like a natural extension of the work we do with our after-school drama clubs, Saturday classes, and our Autism Drama program.

Is there anything else you would like to share with the readers?

Erin: We are proud to be one of the first companies to develop a class for children with Autism. Our Autism Drama Program is now in its 10th year, having educated over 400 children and young adults with autism!
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Thank you both and everyone involved at Theatre Horizon who helped you become the dream team that made a small town big.

A big thank you to our many readers in the United States and all over the world who are reading Drama Around the Globe.  We now attract over 1,000 unique visitors a week, with over 20,000 page views.

By Henrik Eger

Henrik Eger: What did you know about Cuba before you heard about the trip to Havana?

Nick Bell: Beyond a smattering of cold war history factoids, I only knew that Spanish was the official language and that Cuba was largely off-limits to people from the United States.

Inbal Madar: All I knew about Cuba was that it was a Communist country that just recently opened its gate to Americans, and also that it had a wonderful, colorful culture. I am Israeli, so several of my friends did visit, and they all said that the Cuban people are very nice. It was all true.

Anna Pruett: I knew about the high school version of American history that pertained to Havana, and nothing else. I loosely remembered the significance of the Bay of Pigs, and understood that the country was Communist. I also had the idea that baseball and mojitos [a traditional Cuban cocktail] were some of the country’s well-known exports.

Eger: Describe the film project that you were working on in Cuba.

Madar: Our film The Cuban Connection (a working title) will display the Wi-Fi in its early stages. There are only certain spots in the city that are Wi-Fi accessible. Cubans use it mostly to communicate with their families, since it is cheaper than regular phone calls. People have to stand in the street in order to connect. Some even have to travel from out of the city in order to connect.

The islanders we interviewed were expressing how new technology changed their relationships with their families and how it made them better. As of now, Cubans finally get to communicate with each other—after years of disconnection. I find it fascinating that they are only just now getting exposed to these technical connections—all part of the changes that Cuba is going through.

What we may see as trivial is far from being trivial for them. They don’t use the phone for games, watching movies, or social media—they just want to talk to their relatives. Family is the core value in Cuba. This subject, in a way, also connected to my research about their television viewing habits, which are completely different than ours.

Eger: Describe your experiences working with Cuban filmmakers and crew.

Madar: It was amazing working with filmmakers who had so much experience. They were all very educated and really gave me a positive perspective on Cuba. Enrique Colina [Cuban director and film critic] is a very intelligent, sharp, and extremely entertaining person, and it is all portrayed through his films. Being able to sit with him, watch his films, and listen to his thoughts behind the creative ideas was a remarkable experience. He pushed us to explore our ideas deeply and then present the best to him. We actually had to convince him that they could work and lead to a great scene or a great film. Such creative teamwork, which respects and challenges even young filmmakers, is part of Cuban culture. It was very refreshing.

The crew was great! They made sure we had at least one English speaker among them, which made communicating with them just that much easier. They let us—the students—become the directors, give the instructions, and be involved in every step of filming.