Reviewed by Martin Rayala
Last night, thanks to Hollywood columnist Harrison Held, I had the privilege of witnessing an extraordinary and deeply impactful production of "Greenwood 1964" at the Greenway Court Theatre on Fairfax. This three-person show is more than just a play; it's a vivid journey back to a pivotal moment in American history, offering a fictional yet brilliantly insightful look into a real trip made by two of Hollywood's most iconic figures: Sidney Poitier and Harry Belafonte.
Set in the racially charged deep South of Greenwood, Mississippi, in 1964 - a year Dr. Martin Luther King Jr. famously called "the year of promise" amid rising racial tensions - the play unfolds in the attic of a "safe house." Poitier, the first Black actor to win an Academy Award, and Belafonte, an activist and the first music artist to sell a million copies in the US and England, have journeyed south to deliver much-needed relief funds and moral support to civil rights workers facing brutal violence for simply trying to register Black voters.
What makes "Greenwood 1964" so compelling is its artful exploration of the differing philosophies these two titans held regarding how best to achieve liberation for people of color. Tracey Dukes delivers a nuanced performance as the fiery Harry Belafonte, while Eltony Williams embodies the dignified Sidney Poitier. Their dynamic, fictional debate, born from the real-life friendship of these industry giants, is the heart of the show. Dukes and Williams perfectly capture the essence of these men, with Poitier even playfully ribbing Belafonte about his lighter complexion being more acceptable to audiences - a testament to the play's clever dialogue.
Adding another layer of profound power is Joy DeMichelle as the indomitable Fannie Lou Hamer, the civil rights activist Belafonte and Poitier were there to support. The looming threat of the Klan, actively hunting for them, creates palpable tension, reminding the audience of the immense courage required by those fighting for justice.
A brilliant conceit woven throughout the play involves a recurring struggle with a loose screw on a couch that constantly snags their legs. This seemingly small detail becomes a powerful metaphor for their larger quest: finding the right "tool" to combat bigotry. Belafonte had his music, Poitier his films, and Hamer her unwavering activism. This clever device highlights their individual contributions to the movement. The production further elevates its storytelling by seamlessly integrating real video footage, with the actors interacting with newsreels, at times speaking lines in unison with the historical clips.
A truly special night, with playwright Mohammed Ali Ojarigi, director Iona Morris Jackson, and artistic director Pierson Blaetz all in attendance, "Greenwood 1964" is more than just entertainment; it's a vital, educational piece of theater that resonates deeply, reminding us of the sacrifices made and the ongoing fight for equality. If you have the chance, do not miss this important production.
Last two performances at Greenway Court Theatre, 544 N. Fairfax Ave., Los Angeles 90046 Saturday and Sunday June 28 and 29. Tickets: www.greenwaycourttheatre.org
Photo by Martin Rayala