THE LIGHTS COME UP ON A LONE DRUMMER . LONG...

MAN

(sings)

THE LIGHTS COME UP ON A LONE DRUMMER .

AS HE PLAYS, ONE BY ONE THE REMAINING

CAST MEMBERS JOIN HIM.

LONG AGO AND TERRIBLY FAR AWAY

ALL

MAYBE YOU'VE HEARD OF THE PLACE

WOMAN 1

WHERE ONCE I LIVED WITH A MOUNTAIN AT MY·f3ACK

AND THE SUN SHINING DOWN UPON MY FACE

MAN

LONG AGO AND TERRIBLY FAR AWAY

ALL

HARD TO REMEMBER IT NOW

WOMAN 2

BUT THERE'S A LIGHT SHINING THRU A TINY CRACK

-AND I SEE THAT A DREAM CAN BE A VOW

~ALL

DAY AFTER DAY

YEAR AFTER YEAR

ALWAYS IT'S CLEAR

YOU'VE GOT TO HAVE A DREAM

A DREAM TO SEE YOU THRU

WHAT'S BUILDING UP IN YOUR HEART (BUILDING UP IN YOUR HEART)

LIVING UP IN YOUR HEAD

WILL BE REAL

WILL BE WISE

WILL BE TRUE.

AND THO YOU KNOW THE TROUBLE AROUND YOU

IS REALLY AS BAD AS IT SEEMS

HOLD ON, HOLD ON TO THE DREAM.

WOMAN 1

WE ARE MANY FACES.

WOMAN 2

WE HAVE MANY PERSONALITIES.

MAN

WE ARE MANY PEOPLE.

WOMAN 2

COLORED.

WOMAN 1

NEGRO.

MAN

BLACK.

WOMAN 2

AFRICAN-AMERICAN.

ALL

ALL ME.

MAN

AND THROUGHOUT HISTORY WE HAVE PERSEVERED ...

WOMAN 1

SUFFERED ...

WOMAN 2

HOPED.

WOMAN 1

AND WE HAVE DREAMED. AND IT IS THE DREAM THAT HAS TAKEN US

WHERE WE ARE TODAY. WE HAVE ALWAYS HAD A DREAM.

ALL

DAY AFTER DAY

YEAR AFTER YEAR

ALWAYS IT'S CLEAR.

YOU'VE GOT TO HAVE A DREAM

A DREAM TO SEE YOU THRU

WHAT'S BUILDING UP IN YOUR HEART

LIVING UP IN YOUR HEAD

WILL BE REAL

WILL BE WISE

WILL BE TRUE

AND THO YOU KNOW THE TROUBLE AROUND YOU

IS REALLY AS BAD AS IT SEEMS

HOLD ON (HOLD ON)

HOLD ON (HOLD ON)

HOLD ON

HOLD ON TO THE DREAM.

MAN

AND THE DREAM STARTED A LONG TIME AGO.

(DRUMMING IS HEARD AND VOICES SINGING IN THE

DISTANCE. WOMAN 2 AND MAN 1 REMOVE AFRICAN .ROBES FROM A TRUNK

AND DRESS WOMAN 1 AS SHE SPEAKS THEY THEN RETURN TO THE

UPSTAGE AREA AND DRESS THEMSELVES.)

WOMAN 1

I LIVED IN A VILLAGE. OH, HOW WELL I REMEMBER. FAR, FAR AWAY. MY

AFRICA. SO MANY MEMORIES. SO MANY FRIENDS.

(SHE JOINS THE OTHERS AND THEY ALL DANCE. AS THE

MUSIC QUIETS WOMAN 1 RESUMES SPEAKING)

WOMAN 1

LIFE WAS NOT ALWAYS EASY. BUT WE LAUGHED. OH, HOW WE LAUGHED.

UNTIL. .. UNTIL. .. (THE MUSIC STOPS) ONE DAY BIG SHIPS CAME. MANY MEN

WITH STRANGE WEAPONS. WE HAD HEARD THAT THEY HAD COME TO

OTHER VILLAGES. NOW - THEY WERE AT OUR VILLAGE.

MAN

I AM NOT RUNNING. I WILL STAY. I WILL FIGHT.

WOMAN 2

REMEMBER WHAT WE HAVE HEARD. WHAT THEIR WEAPONS CAN DO.

MAN

I DO NOT CARE.

WOMAN 2

(to Woman 1) AISHA, COME. WE MUST HURRY. (to Man 1) DO NOT BE

FOOLISH. THERE ARE TOO MANY.

WOMAN 1

(to audience) AND THERE WERE TOO MANY.

(MAN 1 AND WOMAN 2 HAVE REMOVED THEIR AFRICAN

ROBES AND SET THE 'SHIP'. THEY TAKE A LONG BLUE CLOTH AND FLOAT IT

IN FRONT OF WOMAN 1)

WOMAN 1 (cont)

WE WERE PUT ON A BIG SHIP. BUT THO THE SHIP WAS BIG, THERE WAS

NOT MUCH ROOM BECAUSE THERE WERE SO MANY PEOPLE. NO ROOM TO

MOVE. BAD AIR TO BREATHE. MANY WERE SICK. AND AS WE SAILED FOR

WHAT SEEMED LIKE FOREVER, THRU. IT. ALL .J DREAMED .. I DREAMED IT

~OULD SOON BE _ OVER.

(MAN 1 PULLS THE CLOTH AWAY. AS WOMAN 1

CONTINUES MAN 1 AND WOMAN 2 FLIP THE 'SHIP' AND IT BECOMES AN

AUCTION BLOC~.)

WOMAN 1 ( cont)

AND WHEN IT WAS OVER ... WHEN THE SHIP FINALLY STOPPED MOVING,

THEY TOOK US OFF THE SHIP. AND LATER. .. ONE BY ONE WE WERE PUT ON

PLATFORMS. PEOPLE STOOD AROUND LOOKING AT US. STRANGE WORDS

COMING FROM THEIR MOUTHS. IT TOOK US AWHILE TO UNDERSTAND

WHAT WAS GOING ON. BUT SOON ENOUGH, WE UNDERSTOOD. WE WERE

BEING SOLD. I DIDN'T BELIEVE IT. THEY WERE TREATING ME LIKE A PIECE

OF PROPERTY. AND SOON, THERE I WAS - LIVING IN A STRANGE HOUSE. IN

A STRANGE COUNTRY. AND THE PEOPLE AROUND ME WERE NOT THE

FAMILY I HAD IN AFRICA. BUT WE BECAME A FAMILY. TOGETHER. SHARING

OUR DREAM. '

(MUSIC IN. MAN 1 PICKS UP HIS CABIN CLOTHES AND MOVES

OFFSTAGE. WOMEN ARE CHANGING UPSTAGE INTO CABIN CLOTHES

WOMEN COVER PLATFORM WITH TABLECLOTH. WOMAN 1 THEN MOVES

TO 'WINDOW.')

WOMAN 2

(she is stirring something in a large bowl) STOP PEEPIN OUT THAT WINDOW,

THENIA. WHAT YOU EXPECTIN TO SEE? YOU THINK HARRIET TUBMAN

HERSELF GONNA BE CLIMBIN UP ON OUR BACK PORCH?

WOMAN 1

I AI NT LOOKIN FOR NO HARRIET TUBMAN. AND NO OTHER KIND OF TUB

EITHER. .. .

WOMAN 2

DON'T YOU BE DISRESPECTIN MISS TUBMAN.

WOMAN 1

I AINT DISREPECTIN NOBODY. I'M JUST ANSWERIN YOUR QUESTION.

WOMAN 2

SO? WHAT WERE YOU LOOKIN AT?

WOMAN 1

I WAS TRYIN TO SEE IF POOR BOY WAS COMIN. I DON'T KNOW WHAT'S

TAKIN HIM SO LONG.

WOMAN 2

MAYBE HE NEEDS TIME TO GET HIS THINGS TOGETHER.

WOMAN 1

HE CAN'T BE CARRYIN A LOT OF JUNK WITH HIM. IT'LL JUST BE IN THE WAY.

UNDERGROUND RAILROAD AINT GOT NO BAGGAGE CAR.

WOMAN 2

THENIA, SOMETIMES YOUR MOUTH JUST RUNS AWAY WITH YOUR BRAIN.

WOMAN 1

YOU THINK HE'S GOT SOMETHIN WORTH TAKING? I DON'T THINK SO.

SHOOT. I COULD GET MY STUFF TOGETHER IN TWO SHAKES OF A LAMB'S

TAIL.

(POOR BOY ~NTERS)

WOMAN 2

THAT'S BECAUSE YOU AINT GOT NO STUFF.

MAN 1

(laughing) I HEARD THAT. (kidding her) YOU AI NT GOT NO STUFF.

WOMAN 1

YOU DON'T KNOW WHAT STUFF I GOT. I DON'T GO SPREADIN MY BUSINESS

ALL OVER THE PLANTATION.

WOMAN 2

SHUSH, THENIA. POOR BOY, YOU GOTTA HURRY. THAT QUAKER MAN

THAT'S TAKIN YOU AWAY FROM HERE CAN'T BE WAITIN OUT IN THE WOODS

FOREVER. HE NEEDS TO GET MOVIN IF HE'S GONNA GET YOU OUT OF HERE

AND SAFELY UP NORTH.

MAN 1

YEH, I KNOW. I JUST HAD TO MAKE SURE NOBODY WAS STILL AWAKE UP IN

THE BIG HOUSE BEFORE I CAME OVER HERE.

WOMAN 2

COME HERE, CHILE, AND GIVE ME A BIG HUG.

MAN 1

SURE WISH YOU WAS ALL COMIN WITH ME, LOTTIE.

WOMAN 2

YES. I WISH THAT TOO, POOR BOY.

WOMAN 1

NOW WOULDN'T THAT BE SOMETHIN? ALL OF US DISAPPEARIN FROM

HERE. ALL AT ONCE. NOBODY LEFT TO GET ANY WORK DONE.

WOMAN 2

WHERE'S THAT PLACE YOU'RE GOIN? TELL ME AGAIN. I FORGOT. WHAT'S

IT CALLED?

MAN 1

DON'T MATTER WHAT IT'S CALLED, LOTTIE. IT'S WHAT IT MEANS. FREEDOM,

LOTTIE. FREEDOM. AND IT'S MY DREAM.

WOMAN 1

(back at window) UH OH. SOMEBODY JUST LIT A CANDLE UP AT THE BIG

HOUSE.

MAN 1

I BETTER GIT. I'LL BE WAITIN FOR YOU UP NORTH, THENIA.

WOMAN 1

AND I'LL BE COMIN ... 'COURSE, I HEAR IT GETS KIND OF COLD UP THERE , SO

I'LL HAVE TO SEW ME UP SOME SNUGGlES AND LONG UNDERWEAR TO

STAY WARM.

WOMAN 2

THENIA, IF FOOLISHNESS WAS MONEY, YOU'D BE A RICH WOMAN.

MAN 1

(Hugs Thenia) Y'ALL TAKE CARE OF YOURSELVES.

THEN lA

. YOU DO THE SAME.

MAN 1

BYE, LOTTIE

WOMAN 2

GOODBYE, POOR BOY. (pats his cheek) NOW, GIT.

(HE LEAVES)

WOMAN 2(cont)

COME ON, THENIA. LET'S SING A LITTLE BIT. MAKE THE FOLKS UP IN THE BIG

HOUSE THINK WE'RE HAVIN A PRAYER MEETIN OR SOMETHING. IF

WHOEVER LIT THAT CANDLE HEARS US SINGIN THEY'LL THINK EVERYTHING

DOWN HERE IS JUST FINE.

WOMAN 1

(starts to sing and dance)

JIMMY CRACK CORN AND I DON'T CARE

JIMMY CRACK CORN AND I DON'T CARE

(notices Lottie staring at her) WHAT ARE YOU STARIN AT? YOU SAID SING.

WOMAN 2

I DIDN'T SAY NOTHIN BOUT NO JUBER DANCIN. YOU SING WHAT I SING.

(sings)

SWING LOW SWEET CHARIOT

COMIN FOR TO CARRY ME HOME

(spoken) SING!

TOGETHER



(THE WOMEN CONTINUE SINGING SOFTLY AS THEY REMOVE

CABIN COSTUME PIECES. MAN COMES BACK AND SPEAKS)

MAN

THE SINGING OF SPIRITUALS WAS ONE OF THE THINGS THAT FED THE SPIRIT

OF SLAVES ON THE PLANTATIONS. AND THEY SANG ... IN THE CABINS ... IN

THE FIELDS ... WHENEVER AND WHEREVER THEY NEEDED IT.

WOMEN




COMING FOR TO CARRY ME HOME

COMING FOR TO CARRY ME HOME.

ALL

SWEET CHARIOT COMIN FOR TO CARRY ME

MAN

A BAND OF ANGELS COMIN AFTER ME

ALL

COMIN FOR TO CARRY ME HOME.





SWING LOW (SWING LOW) SWEET CHARIOT

KEEP MOVIN, CARRY ME HOME . .

SWING LOW (SWING LOW) SWEET CHARIOT

KEEP ON MOVIN CAUSE I WANNA GQ HOME.

MAN

. I LOOKED OVER JORDAN AND WHAT OlD I SEE.

WOMEN

I SAW A BIG OLD CHARIOT

ALL

COMIN JUST TO GET ME

WITH A BAND OF ANGELS CALLIN OUT TO ME






HITCHIN UP MY CHARIOT, HITCHIN UP MY CHARIOT

HITCHIN UP MY CHARIOT, TRAVELIN HOME

WOMEN

SWING LOW

SWEET CHARIOT

ALL

MAN

SWEET, SWEET

SWEET CHARIOT

ANGELS GONNA 'CARRY ME HOME






WOMAN 1

OH FREEDOM

OH FREEDOM

OH FREEDOM OVER ME

BEFORE I'LL BE A SLAVE

I'LL BE BURIED IN MY GRAVE

AND GO HOME TO MY LORD TO BE FREE.

MAN 1

FREEDOM. WHAT DID IT MEAN? IT HAD TO MEAN DIFFERENT THINGS TO

DIFFERENT PEOPLE. OR MAYBE NOT. MAYBE WE JUST FIND DIFFERENT

WAYS TO EXPRESS HOW WE FEEL ABOUT IT. THE ABOLITIONIST,

MAN 1 (cont)

FREDERICK DOUGLASS SAID (he reads from a book) "THOSE WHO PROFESS TO

FAVOR FREEDOM AND YET, DEPRECIATE AG ITATION ARE MEN WHO WANT

CROPS WITHOUT PLOWING UP THE GROUND." (closes book) I GUESS HE

MEANT, SOMETIMES YOU'VE GOT TO STIR THINGS UP TO GET SOMETHING

ACCOMPLISHED.

WOMAN 2

THE AFRICAN BORN POET, PHILLIS WHEATLEY IN THE EIGHTEENTH

CENTURY WROTE : "IN EVERY HUMAN BREAST GOD HAS IMPLANTED A

PRINCIPLE WHICH WE CALL LOVE OF FREEDOM; IT IS IMPATIENT OF

OPPRESSION AND PANTS FOR DELIVERANCE." PERHAPS SHE'S SAYING WE

ALL NEED FREEDOM. EVERY ONE OF US.

WOMAN 1

AND MUCH, MUCH LATER, MARTIN LUTHER KING, JR. SAID THIS: " ... THERE

ARE NEGROES WHO WILL SEEK PROFIT FOR THEMSELVES FROM THE

STRUGGLE. ... NO ONE CAN PRETEND THAT BECAUSE A PEOPLE MAY BE

OPPRESSED EVERY INDIVIDUAL IS VIRTUOUS AND WORTHY." I THINK HE

MAY HAVE BEEN TELLING US THAT THERE ARE GOOD AND BAD THINGS IN

OUR LIVES NO MATTER WHAT COLOR YOU ARE.

MAN 1

WE DREAMED OF FREEDOM, AND IT CAME. BUT THIS FREEDOM DID NOT

TAKE US BACK TO OUR HOMELANDS . NOT BACK TO THE FIELDS AND

PLAINS OF AFRICA. NO, IT WAS NECESSARY TO ADAPT AND EXIST IN OUR

NEW HOMELAND. AND THIS MEANT GETTING SOMETHING WHICH HAD

BEEN FORBIDDEN TO US BEFORE. AN EDUCATION.

(THE 'TABLE' USED IN THE CABIN IS TURNED ON END AND

NOW BECOMES A PODIUM)

MAN 1

(addressing audience as his classroom) WELCOME TO WILBERFORCE UNIVERSITY.

AS YOU KNOW, WILBERFORCE WAS ESTABLISHED IN 1856 AS THE FIRST

NEGRO COLLEGE IN AMERICA. RIGHT HERE IN WILBERFORCE, OHIO. WE

ARE PROUD TO HAVE YOU AS STUDENTS. NOW, AS PART OF OUR NEW

STUDENT ORIENTATION PROGRAM, WE WOULD LIKE TO HOLD A LITTLE

DISCUSSION PERIOD CENTERING AROUND EVENTS AFFECTING OUR

HISTORY IN THIS COUNTRY. PERHAPS SOMEONE COULD START US OFF BY

TELLING ME THE SIGNIFICANCE OF THE DATE. .. "1863?"

WOMAN 1

HERE. I CAN TELL YOU. IN 1863 THE EMANCIPATION PROCLAIMATION WAS ·

ISSUED BY ABRAHAM LINCOLN.

MAN

CORRECT. HOWEVER ... IT DIDN;T EMANCIPATE EVERYBODY. AND SOME

THOUGHT THAT MISTER LINCOLN WAS MORE INTERESTED IN ENDING THE

WAR THAN IN FREEING THE SLAVES. NOW WHO CAN TELL ME WHAT

HAPPENED IN 1865?

WOAMN 2

I CAN. IN 1865 WE HAD THE THIRTEENTH AMMENDMENT TO THE

CONSTITUTION.

MAN

AND THE THIRTEENTH AMMENDMENT DID WHAT?

WOMAN 2

IT ABOLISHED SLAVERY THRUOUT THE UNITED STATES.

MAN

CORRECT. HOWEVER ... THAT WAS ALSO THE YEAR THAT BLACK MINSTREL

SHOWS STARTED POPPING UP AROUND THE UNITED SATES NOW, WHAT IS

THE IMPORTANCE OF THE YEAR 1866?

WOMAN 1

IN 1866 A CIVIL RIGHTS ACT WAS PASSED WHICH GAVE CITIZINSHIP TO

BLACK MEN AND GUARANTEED THEM EQUAL TREATMENT UNDER THE LAW.

AND PLEASE NOTE THAT I SAID 'BLACK MEN' AND NOT BLACK WOMEN .

MAN

CORRECT. HOWEVER ...

WOMAN 2"

HOLD IT! WHAT IS IT WITH YOU AND ALL THESE HOWEVERS?

WOMAN 1

DIDN'T THESE CHANGES MEAN THAT WE COULD WHERE WE LIKE?

MAN

WELL. ..

WOMAN 2

UVE WHERE WE UKE?

MAN

WELL. ..

WOMAN 1& 2

WELL WHAT?

MAN

(removing his cap, etc) IN 1890 THE SOUTH LEGISLATED ENFORCED

SEGREGATION. THAT MEANT WHITES AND BLACKS HAD SEPARATE

FACILITIES FOR HOUSING, EDUCATION, RECREATION AND

TRANSPORTATION. THESE LAWS REMAINED ON THE BOOKS WELL INTO THE

TWENTIETH CENTURY AND WERE KNOWN AS THE "JIM CROW" LAWS.

(MUSIC IN. THEY ALL DO A QUICK SWITCH OF COSTUME

AND MOVE STOOLS INTO PLACE TO BE USED AS SEATS ON A TRAIN)

WOMAN 1

WHY CAN'T I SIT UP THERE IN THAT CAR? THE.RE ARE PLENTY OF EMPTY

SEATS.

MAN

(as train conducter) I'M SORRY, MISS. THAT'S JUST THE WAY IT IS DOWN HERE

IN THE SOUTH.

WOMAN 2

DON'T MIND HIM. SIT HERE. I'LL MOVE MY STUFF.

WOMAN 1

THANKYOU. I DON'T THINK I'LL BE VISITING DOWN HERE TOO MUCH IN THE

FUTURE. HERE IT IS 1922, I PAY MY MONEY FOR A TICKET, BUT I CAN'T SIT

WHERE I LIKE. WHAT'S THAT ABOUT?

WOMAN 2

JIM CROW, HONEY. THAT'S WHAT IT'S ABOUT. WHERE YOU FROM?

WOMAN 1

NEW YORK CITY.

WOMAN 2

WHAT PART?

WOMAN 1

HARLEM.

WOMAN 2

OH? I HAD A COUSIN MOVE UP THERE DURING THE WAR. HE SAID THERE

WAS PLENTY OF WORK.

WOMAN 1

LOTS OF GOOD JOBS.

MAN

WHAT KIND OF WORK DO YOU DO?

WOMAN 1

I'M A SINGER.

MAN

WHAT KIND OF MUSIC DO YOU SING?

WOMAN 1

ALL KINDS. BUT, THE BLUES, MOSTLY

MAN

YOU GET PAID TO SING THE BLUES?

WOMAN 1

UH-HUH.

MAN

HOW ABOUT THAT? I'VE BEEN SINGING THE BLUES FOR YEARS. FREE OF

CHARGE.

WOMAN 1

YOU MARK MY WORDS. THERE ARE GONNA BE LOTS OF FAMOUS

COLORED BLUES SINGERS. AND I INTEND TO BE ONE OF THEM.

MAN

YOU'RE DREAMIN, GAL

WOMAN 1 ·

YES, I AM. I'VE GOT ME A DREAM. AND IT'S GONNA COME TRUE.

{sings)

CAUSE BYE AND BYE WHEN MY SHIP COMES IN

{Man:l guess you'll want to sit up front on the boat, too.)

I'M GOIN PLACES THAT I'VE NEVER BEEN .

{Woman 2: Maybe you could take me with you.)

I'M GONNA SING MY WAY TO EASY STREET

(Man:Not too many towns got a street called 'easy.')

THEN, I'LL BE SITTIN IN A FIRST CLASS SEAT.

(Man: I guess that means she's gonna have some first class money.)

MY EYES ARE OPEN AND THEY'RE OPEN WIDE

GONNA FIND A NEW TRAIN TO RIDE

DON'T TRY TO STOP ME WHEN I HIT MY STRIDE


SO CHILL THE BUBBLY AND THE CAVIAR

RESERVE MY SOFA IN THE PARLOR CAR

AINT GONNA TAKE IT CAUSE I'VE GOT MY PRIDE

GONNA FIND A NEW TRAIN TO RIDE.

WOMAN 2

(spoken) I know what you mean. Let me tell you a little story.

ONCE I WAS TRAVELIN DOWN IN MEMPHIS TENNESSEE

STOPPED OFF AT A STATION, I WAS THIRSTY AS COULD BE

FOUND A WATER FOUNTAIN, BUT THAT FOUNTAIN WAS TABOO

MISTER JIM CROW HAD A SIGN UP SAID "THIS WATER'S NOT FOR YOU"

(MAN:I've been there.)



WOMEN

WE'VE GOT THE JIM CROW BLUES (Man: It's story tellin' time)

WE'VE GOT THE JIM CROW BLUES (Man: Well. I've got a story too)

HAVE YOU HEARD THE NEWS (Man: Probably, but you tell me anyway.)

WE'RE GONNA KEEP ON GOIN TILL JIM STOPS CROWIN

ALL





WOMAN 1

WONT NEED NO THERMOS OR NO MASON JAR

WOMAN 2

WE'LL HAVE OUR CHILTLINS IN THE DINING CAR

ALL



MAN

(spoken) Listen to this.

ONCE I WAS DRIVIN THRU A TOWN IN ARKANSAS

ON MY WAY TO VIS IT WITH MY MA AND WITH MY PA

I STOPPED TO GET A SANDWICH AND THE RESTAURANT I CHOSE

WAS JAMMED AND PACKED WITH PEOPLE, BUT THEY TOLD ME IT WAS

CLOSED



ALL

. WE'VE GOT THE JIM CROW BLUES

WE'VE GOT THE ·JIM CROW BLUES

AND HAVE YOU HEARD THE NEWS

WE'RE GONNA KEEP ON GOIN TILL JIM STOPS CROWIN





GO CHILL THE BUBBLY AND THE CAVIAR

RESERVE MY SOFA IN THE PARLOR CAR



MAN

HARLEM ... HARLEM ... HARLEM. DURING THE 1920s AND THE 1930s IT WAS

CALLED A BLACK BOHEMIA. BUT IT WAS ALSO CALLED THE HARLEM

RENNAISANCE.

WOMAN 2

RENAISSANCE. THAT'S LIKE A ... A REBIRTH. BEING BORN AGAIN. OH WHAT

A DREAM TIME THAT WAS. SOME OF THE BEST TALENT AMERICA HAD TO

OFFER WAS NURTURED BY THE HARLEM RENNAISANCE. THERE WAS

COUNTEE CULLEN, ZORA NEALE HURSTON. YOU SHOULD READ SOME OF

THOSE STORIES. AND THERE WAS JAMES WELDON JOHNSON,

W.E.B.DUBOIS ... AND LATER ON THERE WAS RICHARD WRIGHT AND JAMES

BALDWIN.

MAN

AND THERE WAS LANGSTON HUGHES. AND IT WAS LANGSTON HUGHES

WHO WROTE (reads) 'WE YOUNGER NEGRO ARTISTS WHO CREATE NOW

INTENND TO EXPRESS OUR DARK-SKINNED SELVES WITHOUT FEAR OR

SHAME.' AND THAT'S WHAT HE DID.

WOMAN 1

THE RENAISSANCE WAS A PRIDEFUL TIME, BUT IT WAS ALSO A PARTYING

TIME.

WOMAN 2

OH, YES. PEOPLE FROM DOWNTOWN NEW YORK WERE GOING UPTOWN

TO HARLEM BECAUSE ... WELL, BECAUSE IT WAS FUN.

MAN

AND THERE'S A DANCE I'M PRETTY SURE YOU KNOW ABOUT. BUT WHAT

YOU PROBABLY DON'T KNOW IS THAT IT STARTED IN HARLEM. (to women)

ARE WE READY?

WOMEN

READY.

MAN

THEN, LET'S DO IT.

(THEY DANCE "THE CHARLESTON")

WOMAN 1

THERE WAS A MAJOR WAVE OF IMMIGRATION INTO THE UNITED STATES

FROM THE WEST INDIES. VERY LITTLE OF IT OCCURED THRU ELLIS ISLAND.

IT CAME LATER ... AFTER THE ELLIS ISLAND CENTER HAD CLOSED. AND

THEIR ARRIVAL ADDED ANOTHER CULTURAL DIMENSION TO THE JOURNEY.

WOMAN 2

HENRY.

MAN

YES, LIZA?

WOMAN 2

COULD YOU FETCH ME SOME WATER, PLEASE.

MAN

CERTAINLY. LIZA?

WOMAN

YES, HENRY?

MAN

(sings)

IN WHAT SHALL I FETCH IT, DEAR LIZA, DEAR LIZA

IN WHAT SHALL I FETCH IT, DEAR LIZA, IN WHAT.

WOMAN 2

IN A BUCKET, DEAR HENRY, DEAR HENRY, DEAR HENRY

IN A BUCKET, DEAR HENRY, DEAR HENRY .. . A BUCKET.

MAN

THERE'S A HOLE IN THE BUCKET, DEAR, LIZA, DEAR LIZA

THERE'S A HOLE IN THE BUCKET, DEAR LIZA. .. A HOLE.

WOMAN 2

THEN FIX IT, DEAR HENRY, DEAR HENRY, DEAR HENRY

THEN FIX IT DEAR HENRY, FIX IT. FIX IT.

MAN

WITH WHAT SHALL I FIX IT Df:AR LJZA; DEAR LIZA

WITH WHAT SHALL I FIX IT DEAR LIZA WITH WHAT?

WOMAN 2 .

MAN

AND WHERE SHALL I FIND IT DEAR LIZA, DEAR LIZA

WHERE SHALL I FIND IT DEAR LIZA ... WHERE?

WOMAN 2

GO LOOK IN THE TOOL SHED DEAR HENRY, DEAR HENRY

GO LOOK IN THE TOOL SHED DEAR HENRY, GO LOOK.

MAN

THE SHED IS ON FIRE DEAR LIZA, DEAR LIZA

THE SHED IS ON FIRE DEAR LIZA ... ON FIRE.

WOMAN 2

(spoken) ON FIRE? DID YOU SAY ... 'ON FIRE?'

MAN

YES. THAT'S WHAT I SAID. ON FIRE.

WOMAN 2

THEN PUT OUT THE FIRE DEAR HENRY, DEAR HENRY

GO DOUSE THE FI.RE DEAR HENRY. ... DOUSE IT.

MAN

DOUSE IT?

WOMAN 2

YES. DOUSE IT.

MAN

WITH WHAT SHALL I DOUSE IT DEAR LIZA, DEAR LIZA

WITH WHAT SHALL I DOUSE IT DEAR LIZA .. . WITH WHAT?

WOMAN 2

WITH WATER DEAR HENRY, DEAR HENRY, DEAR HENRY

WITH WATER DEAR HENRY, DEAR HENRY ... WITH WATER.

MAN

IN WHAT SHALL I FETCH IT DEAR LIZA, DEAR LIZA

IN WHAT SHALL I FETCH IT DEAR LIZA IN WHAT?

WOMAN 2

IN A BUCKET DEAR HENRY, DEAR HENRY, DEAR HENRY

IN A BUCKET DEAR HENRY, DEAR HENRY ... IN A BUCKET.

MAN

(Hardly able to contain his joy at having trapped her, he speaks to audience) ALL RIGHT.

COME ON. LET'S TELL HER. EVERYBODY SING IT WITH ME. (leads audience)

THERE'S A HOLE IN THE BUCKET DEAR LIZA DEAR LIZA ...

WOMAN 2

WAIT! ONE MORE TIME.

MAN

YOU HEARD HER, ONE MORE TIME. (leads them again) . .

THERE'S A HOLE IN THE BUCKET DEAR LIZA, DEAR LIZA. ..

WOMAN 2

HENRY. YOU GOT ME.

ALL

THERE'S A HOLE IN THE BUCKET. .. AGAIN.

THE END.

(TRANSITIONAL 'TIME-PASSING' MUSIC STARTS AND

WOMAN 1 SETS UP DATE SIGNS ON AN EASEL. SHE READS THE FIRST DATE

'1936' AND THEN PICKS UP AN AUTOGRAPH BOOK AND PEN AND MOVES TO

MEET MAN 1 WHO IS JOGGING IN HER DIRECTION.)

WOMAN 1

EXCUSE ME. BUT I KNOW YOU.

MAN

YOU DO?

WOMAN 1

YES, I DO. YOU'RE JESSE OWENS. OH, MISTER OWENS, MAY I HAVE YOUR

AUTOGRAPH? JUST MAKE IT OUT TO 'SHARLENE.' THAT 'S MY NAME.

MAN

I'D BE HAPPY TO, SHARLENE.

WOMAN 1

MISTER OWENS, YOU MADE ME SO PROUD.

MAN

I DON'T UNDERSTAND. HOW DID I DO THAT?

WOMAN 1

YOU TAUGHT THAT ADOLPH HITLER A THING. OR TWO. HITLER DIDN'T

EXPECT A COLORED MAN FROM THE UNITED STATES TO COME OVER TO

BERLIN, GERMANY AND LEAVE THE OLYMPICS WITH FOUR GOLD MEDALS.

(speaks to audience) THAT'S WHAT JESSE OWENS DID. HE WON FOUR GOLD

MEDALS AT THE BERLIN OLYMPICS. (turns back to Man ) THANKYOU MISTER

OWENS. I SHALL TREASURE THIS AUTOGRAPH FOR AS LONG AS I LIVE.

(MUSIC IN AND WOMAN 1 CHANGES SIGN AND ANNOUNCES

'1955.' SHE THEN MOVES TOWARD WOMAN 1)

WOMAN 1

EXCUSE ME. BUT I KNOW YOU.

WOMAN 2

YOU DO?

WOMAN 1

YOU'RE MARIAN ANDERSON. OH, MISS ANDERSON, MAY I HAVE YOUR

AUTOGRAPH? JUST MAKE IT OUT TO "SHAUNDRA." THAT'S MY NAME.

WOMAN 2

I'D BE HAPPY TO SIGN YOUR BOOK, SHAUNDRA.

WOMAN 1

MY PARENTS LISTEN TO YOUR RECORDS ALL THE TIME. OF COURSE, I

LISTEN TOO.

WOMAN 2

I'M VERY FLATTERED.

WOMAN 1

(to audience) MARIAN ANDERSON WAS THE FIRST NEGRO WOMAN TO SING

AT THE METROPOLITAN OPERA. DO YOU .KNOW WHAT AN

ACCOMPLISHMENT THAT WAS? THE FIRST!

WOMAN 2

BUT I'M SURE I WONT BE THE LAST. THANKYOU FOR LETTING ME SIGN

YOUR BOOK. GIVE MY BEST TO YOUR PARENTS.

WOMAN 1

I WILL, MISS ANDERSON. AND THANYOU.

(MUSIC IN AND WOMAN 1 RETURNS TO EASEL TO CHANGE

DATE AND ANNOUNCE "1976" SHE PICKS UP A BOOK AND THEN MOVES TO

MAN)

WOMAN 1 (cont)

WAIT. (she looks at book cover, then looks back to man) I KNOW YOU.

MA N

YOU DO?

WOMAN 1

YOU'RE HIM. YOU'RE ALEX HAILEY. OH, MISTER HAILEY. MAY I HAVE YOUR

AUTOGRAPH? JUST MAKE IT OUT TO 'SHANIQUA' THAT'S MY NAME.

MAN

SHANIQUA? .

WOMAN 1

UH-HUH. SHANIQUA.

MAN

I'M SURPRISED YOU RECOGNIZED ME. NOT MANY PEOPLE RECOGNIZE

AUTHORS ON THE STREET.

WOMAN 1

(to audience) IS HE KIDDING? HE WROTE 'ROOTS.' (holds up book) THIS BOOK.

ALL ABOUT HIS ANCESTORS ... HIS FAMILY. EVERYBODY KNOWS ALEX

HAILEY. THANKYOU FOR SIGNING MY BOOK, MISTER HAILEY.

MAN

THANKYOU, SHANIQUA.

WOMAN 1

NO, THANKYOU.

MAN

OH, THANKYOU.

WOMAN 1

AND THANKYOU.

MAN

AND THANK ...

WOMAN 2

THANKYOU BOTH. JESSE OWENS AT THE OLYMPIC GAMES, ... MARTIAN

ANDERSON AT THE MET. .. ALEX HAILEY AT THE TYPEWRITER. THEY HELD ON ..

TO THEIR DREAMS UNTIL"THEY WERE REALITIES. AND THERE WERE

OTHERS. PEOPLE WHOSE DREAMS AFFECTED THE LIVES· WE LEAD TODAY.

(A drum cadence starts)

WOMAN 2(cont)

THE FIRST WOMAN IN AMERICA TO BECOME A "BANK PRESIDENT.

MAN

MAGGIE LENA WALKER ... AN AFRICAN-AMERICAN.

WOMAN 2

THE FIRST PERSON TO REACH THE NORTH POLE.

WOMAN 1

MATTHEW HENSON: .. AN AFRICAN-AMERICAN.

WOMAN 2

THE INVENTOR OF THE FIRST RAILROAD TELEGRAPH SYSTEM.

MAN

GRANVILLE WOODS ... AN AFRICAN-AMERICAN.

WOMAN 2

WHO DEVELOPED THE FIRST AUTOMATIC TRAFFIC LIGHT?

WOMAN 1

GARREn MORGAN ... AN AFRICAN AMERICAN.

WOMAN 2

WHO PERFORMRD THE FIRST OPEN-HEART SURGERY?

MAN

DANIEL HALE WILLIAMS ... AN AFRICAN AMERICAN.

(cadence out)

WOMAN 2

AND ... JUST WHO WAS 'THE REAL McCOY?' WELL, IT WAS ELIJAH McCOY.

ELIJAH McCOY WAS AN AFRICAN-AMERICAN INVENTOR WHO FOUNDED

THE McCOY MANUFACTURING COMPANY. IF ELIJAH MADE IT, YOU KNEW IT

WAS 'THE REAL McCOY.'

(MUSIC : AN IDENTIFIABLE MOTOWN SONG IS HEARD AND THE

MAN SPEAKS OVER THE MUSIC)

MAN

AFRICAN-AMERICANS HAVE ALWAYS HAD A TREMENDOUS INFLUENCE ON

AMERICAN MUSIC. YOU CAN'T DISCUSS AMERICAN MUSIC WITHOUT

MENTIONING SCOn JOPLIN, FATS WALLER, DUKE ELLINGTON, BILLIE

HOLIDAY, LEONTYNE PRICE, ARETHA FRANKLIN, STEVIE WONDER .... WELL,

YOU GET THE IDEA. THE LIST IS VERY LONG. BUT, WITHOUT A DOUBT,

IF YOU ASK ANYONE JUST WHAT POPPED BLACK MUSIC INTO THE

MAINSTREAM, YOU ARE GOING TO HEAR ABOUT ... MOTOWN.

(THE TWO WOMEN JOIN THE MAN AND THEY DO A

RENDITION OF "HEATWAVE.")

(AT THE CONCLUSION OF THE SONG WE HEAR A JIMMY

HENDRIX GUITAR RIFF.)

MAN

IN THE 1960s VOICES OF PROTEST WERE BEING RAISED ACROSS THE

COUNTRY. EVER SINCE 1770 WHEN CRISPUS ATTUCKS BECAME THE FIRST

MARTYR OF THE AMERICAN REVOLUTION, THE AFRICAN AMERICAN

PRESENCE IN THE MILITARY HAS PLAYED AN IMPORTANT.PART IN.THE

DEFENSE OF THE UNITED STATES AND ITS ALLIES.

WOMAN 2

BUT THESE CONTRIBUTIONS WERE NOT ALWAYS OFFICIALLY

RECOGNIZED. WE WERE FIGHTING FOR FREEDOMS THAT WE WERE BEING

DENIED. (She turns to move upstage and is met by woman 1)

WOMAN 1

WAIT. IS IT TRUE? WERE YOU REALLY ON A FREEDOM RIDE IN

MONTGOMERY ALABAMA?

WOMAN 2

YES. I WAS.

WOMAN 1

I WISH I HAD BEEN THERE.

WOMAN 2

NO. NO, YOU DON'T.

WOMAN 1

NO? WHY DO YOU SAY THAT? IT HAD TO BE EXCITING.

WOMAN 2

EXCITING? SCARY MAYBE.

WOMAN 1

WHAT DO YOU MEAN?

WOMAN 2

WHEN THAT BUS PULLED· INTO MONTGOMERY THERE WAS A MOB OF

PEOPLE WAITING FOR US. WAITING LIKE THEY WERE EXPECTING AN

INVASION. THEY LOOKED AT US LIKE WE HAD JUST COME FROM ANOTHER

· PLANET. ALL WE WANTED WAS TO BE ABLE TO SIT AT A LUNCH COUNTER

AND HAVE A CUP OF COFFEE. SIT WHERE WE WANTED ON A PUBLIC BUS.

BUT THEY LOOKED AT US WITH SO MUCH HATE. SO MUCH HATE .. . AND

THEY DIDN'T EVEN KNOW US. THE FIRST ONE OFF THE BUS WAS THIS GUY

FROM MY SCHOOL. .. IRA GOLDMAN.

WOMAN 1

GOLDMAN? IRA GOLDMAN?

WOMAN

YES. DO YOU KNOW HIM?

WOMAN 1

OH, NO. IT'S JUST THAT HIS NAME. WELL, IT SOUNDS LIKE A WHITE GUY.

WOMAN 2

HE IS. THERE WERE WHITE STUDENTS ON THE BUS TOO. DIDN'T MAKE ANY

DIFFERENCE TO THAT MOB. THEY ATTACKED THAT BUS -SHOUTING AND

THROWING THINGS- ROCKING THE BUS BACK AND FORTH ...

I WAS STILL INSIDE. IRA CALLED BACK TO ME "DON'T GET OFF THE BUS."

WOMAN 2 (cont)

I GUESS HE THOUGHT IF THAT MOB WAS ACTING LIKE THAT WITH HIM, GOD

ONLY KNOWS WHAT THEY WOULD DO IF A BLACK PERSON GOT OFF. GOD

ONLY KNOWS.

(sings)

I WANT TO WAKE UP IN THE MORNING AND LOOK AT THE SUN

AND KNOW THAT I'M FREE TO RUN IN THE SUN

I WANT TO GO OUT IN THE MORNING AND SIT BY THE BROOK

AND KNOW THAT I'M FREE TO LOOK AT THE BROOK

WOMAN 1

I WANT TO OPEN UP MY WINDOW AND SHOUT TO THE TREES·

THAT I KNOW, I KNOW THAT I'M FREE TO DO AS I PLEASE

I WANT TO STAND UP ON MY FEET

AND LOOK THE WORLD IN THE EYE

AND TELL THEM WHY

I WANT, I WANT TO BE FREE TO BE ME.

MAN

DON'T WANT HAND-OUTS, HAND-ME-DOWNS

ONLY HAND I WANT IS A HAND TO HELP ME OUT

ONLY LOOK AT ME

AND MAYBE YOU CAN SEE WHAT I'M AL ABOUT

ALL

I WANT TO FLY FREE AS THE EAGLE IN THE SKY

TO KNOW WHEREVER I GO

I'M FREE AS THE BUTTERFLY

FREE AS THE BUMBLEBEE

A DRIFTING CLOUD

A SUMMER BREEZE

I WANT TO WAKE UP IN THE MORNING AND LOOK AT THE SUN

AND KNOW THAT I'M FREE TO RUN IN THE SUN

I WANT TO GO OUT IN THE MORNING AND SIT BY A BROOK

AND KNOW THAT I'M FREE TO SIT BY THE BROOK

I WANT TO OPEN UP MY WINDOW AND SHOUT TO THE TREES

I KNOW, I KNOW THAT I'M FREE TO DO AS I PLEASE

I WANT TO STAND UP ON MY FEET AND LOOK THE WORLD IN THE EYE

AND TELL IT WHY

I WANT, I WANT TO BE FREE TO BE ME ..

RECORDED VOICE

·so, I SAY TO YOU MY FRIENDS, THAT EVEN THOUGH WE MUST FACE

DIFFiqUL TIES OF TODAY AND T~MORROW, I .STILL HAVE A D~EAM:. IT IS A

DREAM DEEPLY ROOTED IN THE AMERICAN DREAM THAT ONE DAY THIS

NATION WILL RISE UP AND LIVE OUT THE TRUE MEANING OF ITS CREED- WE

HOLD THESE TRUTHS TO BE SELF-EVIDENT, THAT ALL MEN ARE CREATED

EQUAL. I HAVE A DREAM ...

WOMAN 1

I HAVE A DREAM

MAN

I HAVE A DREAM

WOMAN 2

I HAVE A DREAM.

(MUSIC IN)

ALL

LISTEN EVERYBODY AND YOU SHALL HEAR

ABOUT A JOURNEY OF A PEOPLE GOIN YEAR TO YEAR

FROM THERE TO HERE

LET ME MAKE IT CLEAR

WE'RE GONNA KEEP ON MOVIN

CAUSE WE'VE GOT THE TEAM

AND WE'RE PLAYIN FOR A PART OF THE AMERICAN DREAM

SAY 'YEH'

LET ME HEAR YOU SAY 'YEH'

EVERYBODY SAY 'YEH'


WOMAN 1

SOME CALL ME COLORED

SOME CALL ME BLACK

NEGRO, AFRO

ALL

YAKETY YAK!

WOMAN 2

NOW WHAT YOU CALL ME IS IMPORTANT

BUT YOU'LL ALWAYS CONNECT

IF YOU'RE CALLING ME EQUAL AND IT'S DONE WITH RESPECT

I KNOW YOU HEAR ME TALKIN AND YOU WANNA REACT

COME ON! SPEAK UP! YAKETY YAK.

ALL

SAY 'YEH'


EVERYBODY SAY 'YEH'


LOOK, WE'RE MOVIN

CAN'T YOU SEE WE'RE MOVIN

AND THE JOURNEY KEEPS GATHERIN STEAM

WE'RE ALL MOVIN FORWARD AS A PART OF THE TEAM

AND WE'RE PLAYIN FOR A PART OF THE AMERICAN DREAM

MAN

DON'T GIVE ME COKE

DON'T GIVE ME CRACK

WEED? I DON'T WANT IT

ALL

TAKE IT BACK.

MAN

IF YOU WANT TO GIVE ME SOMETHIN

THEN YOU'VE GOT TO PROVIDE

A WAY TO MY DREAM

A WAY TO MY PRIDE

ALL

SAY 'YEH'


EVERYBODY SAY 'YEH'

SAY 'YEH'

LOOK, WE'RE MOVIN, CAN'T YOU SEE WE'RE MOVIN

AND THE JOURNEY KEEPS GATHERIN STEAM

WE'RE ALL MOVIN FORWARD AS A PART OF THE TEAM

AND WE'RE PLAYIN FOR A PART OF THE AMERICAN DREAM.

LISTEN EVERYBODY AND YOU SHALL HEAR

ABOUT A JOURNEY OF A PEOPLE GOIN YEAR TO YEAR

FROM THERE TO HERE

LET ME MAKE IT CLEAR

WE'RE GONNA KEEP ON MOVIN CAUSE WE'VE GOT THE TEAM

SAY 'YEH

LET ME HEAR YOL! SAY :YEH

EVERYBODY SAY 'YEH'

YEH!

(THEY MOVE UPSTAGE AND PICK UP BOOKS AND READ ... )

WOMAN 1

IN 1903, W.E.B. DUBOIS SAID THIS. "WOULD AMERICA BE AMERICA

WITHOUT HER NEGRO PEOPLE?"

MAN

IN 1964, MALCOLM X SAID ... "MANY PEOPLE WILL TEACH YOU THAT THE

BLACK MAN IN THIS COUNTRY DOES NOT IDENTIFY WITH AFRICA ... YOU

CANNOT HATE THE ROOTS OF A TREE WITHOUT HATING THE TREE ITSELF.

WOMAN 2

IN 1981, MAYA ANGELOU SAID ... " I HAD A HERITAGE, RICH AND NEARER

THAN THE TONGUE WHICH GAVE IT VOICE. MY MIND RESOUNDED WITH THE

WORDS AND MY BLOOD RACED TO THE RHYTHMS."

WOMAN 1

AND ... YOU ALL KNOW OPRAH WINFREY. WELL, OPRAH TELLS US ... "I WAS

RAISED TO BE BELIEVE THAT EXCELLENCE IS THE BEST DETERRENT TO

RACISM AND SEXISM. AND THAT'S HOW I OPERATE MY LIFE." MY NAME IS

MAN

MY NAME IS -------------

WOMAN 2

AND MY NAME IS -------------

WOMAN 1

AND WE WANT YOU ALL TO REMEMEBER ... NO MATTER HOW DIFFICULT IT

MAY SOMETIMES SEEM ...

ALL

(sing)

HOLD ON

HOLD ON

HOLD ON

HOLD ONTO THE DREAM.

THE LIGHTS COME UP ON A LONE DRUMMER . LONG...

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Transcript of THE LIGHTS COME UP ON A LONE DRUMMER . LONG...