Walter’s World: Zoraesque, Zora Neale Hurston

By Walter Rutledge

“If you want that good feeling that comes from doing things for other folks then you have to pay for it in abuse and misunderstanding.” Sadly for Zora Neale Hurston life imitated art. This sage of American literature endured artistic reproach and ridicule for much of her professional career.

At the time of her death in 1960 she was living in obscurity and poverty. A forgotten footnote, relegated to “Uncle Remus” status as a raconteuse of folksy southern Negro tales. In reality she was a preservationist, an intellectual caretaker of an important part of American history and African American culture; and decades ahead of her time.

It was fitting that George Faison, another visionary artist, share her life and work with a new generation in the drama Zoraesque. The production, dubbed “Eulogizing Zora- a celebration of the life and work of Zora Neale Hurston”, premiered on March 20 at the Faison Firehouse Theatre located at 6 Hancock Place in Harlem. The production also commemorated the 10 anniversary of the Faison Firehouse House Theatre.

Mr. Faison directed and staged the production, from a script compiled by Eleanor Traylor. The fast paced 85-minute one act production began at the end of the artist’s life. The United House of Prayer Brass Band played a New Orleans style funeral dirge as the standing room only audience quickly vied for choice seats in the 140-seat theatre.

At first the sober blues seemed out of place for such a festive evening. The lights finally dimmed and the processional of actors made there way down the center and onto the stage- the eulogy had begun. Mr. Faison spoke acknowledging both Zora and the firehouse anniversary.

Gratitude and pride mantled his voice as Mr. Faison personally spoke to Maya Angelou. She had so eloquently “blessed” the theatre ten years ago at the dedication ceremonies, and it was clear she was here to support Mr. Faison and co-founder Tad Schnugg at this milestone. Part theatre patron, part guardian angel and one hundred percent loyal and loving friend Ms. Angelou glowed from the outpouring of appreciation.

Ebony Jo-Ann officially opened the production with an inspired rendition of Precious Lord. Ms. Jo-Ann a gifted theatre veteran peppered the entire production with song. Functioning as a musical griot she established the theatrical timbre and time periods throughout the production.

Lynn Whitfield brought both elegance and vulnerability to the role of Zora. Taking us from her early beginnings in the all black community of Eatonville, Florida, to her college years at Howard, then inside the world wind of the emerging Negro Renaissance in Harlem, and finally despair, isolation and poverty. Ms. Whitfield embodied both the living Zora, experiencing and participating on the thrill of the moment; and the spirit Zora, reminiscing on a life lived in the literary service of her people and culture.

Just as a platinum ring setting elegantly compliments and supports a flawless diamond, Ms. Whitfield was surround by a commanding ensemble cast. Standouts included; Wambui Bahati, whose engaging stage persona and perfect comedic timing kept us wanting more, Jerome Preston Bates delivered a sermon with such soul stirring power that I was expecting ushers to pass a collection plate, tap dancer Maurice Chestnut let his shoes do the talking, and the conversation was skillfully rhythmic and punctuated. The entire cast Dolly Henry, Gabrielle Lee, Sinclair Mitchell, Charles Wallace, Thyais Walsh, and Ebony Jo –Ann were all stellar seasoned performers.

The production ended with a recessional lead by the brass band; the cast and the spirit of Zora followed them to the lobby where the celebration continued. Our one request is that more performances are offered for future productions. As with the first production in the literary series James Baldwin’s Harlem, the ticket demand far exceeded availability.

To quote Zora, “Love, I find, is like singing. Everybody can do enough to satisfy themselves, though it may not impress the neighbors as being very much.” Zoraesque sang in a clear, strong, melodious voice and unquestionably impressed all. We love you Zora.

Top photo: (bottom row left to right) Dr. Eleanor Traylor – George Faison – Ruby Dee – Ebony Jo-Ann – Lynn Whitfield (center row, left to right) Brian Whitted – Thyais Walsh – Gabrielle Lee – Wambui Bahati (top row, left to right)
Jerome Preston Bates – Charles Wallace – St. Clair Mitchell – Dolly Henry.