BWW Reviews: Norton’s MY TIDY LIST OF TERRORS Ushers in New Era of Relevant Black Theater at South Dallas Cultural Center

An internet site search of historic events occurring in the  summer of 1979 yields a number of memorable events, including the introduction of the Walkman by the Sony Corporation; issuance of the Susan B. Anthony dollar by the federal reserve, the 1^st U.S. coin honoring a woman; nuclear testing  performed by the USSR; the Congo's adoption of its country's constitution; the spaceship Voyager making a trek past the planet of Jupiter; Rock & Roll Hall of Famer Chuck Berry being sentenced to 4 months in prison for tax evasion; and gold hitting a record $303.85 an ounce in London.

But a glaring omission about the infamous Atlanta Child Murders involving black children and some adults in Georgia was a bit surprising (but perhaps not so surprising, given the priority law enforcement in this country gives to missing person cases involving the black community).

Black communities across the country were literally held hostage by news that black children were being kidnapped, with their bodies discarded as easily as a weekly city trash pickup. In my small township in Flint, Michigan, I can remember vividly the hysteria adults in our community felt when a rumor started circulating that the killer had established roots in our state and was targeting black children there. No one felt safe and it was incredibly unsettling for all.

Over 29 bodies were recovered and Wayne Williams, a 23-year African-American male living in Atlanta at the time, was subsequently arrested, convicted of 2 murders in a trial, and sentenced to 2 consecutive life terms, with carpet fiber analysis serving as the centerpiece of the state's case. In 2005, the case was reopened after the acting police chief asserted it may have been possible Williams did not commit all of the murders. Media sources also alleged the murders may have been caused by members of the Ku Klux Klan. The case was dropped due to a lack of substantial evidence and Williams remains imprisoned, still maintaining his innocence to this day.

Dallas-based playwright and 2010 Diaspora Performing Arts Commission recipient Jonathan Norton doesn't invoke the name, image, or presence of Williams in his ground-breaking stage production "My Tidy List of Terrors", based on the Atlanta Child Murders. In an era where non-writers pen a script in the hopes of hitting it big financially without regard for quality of content and presentation, Norton has successfully ushered in a new era of thought-provoking, theatrically sound storytelling that earns him entry into the writing circle of renown playwrights such as Amiri Baraka, Lorraine Hansberry, Joseph Walker, Ntozake Shange, George C. Wolfe, August Wilson, and Suzan-Lori Parks. Based on the script, Norton appears to have no problem experimenting with uncomfortable subjects, those the black community would prefer to 'sanitize' to escape the pain they may cause.

Cora Cardona, founder and artistic director of Teatro Dallas, expertly leads a superb team of actors who envelope audience members into the psyche of those affected by this tragedy. Utilizing elements of African tribal ceremonies, perfectly timed lighting and sound effects (including New Age music, which produced terrifying feelings of being swept out to sea, unable to reach shore), appropriate lighting, a capella stanzas, gripping oratory, and good, sound acting by her team of thespians, Cardona knocks this one out of the ballpark and then some.

Actors Nadine Marissa Richard as "Vara", Renee Miche'al as "Dorothy" and "Cousin Reva", and JuNene K. as "Gabby Edwards" all delivered standout performances that were formidable, as they were emotional.

Richard rules the stage in a well-crafted and dominate role. She exemplifies the maternal strength and fear of a mother protecting her child from the moment she sets foot on stage. Likewise,  Scenes with Miche'al and JuNene K. were all incredibly believable. Richard comes across as very authentic, yet warm, taking audience members on an intimate journey with her character that was at times funny, and at other times, very dark. Most impressive was the synergy she was able to create with JuNene K. and Miche'al relative to the immense class divide present in the black community of the haves and have nots. Less impressive were scenes involving physical conflict with her son and her employers, which on the surface appeared staged, but with her finely tuned acting ability, she was able to comfortably overcome this challenge.

JuNene K. sizzles as the Gabby Edwards, wife of Dr. Charles Edwards, played by Douglas Carter, no stranger to Dallas stages. JuNene K. put the "B" in black bourgeoisie, particularly with her finger pointing at her husband when she proclaims to him about Vara, "I came THIS close to telling her you need to know your place!" In another scene, JuNene K. ups the anty as the snooty first lady when she states emphatically to Vara, who is living in her home as hired help, "I do not shop in black stores, not even those in Collier Heights". She illuminates her character's humanity in one scene with her husband where she details her volunteer efforts in joining other Atlantians in searching for the bodies of the missing children, including her most telling scene when she appeared on stage dressed in swamp recovery gear and tearfully allows her social status to subside to genuine motherly instincts.

Stage veteran Miche'al, absent from Dallas stages for awhile, demonstrated why she is still regarded as a top female talent in the city, alternating from a gripping opening monologue in which she uttered the names of the victims of the tragedy as their pictures were projected above her, with authentic tears to boot, to comical scenes involving the sassy, no-holds barred Dorothy who projected an aura of non-fear in the face of the child murders. But it was her portrayal as Cousin Reva that produced a genuine audience response as she revealed her journey as a mother whose child Anthony was one of the actual victims. Miche'al's wide acting range was evident in a final scene with Richard when she adeptly showed her character's acceptance of her son's murder, uttering the words "I got most of my mind back, Anthony's friends helped me."

Carter and youth actors John Franklin as "Anthony", Joshua Darius Jackson as "Ishmael", and Timothy Owens II as "Stevie" all deliverEd Graceful performances, with Owens often stealing scenes from the other actors as the Edwards' precocious, yet innocent child. Jackson fell into his role naturally, beginning with the tell-tale sign of childlike uncertainty of life and graduating to young manhood in a riveting scene with his mother. Franklin effectively displayed all the joy and exuberance of a child who believes they will live forever, but unfortunately in this case, he doesn't. Carter appeared slightly stiff and caricature-ish at his first entrance, but immediately warmed into his character, particularly in a scene with his wife where he shared his fear and inability to join her in search efforts for the missing children.

Experiencing this production was akin to being transported back to the late 60s/early 70s when stage plays on the black experience were culturally relevant, political, and made definite statements about what it means to be black and living in America. Norton accomplishes this, making this play a must see.

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My Tidy List of Terrors is in production from Jan. 19-29 at the South Dallas Cultural Center, 3400 S. Fitzhugh Ave., Dallas, Texas 75215. For ticket information, call 214-939-2787.

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