They Do Not Know Harlem

By Tristan André

Directed by Kathryn Hunter-Williams

Scenic & Costume Designer

Jan Chambers

Lighting Designer

Kathy A. Perkins

Composer & Music Director

Alan Thompson

Movement Consultant

Thomas F. DeFrantz

Dramaturg

Jacqueline E. Lawton

Stage Manager

Aspen Blake Jackson

Sound Designer

Derek A. Graham

Projection & Video Designer

Joseph Amodei

Associate Director

Alejandro Rodriguez

Vocal Coach

Tia James

Assistant Stage Manager

Sarah Smiley

From Notes of a Native Son by James Baldwin

Copyright © 1949, 1950, 1951, 1953, 1954, 1955 by James Baldwin

Used with permission from Beacon Press, Boston, Massachusetts

The video or audio recording of this performance by any means is strictly prohibited.

A special thank you to Martin by Harman and Brad Schiller for the lighting equipment.

The Professional Theatre of the Department of Dramatic Art

Kathryn Hunter-Williams, Chair

Vivienne Benesch, Producing Artistic Director

Produced in association with the College of Arts and Sciences

The University of North Carolina at Chapel Hill

An Interview with the Playwright

By Jacqueline E. Lawton

As part of my work as dramaturg, I had the opportunity to speak with playwright and performer Tristan André about his beautiful new play, They Do Not Know Harlem. In this interview, Tristan shares a bit about his writing process and the inspiration for the play. He also speaks passionately about the role the local community played in the early stages of the play’s development.

Jacqueline Lawton: First, why did you decide to get into theatre? Was there someone or a particular show that inspired you?

Tristan André: What inspired me to get into theatre was my cousin Tamiko who happens to be an actor back home in Nashville. I remember going to see her plays with my family whilst she was a student at Tennessee State University and wanting to do what she does. I witnessed the passion, the talent, the beauty, and elegance of her work in hopes that I'd someday be able to do the same.

JL: Next, tell me a little bit about your writing process. Do you have any writing rituals? Do you write in the same place or in different places?

TA: My writing ritual is that I read a lot! I read material from writers who inspire me and deeply study their voices, intonations, style that informs how I enter my work from Toni Morrison, to Baldwin, to hooks, to Casey Gerald to Ntozake Shange, etc. I also like to pray before I write and commune with spirit to guide my hand and my heart that what I write may be of service and of spiritual value beyond myself and my imagination. Writing and reading in nature is of necessary value to me. Writing in quiet spaces. My room. Coffee shops, libraries, etc.

JL: What inspired you to write They Do Not Know Harlem? Was James Baldwin always a central figure in the work?

TA: Baldwin inspired They Do Not Know Harlem. During my sophomore year of college I read Giovanni's Room and was moved by the radical politic of a Black queer man writing about queerness at a time when it was taboo to center the possibilities of queer love and loss. To center the humanity of queer folks moved me and Giovanni's Room was the first queer novel I'd read and I said to myself that I have to create something that honored the legacy of Baldwin, his politic and above all, his gargantuan heart. It was not until my third year of graduate school at UNC, that our Movement Professor, Tracy Bersley, taught a curriculum on Solo Performance work and I knew I had to use the course as an opportunity to manifest my ideas on creating a world in which I could bring Jimmy's voice to life.

JL: What was the most challenging part of writing They Do Not Know Harlem?

TA: I have to say the most challenging part of creating this has been to simply re-imagine how Baldwin would speak through and to me. This is a man of intellectual prowess. He is a prophet. I have to honor that in a genuine way in the work without stunting my own voice or my own prowess. It's a rewarding challenge nonetheless.

JL: Part of your process has been sharing the work with NorthStar Church of the Arts and the Durham community. Can you tell me more about the community's role in the piece?

TA: It makes absolute sense to have this work be shared with the community at NorthStar. It first began as a collaboration with Mars who is the creator of Young, Gifted & Broke - a pop-up art gallery and creative consultancy. She partnered with NorthStar during the Spring of 2019, and I've had this desire to present a half-hour workshop of the piece and all that we had been working on in Tracy's class with her. It was a leap of faith to see how the work would land with the greater Triangle community and the response was fulfilling for us both. That has now led to my collaboration with PlayMakers, who has received the Spark the Arts grant from the North Carolina Arts Council that allows us to continue to develop the work where we have witnessed eyes on the work that leads us to the March premiere. It's a way of ensuring that we as artists don't work in a beleaguered bubble. It's our way of ensuring that our art, our story, our music, song and dance is in constant conversation with the community. They Do Not Know Harlem is a story that belongs to so many people and to have them act as a witness in the development process is vital. Deeply grateful to Germane James, NaTasha Thompson (Our Community Engagement Liaison), and King who so lovingly blessed our NorthStar partnership as "bearing witness whilst in process".

JL: What do you hope audiences walk away thinking about after experiencing the performance?

TA: I hope that Black, indigenous, and communities of color hearts are a little more healed. I hope that those who stand in solidarity with Black Liberation heed the call and connect more to not only the political but the spiritual growth of all humanity.

JL: As a recent alum, what advice do you have for students and emerging theatre artists?

TA: I encourage young and emerging artists all over to silence the noise, honor your heart, honor the inherent wisdom and indigenous knowledge that has been passed down from generation to generation. Your creativity, your art and what you have to contribute to the world is inherently rich, elegant, and sovereign. Even when you lose sight of this, use these words as a compass to bring you back home. I love you.

JL: What's next for you as an artist? Where can we follow you work?

TA: Greater is next. I hope They Do Not Know Harlem tours. I hope that this work is embraced by theatres all over the world. That this work touches and reaches as many people as Spirit would allow. I hope this work is a balm for Black people all over the world. I am going to write more. Dance more. Tell as many stories that Spirit aligns in my path. Greater is next. tristanandre.com

For more artwork, follow:

@TheyDoNotKnowHarlem