Hurston wrote a short story, in 1925, in 1925 and he turned it into the game a decade.
In 1925, Zora Neyen Hurston wrote “Sponge”, and he turned it into a play for a decade. However, because the play was not sent, it was sent to the US Copyright Office, where they were sent to the Congress’s Drama Collection Library for decades, where it sat in 1997.
Now the new Haven, the Yale Refere Theater in CT Bagging “Sponge” On October 25. Production, which was opened on October 3, features new songs and agreements. Music control is Nehemiah Leiket, choreographer by Obie award winner Nichi Douglas. The play is headed by Tamila Woodard, who is the president of the program operating at David Gefen David’s drama’s drama and resident director of Yale Refere Theater.
Agreeable New York Times:“Ball:” There is such vein As a masterpiece of Hurton, “their eyes followed God” and contained black southern intelligence, as well as a black woman’s main hero, despite the social limitations of the day and taboos. Indeed, like Jan Crawford, this main character is engaged in love that others look at the distraction, and like Kravford, this main character, Evorina also does not refer to their opinions.
Hurston, an anthropologist, both in trade and training, turned his eye to the scenario for stage, but he used folk songs and sermons in the heat of the play and its reincarnation.
As Tamila Woodard, the director of “Hamburg”, said at the Yale Storage Theater New York Times:“You can feel Zora trying to achieve agency and freedom in your life, and meaning what you say you have to do.
Woodard was in the city of Yale, a second-year-old Foreign Ministry student, when Catherine Sheyhan, the playwright and the Yale’s professor, with the history of NPR, reads his orbit.
According to Sheyhi, Hurston wrote 10 games, which was regulated after the Congress’s library passed in the last 90s in their collection. Before Hanston became a novelist, he was a playwright, but he was alive, only one play made it “Broadway” in 1931 “fast and furious”.
Hurton was ahead of his time, noting the common black people of the south, and even among the contemporaries of his theater, his work stands out as unique. In some ways, as Dafn Brooks, the scientist of music and black studies at the University of Elia, addressed the outcome, we still try to catch Hurto.
“Hurston’s dissatisfaction together is humorous and melodrama, music and movement, and the viability of black life and the complications of black life, despite Jim’s crow’s tyranny, when I am not sure they are not prepared.
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