SEE IT: “Tempestuous Elements” is an enthralling local history lesson all should experience
For those curious where this play’s title comes from:
“I would beg, however, with the Doctor’s permission, to add my plea for the Colored Girls of the South: — that large, bright, promising fatally beautiful class that stand shivering like a delicate plantlet before the fury of tempestuous elements, so full of promise and possibilities, yet so sure of destruction… Oh, save them, help them, shield, train, develop, teach, inspire them!”
– Anna Julia Cooper, A Voice from the South: By a Black Woman of the South
It is unfortunate that the title’s brilliance cannot be immediately gleaned without its full context (despite being fleetingly recited in the production). I am so glad I looked up the quotation for this review, because its analogy so concisely presents the motivations and obstacles of Anna Julia Cooper (1858–1964) and her life’s work.
The most exceptional Power Play that Arena Stage has premiered in years, Tempestuous Elements is a remarkable homage to an under-sung local hero. A woman of extraordinary intellect and unwavering commitment, Anna Julia Cooper nurtured her students to reach their greatest potential, despite many who sought to stop her. In this dense yet deeply impactful world-premiere, her inspiring story — elevated by intelligent writing, sharp direction, and passionate performances — left me captivated.
Let’s set the scene: As principal of DC’s M Street High School, Anna Julia Cooper (Gina Daniels) aims to provide the highest quality education for her young Black students, in hopes that they will continue their studies at accredited universities (which her colleagues and challengers dismissively call the “white schools”). Cooper — a Black woman, born into slavery, with a world-class education — firmly advocates for her school’s classical curriculum, instead of labor-focused vocational studies. Her unwillingness to give into the pressure from Director Hughes (Paul Morello) and the Board of Education puts her professional and private life under immense scrutiny.
I have been extremely critical of Arena Stage’s Power Plays — particularly last season’s The High Ground and Exclusion – for underserving their historical subject matter. Tempestuous Elements will go down as a highlight of the series for its local and national appeal, its heroic and historic story, its emotional and intellectual impact, and last, but not least, its theatricality. Informative and influential, this new play is an impressive achievement.
Playwright Kia Corthron has crafted an thoroughly researched drama, infusing historical facts and contexts into a high-stakes, character-driven conflict. The rich detail of the script transported me to early-1900s Washington, DC with great clarity. I will say, however, this world-premiere play’s informational heft could be pared down a bit. Much of act one is expositional, and rightly so, but the incorporation of historical facts frequently felt heavy-handed. It reminded me of what I once learned in acting class on developing a character: do all your homework (research) and then let it go, so your performance is both informed and organically motivated. As a world premiere, it should be no surprise that an edit would be recommended: by cutting a handful of fact-focused lines, and condensing some scenes to reduce the runtime by about 20 minutes, the script will shine even brighter.
Even with my suggestion of a trim, Corthron’s vision for these figures and this conflict was riveting. The robust script is structured wonderfully, laying out its plot pieces in act one and then charging forward in act two. Her clever writing educated, amused, enraged, and inspired me from scene to scene. Many of my notes were simply quotes of the fiery dialogue. A storyteller of immense talent, particularly with her handling of historical complexities, Kia Corthron is a playwright to keep your eye on.
Directing a production in the round is perhaps one of the most difficult stagings to execute well. That said, Psalmayene 24 has crafted one of the most polished stagings in the Fichandler to date. The smartest choice was to keep the scenery and props at a minimum, to keep the action on stage swift and performance-focused. The production flowed perfectly, with particularly satisfying moments of intensity and emotion. With the majority of the cast playing multiple characters, Psalmayene 24 shaped the characterizations with the utmost clarity, which is a massive accomplishment.
The play is very realistic and dialogue heavy, which Psalmayene 24 and associate director/choreographer Tony Thomas staged brilliantly. However, in my UnProfessional Opinion, the incorporation of movement work was not as successful. The play’s opening moment, a swirling tempest of performers and props with intense music, was visually awkward and nebulous in meaning. Overall, the concept has potential, but in its current state, the movement work is not yet harmonious with the play itself.
The movement work is just one example of how the production infuses the play with remarkable visual flair. As a whole, the production is strikingly designed. Tony Cisek’s scenic design is immediately mesmerizing in its creative simplicity. The deck of the stage is a stunning wooden floor with geometric patterns, which are further emphasized by vibrant, color-changing light strips. Period chairs and tables flow in and out as needed to convey the multiple settings: classrooms, offices, parlor rooms, etc. Hanging above the stage are entrancing, transparent chalkboards with white writing on them, spanning all sorts of subjects: trigonometry, French lessons, and more. As with the floor lighting, the chalkboards are illuminated across a spectrum of colors, creating a visual feast throughout the production. William K. D’Eugenio’s lighting design was breathtaking, frequently shifting in washes of color and use of shadows. LeVonne Lindsay’s gorgeous, early 1900s costume design was a highlight, with a frequent use of pinks, purples, and blues that stood out beautifully against the wooden stage.
Tempestuous Elements boasts an ensemble cast of extraordinarily versatile actors. Leading the monumental production, Gina Daniels excels as the resilient, proud Cooper. Both warmly nurturing and formidably stoic, Daniels’ rich personification of Cooper had me leaning in, mesmerized. She invigorated the production and did justice to an astonishing historical figure. As the primary antagonist Hughes, the director of all DC high schools, Paul Morello found the perfect, discomforting balance of approachability and hostility. He simmered onstage, as if always having a bad taste in his mouth, delivering viciously biting lines with crisp expulsion. As the stern teacher Minerva, Yetunde Felix-Ukwu was compellingly imposing, particularly with Daniels in the most diplomatic verbal catfight I’ve seen onstage. Kevin E. Thorne II was impressively transformative in his roles as the student Silas and teacher Mr. Love, with terrific vocal and physical expressiveness. As Dr. Atwood, the intimidating Joel Ashur stared holes into Silas and audience members alike. As W. E. B. Du Bois, Ro Boddie richly fueled his passionate oration. As the old Mrs. Cook of the Colored Women’s League, Renea S. Brown’s physical characterization, especially her forceful glances, had the entire audience in fits of laughter.
As I reflect on this show, it enrages me that over 120 years ago, in our very city, we had an impressively progressive school like M Street — which fostered the youngest generations of Black excellence and bested their white counterparts in academic performance — being systematically suppressed by our Board of Education, which determined that greatness is something Black students should only “admire, not aspire”. It enrages me that Anna Julia Cooper — an astoundingly educated, formerly enslaved Black woman — could be labeled as elitist for wanting to provide the very best education to her pupils. It enrages me to see that so much potential was maliciously impeded. Our city and our country could have been so different, and better, had people like Anna Julia Cooper been able to continue their extraordinary work. Despite all the obstacles, however, this play shows that Cooper never abandoned her resolve, never caved under pressure, and never let the truth be altered.
“Unfortunately, history books always forget about the teachers.” Well, Arena Stage and Kia Corthron are righting that wrong. This theatrical experience is both quality entertainment and essential education for all. The injustices of today are not so different from the early 20th century, and we all should strive to have as much courage and resilience as Anna Julia Cooper, who I will not forget. It is my UnProfessional Opinion that you SEE Tempestuous Elements.
Tempestuous Elements by Kia Corthron
Directed by Psalmayene 24
Arena Stage
February 16 — March 17, 2024
2 hours and 40 minutes, including an intermission
