Yellowman

Discrimination between and among the races has gone on from time immemorial as a matter of instinctive and egocentric course. The "other" folks from the next valley or across the sea are different, and not to be trusted. How they got that way, God only knows. But in any world where the inhabitants see their environment as threatening, variations in color, or sex, or beliefs are easy targets for aggression.

One need look no further than our own mass media to experience this primitive behavior at work on a daily basis. Despite the scarcity of truth available in print or over the airwaves, one thing is certain: America's alliances for the most part are with other white nations, and America's troops are invariably in countries where people are a different color and usually a different creed.

Among races, too, prejudice is rampant. Sephardic (African) Jews are looked down upon by the Ashkenazi (European) Jews, and German Jews look down upon the rest of the Ashkenazi. The same is true among blacks with respect to color; those with lighter skin tones look down upon those who are darker, and economic opportunities are often divided along the same lines.

In Dael Orlandersmith's Yellowman, now receiving it's regional premiere by the Curious Theatre Company, it is the discrimination shown between the "high yellow" and darker African-Americans that is examined through the long-term friendship and love affair between Alma and Eugene.

Candace Taylor as Alma and Tyee J. Tilghman as Eugene Photo: Todd Webster

Growing up together in a small town in South Carolina, Alma and Eugene were best friends. Their difference in skin tone—Alma darker, Eugene lighter—went unnoticed during their early years. But as they passed into adolescence, prejudice from their parents, relatives, and the surrounding culture began to take its toll.

Candace Taylor as Alma Photo: Todd Webster

The story is told through a series of alternating monologues and occasional dialogue on a bare stage with two chairs and a couple of extra articles of clothing (a sash and a hat). Orlandersmith's language is rich and descriptive, the story is fascinating and poignant, and Candace Taylor (Alma) and Tyee J. Tilghman (Eugene) deliver captivating characterizations.

Tyee J. Tilghman as Eugene Photo: Todd Webster

Alma and Eugene both begin by describing the darker people in their respective families. For Alma, it is her mother and her female relations. They were big and black, and not considered beautiful by themselves or by others, simply on the basis of their color. In turn, they considered themselves less than human, believing it their due to be mistreated. For Eugene, it is his father who hates himself for his blackness and who hates Eugene for his high yellow complexion. Indeed, Eugene's uncle favors him because they are both light-skinned.

Candace Taylor as Alma and Tyee J. Tilghman as Eugene Photo: Todd Webster

Both Taylor and Tilghman show impressive range, not only through time—expressing the joy and simplicity of children and the subtle changes that accompany their adolescence, youth, and young adulthood—but in the emotional present, taking in the heights of love and the depths of hate and despair.

Director Edris Cooper-Anifowoshe lets her actors tell the tale with no artifice, keeping the focus on the story and the storytellers, calling upon the audience to "make imaginary puissance." Taylor's and Tilghman's subtle voice work facilitates this intelligent approach, making it easy to see why this play was nominated for the 2002 Pulitzer Prize.

Curious Theatre Company's regional premiere of Dael Orlandersmith's Yellowman runs through July 10th. 303-623-0524

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