From the New York Times:
Writer Digs Up Gods From the Bayou
by PATRICK HEALY
(To the right: the playwright Tarell Alvin McCraney at the Public Theater. Photo by Chester Higgins Jr./The New York Times.)
The article begins:
TARELL ALVIN McCRANEY enters. Miami, 1980s. He is a boy growing up in the Liberty City housing projects, among the nation’s worst. He stays with his father and grandparents on some nights. They feed him peanut butter and jelly, and he is content. They are devout Baptists and fill up the boy with God’s stories, and he is content.
On other nights the boy stays with his mother. She is a crack addict with an abusive lover, with unpaid bills. Now and then the electricity is cut off. Now and then the boy is picked on by other boys for being gentle, shy, quiet. Still the boy is content; he loves his mother. She moves them to another project to give the boy a fresh start. Three years later a hurricane named Andrew hits their home, destroys everything. They return to Liberty City. The mother checks herself into rehab. Some years later, when the boy is a man of 23 and his mother is 40, she dies of an AIDS-related illness.
This is Mr. McCraney’s own story, and this is the kind of language — terse and unsentimental — that has helped make him a playwright of uncommon acclaim. His prose is as raw as his subject matter: children growing up without parents, teenagers searching for their identities, adults holding on to hope. Most of his characters are poor and jobless, and some die suddenly. And their dialogue takes a distinct form: The actors often drop out of character to describe their stage directions aloud — “Ogun Size enters” — to make the theatergoers feel they are not so much watching a play as they are sharing in every banal and beautiful line of a story that the cast and the author are unfurling.
Continue reading the article at the New Times website....here.
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