Shakill Jamal, playwright and director of “The Code Switch.” Photo courtesy of Shakill Jamal.
Beginning on July 14, 2023, Sisters Freehold will be presenting “The Code Switch,” at Baltimore’s Theatre Project. This world-premiere play is written and directed by Shakill Jamal. The play is a social satire that looks at the “concept of code-switching.” Using a cast of six, the audience is taken to the playground and even the animal kingdom to look at how we change our behavior depending on our surrounding. Jamal states, “What does it mean to be your most authentic self? Why is it that we can’t be that person 100% of the time?” The cast includes Michael Changwe, Hana Clarice, Griffin DeLisle, Sha-Nel Henderson, Jae Jones, and Jess Rivera.
Mr. Jamal has acted for many theatrical groups in the area under the name Shaquille Stewart. Several years ago, I worked with him on a couple of plays for Silver Spring Stage, one as his director. I was always impressed with his acting talent and creativity. So it’s no surprise to see him branching out into playwriting and directing.
Actor, writer, and musician, Shaquille Stewart (Jamal) has been active in the DC theatre scene since 2014. He is an active company member at 4615 Theatre Company, and has spent a decade nurturing his deep love for the art form. A native of Wheaton, MD, he’s lived in DC, MD, Virginia, and Baltimore—all in the last five years. But no matter where he finds himself, he calls this city his true home. Shaq believes that devised theater is the future of the art form because of its multifaceted collaborative nature that paints a wider picture than one person can alone.
Stage credits include: “Mlima’s Tale,” (Various) 1st Stage; (upcoming) “Tempered” at 4615 Theatre Company (self); “Macbeth,” (Banquo) PG Shakespeare in the Park; “Do You Feel Anger?” (Howie), Theatre Alliance; “Museum 2040” (Sebastien), 4615 Theatre Company; as well as “Othello,” (Othello) and “Alice in Wonderland” (Alice #3), all with National Players Tour 69.
In your bio you mention “devised theatre is the future of the art form.” Can you explain to our readers what “devised theatre”‘ means exactly and how you think it will replace more traditional theatre?
Essentially, theatre is the art form of the people, its humanity reflecting on itself. Going to see a play is like looking through a window into the playwright’s worldview. For the audience, devised theatre is like looking through a window into the worldview of the artists onstage—artists who collaborated and sourced their own ideas and experiences to produce something that is often non-linear, weird, and experimental. It’s the fruit of a group of artists creating a show when there was nothing but a concept. They are the storytellers, but they’re the writers too. I don’t think people will ever outgrow the feeling of going to see a classic show. Modern cultures are too dependent on nostalgia for “Les Mis” remounts to flop, but there’s no risk in remounting what’s familiar. There’s no danger in theaters producing “Our Town” for the umpteenth time because they know donors love it. I’m not interested in safe plays that evoke familiar tropes and stories we’ve seen before. Devising is the next logical step up for our industry because theater is an art form of the people, for the people. Artists onstage bringing their own words to life allows us to cross the barriers between acting, truth, and performance. It’s a different type of honesty, and I think it brings people closer together.
You have mostly been in front of the curtain. Is this the first play you have written and/or directed?
It’s not the first play I’ve written, no. That said, it’s the first one I’ve written to be produced on this scale. As far as directing, I’ll say this is my first time in the chair in the traditional sense, but I’ve assistant directed a few shows and devised a few more. Anyone remember “Fourth Rail” at the Black Box? Or more recently “Tempered” at The Dance Loft of 14th? No? That’s okay. Hopefully you’ll remember this one.
Which of the three do you find more rewarding and why—writing, directing, or acting?
They’re all rewarding in different ways. Acting helps me process and understand my emotions, while directing helps me to see the gravity of those emotions. Understanding how you feel about stuff? Dope. But as an artist, I first picked up a pen to write raps and poetry, short stories, and essays—all just because. For me, when I write, I’m free to imagine, think, and feel whatever I could want. I communicate better and I like myself more. I feel powerful. Ever since I was a weird kid with no friends, writing memos no one would ever read and songs no one would ever hear, my inner voice has always remained true to who I am and what I believe. My voice is my greatest asset and I’ll always value that above all else.
Briefly explain “code-switching” and how you have code-switched.
Simply put, code-switching is changing how you talk to suit a specific situation. I’ve done it so much and every day of my life, it’s hard to conceive each and every time I’ve had to. I code switch at work to be more professional; I do it when I’m talking to my elders; and I even switch it up when I’m calling bill collectors. It’s an innate tool we use to get by.
What, if any, insights do you hope “The Code Switch” will give to your audiences?
I want everyone to be aware of their own proclivity to code switch, and question whether or not they should. If people leave reflecting on how they present themselves day to day, I will have done my job.
“The Code Switch” will be presented by Sisters Freehold on Thursday, Friday, and Saturday evenings and Sunday matinees from July 14-30, 2023 at Baltimore Theatre Project, 45 West Preston Street 21201. Tickets are available online.
Please check Susan Brall’s “A Quick 5 with Shaquille Stewart” to find out more about the artist.
