Gina Daniels and Lolita Marie in “Tempestuous Elements.” Photo by Teresa Castracane.
Anna Julia Cooper became principal of M Street High School in DC in 1902. Deemed by many the “mother of Black feminism,” Cooper was a staunch proponent of young students of color pursuing degrees at what were considered to be the nation’s most prestigious colleges. Squarely at odds with ideas coming from Booker T. Washington and the Tuskegee contingent that prized vocational training over a classical education, Cooper, at certain points in her illustrious career, seemed to be a lone voice in the wilderness.
…an historical document to be treasured and studied, and a lively and intuitive theatrical work that isn’t afraid to play with, and then push, the boundaries of realism, politics, and culture…from two theatre makers who believe in packing big ideas onto a comparatively small stage in the space in over two hours, and doing so with an uncanny combination of elegance and forcefulness.
“Tempestuous Elements” centers heavily on Cooper’s final stint at M Street High School. Acclaimed playwright and Maryland native Kia Corthron offers audiences an inside look at what Cooper may have experienced in the days leading up to her dismissal as principal of the school. As imagined by Corthron, the character of Anna Cooper is invigorated, fueled by any controversy surrounding her versus being waylaid by it, and always an unwavering voice speaking up on behalf of her students. It is this willingness to go that extra mile for the kids at M Street that ultimately sparks the cycle of vicious rumors, half-truths, and accusations that lead to Cooper’s termination.
Among the many “grievances” the Board of Education outlines as the reason for the outspoken principal’s dismissal is her supposed “coddling” of children. One faculty member in particular squares off against Cooper in a pedagogical battle of wills—and is promptly promoted. The system here seems to be woefully stacked against Anna Cooper. From accusing her of having an affair with her foster son to questioning her ethics and management skills, the BOE—along with director of the school and Cooper’s immediate supervisor, Percy Hughes (Paul Morella)—seems intent on ending Anna’s tenure and aligning themselves with those who would have Black children attend vocational-based schools.
In Director Psalmayene 24’s hands, Corthron’s play is both an historical document to be treasured and studied, and a lively and intuitive theatrical work that isn’t afraid to play with, and then push, the boundaries of realism, politics, and culture. It is the underlying lyricism of the play that keeps it all tightly wound until that powerful coda where the historic career of this iconic DC figure unravels at the hands of the very system she helped build.
It is tragic, and yet, in the tragedy there is hope. Perhaps that is the message Corthron wants to leave with us here. Anna Julia Cooper’s legacy cannot be undone. The progress she made and her efforts toward dismantling the inequities in late 19th and early 20th century education in America represent an authentic, history book moment.
The ensemble cast perfectly pays homage to this woman’s legacy and her indefatigable sense of hope. As the principal at the center of the storm, Gina Daniels quickly emerges as a wonderfully complex and low-key heroine. She is forthright, determined, and passionate, without letting that passion override those sensibilities that seemed to have made Cooper a bastion of calm amid the political, social, and cultural storms raging around her. The remaining actors all play multiple roles and do so with a seamlessness that solidifies the entertaining uniqueness of each of the characters, while maintaining the methodically articulated pacing that Psalmayene 24 establishes. A couple of standouts include Yetunde Felix-Ukwu’s Minerva, the stern, ruler-wielding counterpoint to Cooper’s more nurturing approach. You want to dislike Minerva, but Felix-Ukwu brings the character into a distinctive, softer focus that highlights her wonderful complexity. Brittney Dubose as Lucretia plays the “problem” student with the best of intentions. Her ebullience and vivacity are contagious.
Kia Corthron and Psalmayene 24 seem a natural—if not historic in their own right—pairing. Familiar with Corthron’s work and having seen previous shows helmed by Psalmayene 24, I can sense the inspired conversation underlying this production—from two theatre makers who believe in packing big ideas onto a comparatively small stage in the space of two hours or so, and doing so with an uncanny combination of elegance and forcefulness. There’s an intimacy to the “bigness” that makes the material all too relatable and extraordinarily compelling.
As always, Arena Stage’s set design by Tony Cisek, lighting design by William K. D’Eugenio, sound/music by Lindsay Jones, and costume design LeVonne Lindsay do not disappoint. They prove to be incredibly impressive elements, simultaneously elevating and firmly grounding the production. The costumes, in particular, serve as an intriguing commentary on the characters and their individual quests for recognition in a world that would just as soon not see many of them.
What Arena does with the presentation of this play is to reinvigorate the thirst that theatre goers have for historic moments on stage. Moreover, they are giving us a portrait of a woman who has not been among the mainstays of the history books and lectures—a portrait that deserves a place on stage and in the documents that have come to define this country.
Running Time: Two hours and 40 minutes with one intermission.
“Tempestuous Elements” runs through March 17, 2024 at Arena Stage, 1101 6th Street SW, Washington, DC 20024. For more information and to purchase tickets, go online.
