 In the Fall of 2010, the idea for the THE HAMPTON YEARS came to me. It was inspired by a conversation about plays that explore the black and Jewish relationship with my best friend Shirley Serotsky (Associate Artistic Director of Theater J) and also by discovering the Beyond Swatiska and Jim Crow exhibit. As I continued to research, I found this amazing quote by John Biggers: “A new dawn challenges this world and demands the salt of every one of us. There can be no doubt of our sodality [solidarity], for in each of us we reflect one another’s image, and our composite image mirrors the tragedy and the comedy of the whole human race.” Then I found this painting, Untitled, completed by Biggers in 1994...  John Biggers, Untitled (1994) And it felt as if the floor fell from under me. Everything--the history, the quote, and the painting--came together and I knew had to write this play. I had to tell the story of these brilliant artists: John Biggers, Elizabeth Catlett, Samella Lewis, and Viktor Lowenfeld. Through them--their work, lives, and legacy, I was to shape the question that guides the play: What value does society place on African-Americans art and artists, be it in our education systems, theater organizations and cultural institutions? Since the world premiere production of The Hampton Years at Theater J in 2013, I have continued to develop the play and explore the role that arts have on social change and justice. With the support of Virginia Stage Company, I've been able to delve more deeply into the lives of young black artists who find themselves living after the Harlem Renaissance that ended in the 1930s and before the civil rights movement of the 1950s and 1960s. It's a rich and dynamic time period where big, powerful ideas are bubbling under the surface. The scene is set for the cultural and social revolution that changes our entire cultural and social landscape. This is a play that affirms black art is significant and deserves to be seen, that black artists are powerful in their ability to capture the trust of their experiences, and that black students deserve to have their voices heard. Considering recent protests on college campuses by students of color, the themes of the play resonate profoundly and are strikingly relevant today. As rehearsals for Virginia Stage Company's production got underway, I got curious about how my cast experienced the themes of the play and also what role art played in their own lives. Generously, they shared their stories with me. Please enjoy these great interviews.  JACQUELINE LAWTON: When visiting a new city for the first time, do you visit their museums? If so, which have been your favorites? W. Tré Davis: I'd like to visit as much as possible in a new city. As it stands, our schedule isn't very cooperative with museum hours while in rehearsal. But I visited Hampton Museum and it was amazing! JL: What is your favorite piece of art? Why does it resonate do deeply with you? TD: I wish I could say that I knew more about the visual arts but that would be a lie. That isn't to say that I don't appreciate visual arts because I certainly do. I'll spend hours at the many incredible museums NYC has to offer, but I can't say that I have a favorite piece. I'm not sure if it's because I don't know enough or I simply can't even begin to choose. JL: If you could own a piece of work by one of the artists featured in THE HAMPTON YEARS, which one would it be and why? TD: John was truly brilliant and I'm deeply inspired by all of his work. Truly. Elizabeth Catlett has a piece 'The Torture of Mothers' that resonates deeply with me right now.
 JACQUELINE LAWTON: When visiting a new city for the first time, do you visit their museums? If so, which have been your favorites? ADAM GREER: ALWAYS! One of my favorite aspects of being a performer is immersing myself in an unfamiliar culture, time, country or reality. Thus far I've only had time to visit the Hampton University Museum, and I found it utterly breathtaking. The works of John Biggers, Samella Sanders Lewis, and Elizabeth Catlett were inspiring and revelatory. I also got to comtemplate the majestic and complex murals of Biggers and Charles White which adorn various campus buildings. Looking forward to more... JL: What is your favorite piece of art? Why does it resonate do deeply with you? AG: ONE of my favorites is Gericault's Raft of the Medusa. Inspired by an actual shipwreck of a french ship, it's this massive canvas, and in the foreront is a raft over flowing with survivors, some clawing, some swimming, some dying, surrounded by a massive unforgiving ocean. if you look carefully there is a tiny blur on the distant horizon, presumably another ship, too far off to save them, and yet some are hailing and flailing desperately to get its attention. it's haunting... A portrait of human despair and insignificance, but also of an indomitable will to try to survive even if the face of utter hopelessness. JL: If you could own a piece of work by one of the artists featured in THE HAMPTON YEARS, which one would it be and why? AG: Ugh. so hard to decide ... honorable mentions to Biggers' The Cruxifiction (a powerful early work) and Samella Sanders' Home From Boot Camp. But, The Torture of Mothers by Elizabeth Catlett pierced me and gave me chills. It could just as well have been painted yesterday for all its timely resonance. A head of a woman, and inside, her worst fears, her son lying dead in a pool of blood. It could be a poster for Black Lives Matter. As a father, as an artist, as a person living in 2016 it couldn't come closer to our truth here and now.
 JACQUELINE LAWTON: When visiting a new city for the first time, do you visit their museums? If so, which have been your favorites? CHANDRA THOMAS: It's so funny. When I was younger I used to DREAD museum day with my parents and my uncle but now I crave heading to museums as soon as possible when visiting a new city. Just as much as it's interesting to see what history, art and/or nature is represented in their museums, I'm often more fascinated by HOW they are represented. Have been to some fabulous museums-- my visit to the Immigration Museum in Melbourne, Australia a couple of months ago comes immediately to mind. JL: What is your favorite piece of art? Why does it resonate do deeply with you? CT: If we're talking about visual art I tend to be drawn to sculptures and three-dimensional pieces, in terms of form, and historically and culturally relevant pieces, in terms of content. JL: If you could own a piece of work by one of the artists featured in THE HAMPTON YEARS, which one would it be and why? CT: I would want to own EVERY piece by Elizabeth Catlett. I feel so honored to be introduced to her insightful, intelligent and compelling work through this production.
 JACQUELINE LAWTON: When visiting a new city for the first time, do you visit their museums? If so, which have been your favorites? ERIC HARRELL: Absolutely. My children could attest to this, albeit with a mixture of appreciation and lamentation. Favorites include the Getty Center, the Vatican Museums, the Hirshhorn and other Smithsonian museums. However, we also love to visit smaller, local museums that tell the lesser-known stories of pioneers, artists and innovators in small American communities. The Hermitage Museum here in Norfolk is a delightful example. JL: What is your favorite piece of art? Why does it resonate do deeply with you? EH: The Pieta, which is a Renaissance sculpture by Michelangelo Buonarroti. Such pain and tenderness captured simultaneously in exquisite detail. JL: If you could own a piece of work by one of the artists featured in THE HAMPTON YEARS, which one would it be and why? EH: Madonna by Elizabeth Catlett. I am compelled by the strong arm of the mother wrapped around her children, expressing affection but also as protection.
 JACQUELINE LAWTON: When visiting a new city for the first time, do you visit their museums? If so, which have been your favorites? MN: I do visit the museum of any city I’m in. However, for nostalgic reasons The Blacks in Wax Museum in my hometown of Baltimore, Maryland is my favorite. It is the first museum I ever went to as a child and is truly precious to me. JL: What is your favorite piece of art? Why does it resonate do deeply with you? MN: Funeral Procession by Ellis Wilson is my favorite painting again for nostalgic reasons. We had a giant print of the painting that hung above our fireplace when I was a child and whenever I see it I think of my family. JL: If you could own a piece of work by one of the artists featured in THE HAMPTON YEARS, which one would it be and why? MN: There is a Lithograph by Elizabeth Catlett called Links Together that I came across when I was researching the characters artwork that I fell in love with. It reminds me of the bond I share with my mother and sister.
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I'm a playwright, dramaturg, and teaching artist. It is here where you'll find my queries and musings on life, theater and the world. My posts advocate for diversity, inclusion, and equity in the American Theatre and updates on my own work. Please enjoy!
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