Lights up. Lulu enters stage right.
TRINIDAD LIVE / SECTION 7
Ah have a little ‘tory to tell yuh (Trini Codes)
Using Morral game structure, dancers, enter one by one to state a local wisdom/proverb and then continue the game structure:
Lulu: “What is to is, must is; it can’t are”
Kevin: “If better cyan be done, let worse continue”
Su: “Gopaul luck eh Seepaul luck”
Chara: “If de priest could play, who is me?”
Repeat w/ movement added to the local proverb, speeding up the tempo
Lulu: ” “Come see mih and come live wit’ mih is two different t’ing”
Kevin: “De blacker de berry, de sweeter de juice”
Su: “Goat doh make sheep”
Chara: “I eh askin’ yuh, ah tellin’ yuh”
One last refrain of Morral as group reassembles upstage offcenter right. Stops with final hand clap (by end of 8 count). Group in line, neutral stance.
Chara: Oh gosh, you could spot a true Trini anywhere. Dey could lime!
All go to “liming positions.” After Su’s “smoke” all break and walk to down right corner. “Greetings” begin as group walks the diagonal to down right corner.
Little conversation ensues. Who yuh playin for Carnival mas; etc. – Freeze action after each band is called…
Kevin: Long time, Trinis were “friendly/hospitable”
Su and Lulu begin ole time Trinidad segment: offering tea to the neighbor and cuttin’ cane
Kevin: Now, it’s (ALL SAY except Chara who steps out of the group) “Good afternoon!”
Kevin: “And then shoo-shoo behind yuh back” – Trio begin to talk about Chara as she passes them traveling to up left corner.
“Bad look” Sailor dance formation (3 against 1)
“Watch ya back” movement sequence. ALL HOLD.
Chara breaks with: “Yuh ever hear de sayin dat any time is Trinidad time?! Sunday could fall on a Wednesday…”
As Chara speaks, Group does lazy walk to straight line across at center…
Lazy staggered gestures sequence.
Su: Su’s story of the freeway “if yuh see people come to maco…Fastness again.” As Su talks one by one group looks to hear…and scooch in closer…
Begin to spread out with:
Group: Oh, gosh!
Su: Ent! (3x)
Moving stage right in line:“Eh eh, Ah have a little ‘tory to tell yuh”
Break to come down center: I ent — able — wit all yuh…Canon “steups”
Wine back (upstage)
Ensemble: TTT broadcast “signing on” segment.
“Fan the fire”, limbo jump, folk skip…folk moves in caricature
Kevin: Cookin’ curry duck by the river
Chara: Bussin’ up some doubles
Lulu: Baptist bell
As Su hits, all say: Cricket “SIX”
Kevin begins playing opening bars of national anthem on pan – all jump to stand at attention
Su breaks: Askin for jelly coconut
Chara “Boy, stand still nah!”
Su: Wha’ de ass happen’ to she?
Chara chinee walk
Su: “Thas’ supposed to be Chinee”
Su Indian gesture
Chara: “And what is that?”
Kevin: “Come taste this fish broth nah”
Group jumps in to circle Kevin as he stirs “fish broth.” Circling movement sequence. At end of sequence – Chara up: “Yuh does know a raal Trickydadian…always out to outsmart the smartes’ smart man!” Movement sequence w/ breaks of “Trickydadian-ness”
Lulu: “I goin’ to a free drinks party tonite boy!”
Su and Kevin answer back
Su: “I hear there’s a raal sale in town today!”
Lulu and Chara answer back
Chara: taxi driver, “St. Ann’s by one!” (empty car but calling for one more passenger). Kevin and Su answer back
Chara: “How much?”
Kevin: selling oranges at different prices
Lulu: “But you jus’ sell me for ten!?”
Repeat folk step walk 5x – spilling into a close diagonal
Switch to new rhythm sequence
Chara: “Why is it we always get new roads every five years just before elections then the politicians gone again!”
Repeat sequence (Lulu & Chara move down left of diagonal)
Lulu: Why is it we Trinis treat we own so bad when it comes to service. If I say “Is my order ready yet?” I get —.“ Su as bad server. “But if you have a certain skin tone with an accent (an added benefit), royalty service is yours.” In canon: Su, Chara and Kevin say “Your order ma’am”
Repeat sequence – all to face Su
Su: “Look at we airport… always likin’ pappyshow with no purpose….”
Repeat sequence this time all the way through traveling to up left diagonal.
Kevin: “Why is it that some people play African or Indian for just a day. When it’s Emancipation or Indian Arrival Day they dress up like a circus horse with sari and grand bubu. And the rest of they year they in low rise jeans and tank top.”
Kevin: Trinis raal love competitions.
Repeat whole sequence one final time traveling down right diagonal. Hold 2 beats.
All run to down right corner edge to fight up with the doubles man. On Chara’s cue: “George!”
Lulu & Kevin: Gi meh two doubles –
Chara & Su: With slight (lift)
Limbo walk throughs
Circle pass to get into diagonal
Limbo line and turns (2)
Chara “OH GOSH! All yuh ent tired of this damn chupidness!”
Lulu: Win or lose, Trinis love to fete; Love excitement/bacchanal
Chara and Kevin begin folk duet
Lulu: Quoted from the Vision 2020 draft statement – Trinidad & Tobago will be a united, resilient, productive, innovative and prosperous nation
(Holding the duet) Chara: With a disciplined, caring, fun-loving society
Kevin: Comprising healthy, happy, and well-educated people
Chara & Kevin continue duet, getting into SU & Lulu’s space.
Su: Built on the enduring attributes of self-reliance, respect, tolerance, equity and integrity.
Lulu and Su: Rent a tile; castillian; Indian dance
Couples getting real close together…bumping up – fighting for space/spotlight, competition. When they finish folk duet, Chara & Kevin watching absurd “diversity”
Su: So this is we culture eh?
Morral begins again with handclaps to go back to beginning boxes…
Lights fade on the game in progress…
CHICAGO LIVE / SECTION 8
“I have somethin’ to tell you” (Chi codes)
Fe and Abra enter looking about them/around as if someone is watching/listening
Fe: Living next to blacks, instantly lowers your property value and class stratus.
Abra: “ Shhhh! [in a warning tone] People of color must moderate their tone of voice, often maintaining a higher pitch or whispery tone, as to not frighten or alarm whites. ” [Abra thus moderates her own tone as she speaks.]
Fe/Abra assume secretive postures about the stage “Shh”-ing each other/ looking over shoulders/around themselves until Fe approaches Abra downstage right.
[secretive gestures/movement ensue then stage whispers]
Felicia: don’t bring em home if they can’t use your comb
Abra: the darker the berry the sweeter the juice
Fe: “ Marry light, bright damn near white”,
Abra: keep your blacks blacker than black
Fe: irrestibly white, irrestibly beautiful
Fe: “blacks are the last hired and the first fired”,
Abra: “if you’re white, you’re alrite, if you’re black, get back”
[Fe and Abra jump back together and begin movement upstage left]
Fe/Abra: [pom-pom cheer] Push’em back, move’em back waaaayyyy back! [repeat] Be Oppressive! Be oppressive! [spell out] b-e o-p-p-r-e-s-s-i-v-e! [upstage left]
Fe: If you want the perm or the press to look more natural, you got to get that kitchen on back of the neck.
Abra: Why do folks call cornrows “Bo Derek braids” when black people have rockin’ rows in this country for centuries?
[Fashion strut/black gay male “march”/ “Work those cornrows Ms. Bo Derek honey bitch”/ “POWs!/Trust, trust/Swim Fish!” as shift in movement upstage right]
Fe: what happened to Lenard Clark?
Abra: Not sure, have black people been allowed in Bridgeport recently?
Fe: Don’t know. But I do know I wouldn’t want my brother stopped on the Dan Ryan with his cell in hand.
Abra: Ditto for a brother eating pears in Miami.
[Shift directions downstage left as Fe/Abra assume Charlie’s Angels pose and police/swat postures ala T.J. Hooker]
Abra: Sir step away from the produce! Go, go, go! [Fe rolls forward into police posture]
Abra: [after rolling forward] standing on your porch pulling housekeys out your wallet….
Fe: that’s a 41 gun salute! POWs! [downstage right]
Fe: I wonder when the redline will be desegregated.
Abra: Are there routes to those neighborhoods?
Fe: with the new housing…ummm yeah.
Abra: oh that housing where folks have 10pm curfews and can’t have bbq’s in their own yards
[Sing “Well, we movin’ on up to the east side, to a deluxe apartment in the sky….we finally got a piece of the pie…” as movement shift, then Fe/Abra begin backward travel through stage routes using only motif movements–back to pom-pom “Push’em back, move’em back…shift again with T. J. hooker movement…fashion/black gay march to original position. Drag queenin’ leads to confrontational body language.]
Abra and Fe began hurling insults, racial epithets, slurs, etc. escalating into all-out, in your face arguments, proceeds until Fe shouts out:
“UGGHH! [Both say] “ I can’t stand you people!”