June Carryl

Danny, who is white,is dating Iz, who is black. Iz’s little brother Toony is a straight-A student in love with Sydney, first generation Korean American daughter of Chung-Hee and Yoo Heejin, owners of the Korean market where Toony works. It is 1991 and the Rodney King video has been airing for two days. Over the course of the next year, the two families are caught in the the violence of the riots, and when a disgruntled stranger steps into the picture, become its next victims.

Alternating between a night in 1968 at The Troubadour night club in Los Angeles when Nina Simone is at the height of her political voice, and a night in 1977 when she is hold up in Airport Ramada Inn hotel in New York City, the legend must confront her deepest fears.

Synopsis
N**GGA B*TCH
Nambi keeps dying and coming back: as a young African princess who is captured and traded to the New World only to drown in the Atlantic; as a suffragette who is bludgeoned to death by her lover; and as a Black Panther shot down by a policeman’s bullet leaving the scene of a failed bombing. After each incarnation she wakes to find a man in a white coat. Is he God or the devil? Or just the hospital orderly there to deliver her meds?
Eventually, Nambi makes her way to the recreation yard where she meets Helen, the place’s only other inmate, but an orderly is stabbed and she escapes. She next finds herself in a flooded subway, then briefly at home with her lover Emma. Shortly thereafter, all her realities converge and the Man in the White Coat informs her that she is a persistent mistake and was not meant to exist at all. She encounters a mysterious little girl who keeps flitting through her many incarnations at the bottom of the sea and finally names her/Self and gains her freedom.

N*GGA B*TCH is about being on repeat and the insanity that is black womanhood: being and yet being invisible, the alternating accommodation and outrage, and downright “What the fuckery???”
In a commencement speech at Barnard, Viola Davis said, “The world is a wounded place because we are wounded.” And whether we think it’s cheesy or not, the only escape is love—of self and of others. N**GGA B*TCH is a story of grief, healing, and reinvention.

A white officer kills a black motorist and a black investigator must find the truth.

A psychology professor studying the effects of trauma on the brain receives a visit from a brother she’s never met who just flew in (he says) from Kinshasa, Democratic Republic of Congo. Over the next few days and weeks, the professor, with baggage of her own, becomes increasingly fascinated with the troubled young man even as his story keeps changing.

A small-time district administrator is visited by his father asking him to right a wrong done to their village thirty years before. The minister refuses, but that evening receives a visit from a farmer from the village begging him to find his son who’s been arrested for speaking against the government.
What starts as a comic inquiry at the Ministry of Justice quickly devolves into a nightmare as the minister is followed by mysterious thugs, kidnapped, and pressed to masquerade as a revolutionary for the opposition when the rebel leader is killed.
Hounded on all sides through an increasingly sinister seven circles of hell as he pieces together his own memory of what happened thirty years ago, the minister ponders his dilemma: whether to turn a blind eye to injustice and live, or become a martyr in the bloody business of liberation.
The human toll of Robert Mugabe’s massacre of at least 20,000 Ndebele in Zimbabwe thirty years ago, called the Gukurahundi, is silent suffering and scarred memory. Forgetfulness and silence are the enemies of justice. A play can give suffering a name and that to me is the beginning of change.

After her boyfriend kicks her out, Angie is rescued from throwing herself into the sea by a Man who may or may not be an angel and resolves to start over. Between her therapist, a couple in mourning for their dead son, and the hostel she calls home, Angie tries to make good but the buses don’t work, the manager keeps changing the rules, strangers accost her on the beach and her best friend Rose is on a downward slide. Then opportunity knocks and a chance encounter turns into the hope for true love. Intent on escape, Angie instigates a break from the violent Joe. In short order, the deal goes south, Rose dies, and Angie is left to ponder the existence of God.

At 48, Alice is having a midlife crisis. When her cat dies, she leaves her husband Roy (59) and returns home to her ailing father Felix (78) and shut-in sister Charlie (35). Searching for meaning and purpose, Alice tries therapy, tap dancing and reconnects with childhood friends Jeannie, (47) and Harry (48). When she discovers that Felix has taken out a reverse mortgage and failed to pay property tax her course of action puts her in conflict with her family. Torn between saving the family home and dealing with her own disappointments and demos, Alice must confront unfinished business with her deteriorating father. Slipping between past and present, STONE ANGELS is about history and forgiveness in the face of life’s little tragedies.