THE DIARY OF BLACK MEN EXPLORES THE FUNDAMENTALS OF BLACK LOVE
By Stacey Marie Robinson
Monday June 23rd, 2008 – Toronto, ON, Canada - For two nights, Friday, June 20 and Saturday, June 21, Toronto audiences had the opportunity to view the legendary production “The Diary of Black Men” at the Sony Centre for the Performing Arts. Touring internationally since 1983, Thomas Meloncon’s play addresses the question: How do you love a black woman?
The question was approached by a cast of six black men, representing a variety of stereotypes of African-American men: the Blue Collar Working Class Man (Byron Jacqel), the Black Muslim (Alex Morris), The Player (Lee Stansberry), The Urban Professional and Intellectual (Russell Andrews), The Cool Dude (Milton Guy Martin), and The Militant (Clarence Whitmore). Each character, through a series of monologues and vignettes, explains his past, justifies his actions, and asks for understanding as he explains his perspective on how to love a black woman, and how the black woman can in turn love and support him as well.
The Working Man believes that the support of his family and hardworking spirit make him a great man, yet he is challenged and frustrated by his lack of finances. The Muslim believes that the European lifestyle is destructive to his family and their ideologies. The Player is convinced that the key to happiness is making love and staying entertained. The Professional boasts that intelligence, a solid career and a large bank account make him the ideal man. The Cool Dude is too caught up in his own image to truly see reality. The Militant feels that supporting ‘the struggle’ is the only way to achieve success in love and in life.
Self-described as a “morality play laced with comedy, and a lot of talk about manhood, castration of black manhood, and suppression of black manhood,” The Diary of Black Men asks provocative questions, highlights disturbing truths, and allows the audience to explore their own beliefs and challenge those presented by the cast.
The lone female character in the play appears without dialogue, and poignantly dances during a series of interludes, responding and interacting with the men as the story gets deeper into the patterns and misconceptions surrounding black love. And while the cross-section of black men plead their cases and promote their opinions, the black woman remains at the centre of their frustrations until they eventually plead with her for support and respect, and begin to nurture her in light of their historical obligation to fight against oppression and strengthen the black family.
Playwright Thomas Meloncon first presented The Diary of Black Men off-Broadway in 1982, and has written over 30 plays and a book of poetry. His production’s dialogue outlines a universal cultural of oppression and struggle for African-American men that easily crosses the boundaries of time, and is still as relevant in 2008 as it was when it was first presented.
For more information visit
www.thediaryofblackmen.com
