GableStage's Audience Enrichment Guide for How I Learned What I Learned

HOW I LEARNED

WHAT I LEARNED Written by August Wilson

ABOVE: Demolition Zone for the Civic Arena, Pittsburgh, PA.

OUR DIRECTOR Carey Brianna Hart is thrilled to present art at GableStage.

She is a native Floridian, born in Miami and a graduate of the New World School of the Arts and The Goodman School of Drama at DePaul University. Carey has taught Theatre for the Miami Dade County Public Schools, AreaStage and M Ensemble Theatre. Carey has worked on productions by the African American Performing Arts Community Theatre, AreaStage, City Theatre, Ebeneezer Productions, GableStage, Juggernaut Theatre, M Ensemble Theatre, Mad Cat, Main Street Players, New Theatre, Thinking Cap Theatre, Vinnette Carroll Theatre and Women’s Theatre Project. She has directed TopdogUnderdog, Shakespeare Is A White Supremacist, Blues For An Alabama Sky, Sisters, Shakin’ the Mess Outta Misery, Tears A Sister Cries, Other Side of America. Carey hosts a weekly radio talk show about the Arts on am 1490 WMBM (Saturdays @ 9:30am). Carey seeks to continue contributing to the Artistic Landscape of the World.

OUR ACTORS Melvin Huffnagle is ecstatic to make his debut at GableStage. A Native of Buffalo, NY., Mr. Huffnagle holds an MFA from The University of Florida. Melvin has worked professionally in NYC for over twenty years. He is a ten year member of The Layon Gray American Theatre in NYC where he originated numerous roles in the company's many Off-Broadway productions; Cowboy, Gus The Kings of Harlem Coach, Ben Coffey III, and Searching for Willie Lynch , Harlen Davis. Mr. Huffnagle also appeared as Jerimaih Jones in the company's long running and award winning Black Angels Over Tuskegee. Most recently, Melvin appeared as Memphis in The M Ensemble’s production of Two Trains Running. Film and Television Credits include: Striped Search, Directed by Sidney Lumet, Law and Order SVU, Law and Order CI "Royal Pains", The Family Business, and the Award winning short film Brooklyn In July. Melvin currently serves as an Assistant Professor of Acting in FIU’s Theatre Department.

Robert Strain has worked as a professional actor in South Florida for the past twenty-two years. He has performed at various theatres in the area, including Miami New Drama, GableStage, New Theatre, Mosaic Theatre, The Jerry Herman Ring Theatre, and City Theatre. Some of Robert’s favorite roles include: Christian in Ruined (GablestageCarbonell Award, Best Supporting Actor), Lucius in Tom Walker (New Theatre-Carbonell Nomination Best Supporting Actor), Kreon in Antigone, Kent in King Lear, and Roosevelt in Radio Golf. Robert has been a faculty member at Florida Memorial University in Miami Gardens for the past twenty-four years and would like to extend a special thanks to his friends and colleagues there who have worked together with him, both inside and outside of the classroom, to make a positive difference in students’ lives.

Go Lions!

Performing 10/4, 10/11 and 10/18 at 2pm and 10/12 at 10:30am

“I WRITE THE BLACK EXPERIENCE IN AMERICA, AND CONTAINED WITHIN THAT EXPERIENCE, BECAUSE IT IS A HUMAN EXPERIENCE, ARE ALL THE UNIVERSALITIES.” August Wilson

“I BELIEVE IN THE AMERICAN THEATRE. I BELIEVE IN ITS POWER TO INFORM ABOUT THE HUMAN CONDITION, I BELIEVE IN ITS POWER TO HEAL, “TO HOLD THE MIRROR AS 'TWERE UP TO NATURE,” TO THE TRUTHS WE UNCOVER, TO THE TRUTHS WE WRESTLE FROM UNCERTAIN AND SOMETIMES UNYIELDING REALITIES”.

OUR PLAYWRIGHT: One of six children, playwright August Wilson was born Frederick August Kittel in Pittsburgh’s Hill District. His father was a German immigrant who abandoned the family when August was young; his mother was an African American who cleaned houses. Wilson legally took his mother’s name at age 20, when he began seriously writing plays and poetry. His secondary education was marred by racism; he transferred to three different high schools before dropping out altogether after a teacher accused him of plagiarism. Wilson undertook his own education, spending long hours at the Carnegie Library of Pittsburgh (which granted him an honorary high school diploma) and on the streets of the Hill District. He also enlisted in the Army and held a series of odd jobs after leaving the service.

Wilson began his career writing poetry. In the 1960s, he joined the group of writers and artists then coalescing as the Centre Avenue Poets Theater Workshop. With Rob Penny and other members of the group, Wilson cofounded the Black Horizon Theater in 1968. A community theater troupe, the group was invested in African American culture and produced plays from the black canon as well as new work by emerging African American writers. It was his first exposure to the theater. In 1978, he moved to St. Paul, Minnesota, and joined the Penumbra Theater. The first production of his work at Penumbra was a play based on his poem cycle Black Bart and the Sacred Hills. In Minnesota, Wilson turned his efforts to playwriting, penning both Jitney (1979) and Ma Rainey’s Black Bottom (1982). The plays were the first in an epic

series known as the Pittsburgh Cycle. Consisting of ten plays, each set in a different decade of the 20th century, the cycle gained renown for its searing portrayal of black culture, politics, and experience. Wilson himself noted of the plays, “I wanted to place this culture on stage in all its richness and fullness and to demonstrate its ability to sustain us in all areas of human life and endeavor and through profound moments of our history in which the larger society has thought less of us than we have thought of ourselves." Except for Ma Rainey, all the plays were set in the Hill District, where Wilson had grown up.

Wilson worked closely with Lloyd Richards, the first black director on Broadway and the dean of the Yale School of Drama. Their partnership lasted until 1996. Wilson’s use of Yale as a testing ground for plays that would eventually debut on Broadway proved controversial, as did his insistence on casting black actors and hiring black directors for his plays. In public debates with Robert Brustein, Wilson defended the importance of a thriving black theater movement attuned to the specifics of black experience that utilized and cultivated black directors and actors.

Wilson’s many honors and awards include a Tony Award for Best Play for Fences in 1987, as well as many nominations; Pulitzer Prizes for Fences (1987) and The Piano Lesson (1990); numerous New York Drama Critics’ Circle Awards for Best Play; and a National Humanities Medal. After Wilson’s death in 2005, the Virginia Theater on Broadway was renamed the August Wilson Theater. from Poetry Foundation

Carnegie Library where August Wilson read over three hundred books after dropping out of school at 15.

“I DROPPED OUT OF SCHOOL, BUT I DID NOT DROP OUT OF LIFE.” August Wilson

5 QUESTIONS WITH OUR DIRECTOR CAREY BRIANNA HART

How I Learned What I Learned is a one-person show. What unique challenges and opportunities does this format present for a director, and how did you approach directing a solo performer?

The primary challenge is to make certain that the story is told - just like with any other theatrical presentation. But since the one person show only has the single individual to tell the story, the challenge also becomes to not exhaust the performer. First the performer must know that everything becomes interesting in a solo performance, every gesture, sigh, glance, etc. The more specific we can be about the choices made within the story are what make the solo performance effective. In the rehearsal every moment is examined and recreated with so much specificity so that through the solo perform seeing and existing in the individual moments, they become real (and enjoyable) for the audience.

August Wilson is known for his distinctive characters. Can you describe the process of working with the actor to bring the character of August Wilson to life and make him relatable to the audience?

In bringing the "character" of August Wilson to life through the Actor, the storytelling is key. By exploring the passages in the play we hear and see August Wilson through the Actor.

Can you discuss how the set enhances the storytelling in "How I Learned What I Learned"?

This set enhances the storytelling of the play by providing the landscape August Wilson the poet-playwright-artist created. We are able to associate the people and places he has chronicled in so many of his plays with the actual places he frequented and the note-worthy/play-worthy experiences he had.

August Wilson's language and dialogue are rich and poetic. How did you work with the actor to ensure that the text was delivered authentically and effectively?

Reading, Repetition and Relating. Reading - because the words matter and there is always something to be found in the text that can enhance the performance.

Repetition - because practice makes perfect. Relating - because the more personally the Actor can relate to the text, the better the understanding and the delivery of the text that communicates to the audience.

What do you hope audience members take away from their experience of watching "How I Learned What I Learned"?

I hope that audience members will have a greater understanding of August Wilson's works and of the people he wrote about. I hope that they take away some lessons about the humanity in each of us and our need for kindness and respect.

"Community is the most valuable thing that you have in African-American culture. The individual good is always subverted to the good of the community.”.'"

August Wilson

AUGUST WILSON'S PITTSBURGH: EXPLORING THE THEATRICAL LANDSCAPE Nestled within the vibrant city of Pittsburgh, the Hill District stands as a testament to resilience, creativity, and the rich tapestry of African American culture. Often referred to as the "Crossroads of the World," this historic neighborhood has played a pivotal role in shaping the social, artistic, and economic fabric of the city. From its dynamic jazz scene to its place in the struggle for civil rights, the Hill District has left an indelible mark on American history.

ABOVE: A Postcard of Pittsburgh from 1902

A Vibrant Culture and Community The Hill District's nickname, the "Crossroads of the World," captures the essence of a neighborhood that was not only a melting pot of cultures but also a hub of creativity and innovation. During the early to mid-20th century, the Hill District was a bustling center of African American life, drawing in people from different backgrounds, experiences, and talents.

At the heart of this vibrant community was a bustling cultural scene that helped define the African American experience. The sounds of saxophones and piano riffs filled the streets, as the Hill District's groundbreaking jazz musicians captivated audiences with their soulful melodies. Iconic venues like the Crawford Grill and the Hill District Playhouse became focal points for artistic expression, hosting legendary performers and nurturing a rich artistic atmosphere.

The Fight for Justice In the face of adversity, the Hill District community rallied together to advocate for justice and equality. Residents and community leaders, joined by organizations like the NAACP, stood up against further urban renewal efforts. They demanded affordable housing and an end to destructive development that threatened the fabric of their neighborhood. These efforts highlighted the power of grassroots activism and the determination of the Hill District community to protect its heritage.

ABOVE: A Literary Map of the Hill District, Pittsburgh, PA.

A New Dawn and Ongoing Revitalization Today, the Hill District continues to evolve while honoring its rich history. Efforts to revitalize the neighborhood have taken center stage, with community leaders, city officials, and organizations collaborating to ensure a bright future. Redevelopment projects aim to balance progress with preservation, maintaining the cultural essence of the "Crossroads of the World" while creating opportunities for growth and economic empowerment.

“I left Pittsburgh but Pittsburgh never left me. I have a fierce affection for the Hill District and the people who raised me, who have sanctioned my life and ultimately provided it with meaning.”

August Wilson

TOP: Wilson’s childhood home on Bedford Avenue MIDDLE: Wilson outside the iconic Pat’s Place (photo by Terry Clark) BOTTOM: The Oyster House

AUGUST WILSON’S THEATRICAL

Groove "I put the blues on, and it was unlike anything I'd ever heard before. Somehow, all that other music was different from that. And I go, 'Wait a minute. This is mine… there's a history here."

August Wilson

ABOVE: Viola Davis as Ma Rainey in the 2020 film adaotation of ‘Ma Rainey‘s Black Bottom ‘ (dir. George C. Wolfe)

The Piano Lesson Fences

Jesus Be A Fence Around Me Old Dog Blue Seven Guitars

Anybody Here Wanna Try My Cabbage Death Don't Have No Mercy Buddy Bolden Blues Ain't No Grave The Lord's Prayer

Berta, Berta Old Ship of Zion How I Learned What I Learned

Run, Old Jeremiah Nobody Knows the Trouble I've Seen After You've Gone August’s Funeral (2005)

When the Saints Go Marching In Danny Boy

AUGUST WILSON’S OEUVRE

August Wilson embarked on a monumental storytelling journey known as the "American Century Cycle." Each play in August Wilson's "American Century Cycle" provides a unique window into the joys, struggles,

and aspirations of African Americans during different periods of history. Through rich characters and profound dialogue, Wilson's cycle plays offer a powerful narrative tapestry that resonates with audiences, honoring the legacy and resilience of a community over the span of a century.

1. "Gem of the Ocean" Written: 2003 Set in: 1904 Summary: Set in 1904, Aunt Ester guides a troubled soul on a spiritual journey to cleanse the past.

Quote: "Aunt Ester says it's time to get rid of the things that clutter up your house and your life."

2. "Joe Turner's Come and Gone" Written: 1984 Set in: 1911 Summary: In 1911, residents at a boarding house search for identity and connection in the aftermath of slavery.

Quote: "You have to learn to let it go."

3. "Ma Rainey's Black Bottom" Written: 1982 Set in: 1927 Summary: A play that explores the tension and struggles within a recording session of a Black blues band in 1920s Chicago, touching on themes of racial exploitation, artistic expression, and power dynamics.

Quote: "White folks don't understand about the blues.

They hear it come out, but they don't know how it got there."

4. "The Piano Lesson" Written: 1987 Set in: 1936 Summary: A family grapples with the legacy of slavery as they debate the future of a valuable piano.

Quote: "You ain't nothing in this world but the piece of [piano] wood you left here to rot."

5. "Seven Guitars” Written: 1995 Set in: 1948 Summary: The story follows a small group of friends who gather following the untimely death of Floyd "Schoolboy" Barton, a local blues guitarist on the edge of stardom.

Quote: "Sometimes all you need is a song in your heart to keep you going."

6. "Fences" Written: 1985 Set in: 1957 Summary: In 1957, a former Negro League baseball player confronts his past and grapples with generational conflicts.

Quote: "Some people build fences to keep people out, and other people build fences to keep people in."

7. "Two Trains Running" Written: 1990 Set in: 1969 Summary: In 1969, patrons of a diner in a changing neighborhood confront social upheaval and the erosion of their community.

Quote: "You got to find a way of making money come to you."

8. "Jitney" Written: 1982 Set in: 1977 Summary: Against the backdrop of urban renewal in 1977, the lives of Pittsburgh taxi drivers intersect in a story of resilience.

Quote: "You're supposed to go out and do what you can. You're supposed to try and make your life better."

9. "King Hedley II" Written: 1999 Set in: 1985 Summary: An ex-convict strives for redemption and financial success amidst a backdrop of adversity.

Quote: "A man got to take some responsibility for his family. You can't go around blaming everything on the world.

10. "Radio Golf" Written: 2005 Set in: 1997 Summary: Real estate ambitions clash with historical significance as characters grapple with progress and heritage Quote: "I believe in progress. The world can't go backward."

*The cycle is in order of the year in which they are set*

Films

FURTHER REFERENCES & READING

1. Fences (2016) - Directed by Denzel Washington and based on August Wilson's play "Fences."

2. Ma Rainey's Black Bottom (2020) - Directed by George C. Wolfe and based on August Wilson's play "Ma Rainey's Black Bottom."

3. The Piano Lesson (1995) - Directed by Lloyd Richards and based on August Wilson's Pulitzer Prize-winning play "The Piano Lesson."

4. August Wilson: The Ground on Which I Stand (2015) - A documentary from the PBS "American Masters" series that delves into the life, work, and legacy of August Wilson.

Books 1. August Wilson: Pittsburgh Places in His Life and Plays - This guidebook guides visitors to key sites in the playwright’s life and work in the Hill District and beyond. It enriches the understanding of those who have seen or read his plays, inspires others to do so, and educates all to the importance of respecting, caring for, and preserving the Pittsburgh places that shaped, challenged, and nurtured August Wilson’s rich, creative legacy.

2. Conversations with August Wilson edited by Jackson R. Bryer and Mary C. Hartig - A collection of interviews with August Wilson, offering a firsthand look into his thoughts on theater, race, and storytelling.

3. August Wilson: A Life by Patti Hartigan - Published in August 2013 This recent biography of August Wilson by a theater critic who knew him. Author and theater critic Patti Hartigan interviewed Wilson many times before his death and traces his life from his childhood in Pittsburgh (where nine of the plays take place) to Broadway. She also interviewed scores of friends, theater colleagues and family members, and conducted extensive research to tell the story of a writer who left an indelible imprint on American theater and opened the door for future playwrights of color.

FURTHER REFERENCES & READING Articles 1. Been Here and Gone: How August Wilson brought a century of black American culture to the stage. - An in-depth profile on August Wilson from the New Yorker's John Lahr.

2. August Wilson's Pittsburgh - An article exploring the world Wilson wrote about.

3. The Man Who Transformed American Theater - An article from The Atlantic recounting August Wilson's life and referencing Patti Hartigan's recent biography about him.

Video Clips 1. Playwright August Wilson on Writing About Black America 2. August Wilson on Beginning with Dialogue 3. August Wilson’s Youth 4. August Wilson Interview on 60 Minutes with Ed Bradley

EXERCISES Tune in to Character In this activity, students will have the chance to delve into how a character's choice of language and vocal expressions can provide insights into that character's personality.

Background Information: August Wilson possessed a deep fascination with the nuances of human speech. During his youth, he frequented barbershops and restaurants in the Hill District of Pittsburgh, where he keenly observed people's voices – their intonation, word choices, and speech rhythms. As he matured, Wilson's artistic sensibilities were increasingly influenced by music, particularly the Blues.

When he ventured into theater writing, Wilson drew inspiration from both the voices he encountered in the Hill District and the Blues genre to craft the unique ways in which his characters communicated.

1. Instruct each student to conduct a brief, 5-minute interview with a family member or friend on a topic of their choice.

2. Advise students to either record the interview audio or transcribe the interviewee's responses.

3. Once the interviews are complete, organize students into pairs and have them exchange the audio recordings or written transcripts of their interviews.

4. Task students with listening to or reading the provided interview material and creating a profile for a fictional character. This character profile should encompass the following aspects: a. The character's upbringing b. Current place of residence c. Occupation d. Leisure activities e. Greatest fears f.

Greatest hopes 5. Encourage students to pay close attention to the interviewee's language usage, speech rhythm, vocal tone, and any personal details disclosed during the interview while constructing their character profiles.

6. Allow students to share their character profiles and the original interview materials that inspired them.

7. Foster a class-wide discussion on how speech and language can unveil character traits. Pose questions such as: How did the activity go? What linguistic patterns or speech characteristics did you observe while listening to or reading the interviews? How did you infer character traits from the interviews?

EXERCISES Landmark Monologues Wilson’s locations not only evoked a powerful connection with his hometown of Pittsburgh but often served as unnamed characters within his plays, such was the effect that they had on his characters: 1. Have each student choose an iconic Miami location, or a place that holds sentimental value to you or your family.

2. Questions to consider: What kinds of characters would frequent this particular location, or not - maybe the character happens to be in the wrong place at the wrong time!

3. Using a timer give students 3-4 minutes to write a monologue using the location as a driving force for the action of your writing; focus on what’s happening (try your best to not spend too long on description). And make sure that the name of the location isn’t mentioned in the monologue.

4. Have students deliver their monologues aloud and ask the audience to guess what the location or place is.

"You think you supposed to know everything. Life is a mystery. Don‘t you know life is a mystery? I see you still trying to figure it out. It ain‘t all for you to know.

It‘s all an adventure. That‘s all life is. But you got to trust that adventure. I‘m on an adventure."

Aunt Ester; Gem of the Ocean