Kathryn Seabron’s solo present “Angry Black Woman 101” was impressed by her time working at a nonprofit.
It stemmed from a state of affairs through which a white coworker who had been passively aggressive towards her made a micro-aggressive grievance in opposition to her that led to a human sources assembly. As an alternative of addressing the best way the coworker was subtly attempting to bully her, the difficulty was framed as a easy “problem” with Seabron.
“This was both frustrating and telling as it reflected a wider pattern of undermining Black women in the workplace, often leading to the devaluation of our contributions,” says Seabron, describing the by way of line for “Angry Black Woman 101,” onstage March 15 by way of April 13 at The Marsh in Berkeley.
Directed by Lynn Vidal, the present, which received Finest Efficiency on the 2024 Atlanta Black Theater Pageant, was introduced final 12 months in The Marsh’s In Entrance of Your Eyes Efficiency Pageant.
With prose, poetry and multimedia, “Angry Black Woman” particulars the proverbial “walk through the minefield” experiences Black girls face each day, starting from archaic “mammy” stereotypes to up to date “yaas, queen!” minimizing.
There was no scarcity of examples of public animosity towards Black girls from which Seabron might take inspiration. The nonprofit incident was hardly the one occasion in her personal life that match the invoice.
Kathryn Seabron particulars challenges dealing with Black girls and needs to encourage dialog along with her solo present “Angry Black Woman 101” working March 15 by way of April 13 at The Marsh Berkeley. (Courtesy Cynthia Smalley)
“I wrote it while working at a different place where I was underutilized and not trusted to do the job I was hired for. I was certain they doubted my competence simply because I am a Black woman, and it seemed like they feared letting me go because I was one of only two women hired—and the only Black person. Sitting idle, waiting for work, I began writing the show,” she says, calling the expertise one thing so many Black girls can relate to: “Our intelligence is constantly questioned, and there is a system in place designed to limit our success.”
The concept that variety, fairness and inclusion would work each for and in opposition to folks of coloration takes on renewed relevance, given the White Home’s current stance. Though many theaters haven’t made important, noticeable modifications to inclusion efforts (many initiated after George Floyd-related protests in 2020), the potential of a rollback doesn’t alarm Seabron.
Whereas Seabron sees challenges, particularly with establishments not beforehand proactively selling variety, she says Berkeley Repertory Theatre, Oakland Theater Undertaking, Shotgun Gamers, Aurora Theatre and The Marsh have been inclusive for years, “well before ‘DEI’ became a buzzword,” including, “These spaces have proven their commitment to diversity, and I trust they’ll continue to lead by example.”
Seabron has labored on Bay Space phases not solely underneath her authorized title, but in addition by way of the burlesque persona Juicy D. Mild, whose raunchy performances have turn into a staple at showcases just like the Hubba Hubba Revue at DNA Lounge. With Juicy, Seabron is attempting to rewrite frequent misconceptions about Black girls, particularly bodily autonomy.
“My work as Juicy is about breaking taboos. … I reclaim control over the negative stereotypes that have been projected onto Black bodies; particularly fat Black women’s bodies,” she explains. “Through humor, sensuality and raw authenticity, I aim to show the complexity and beauty of Black sexuality, removing shame and instead embracing it as an essential part of our full humanity. But I also do it with a message. While I have your attention for three to four minutes, I am going to show you how I feel about things.”
She misplaced an ally in spreading that message with final 12 months’s passing of fellow burlesque performer Grace Bones. The 2 regularly carried out on the identical lineup and had private {and professional} plans that received’t be realized.
Such sturdy relationships are the explanation why Seabron values help of family and friends members who don’t reside close by. However she provides, “My nephew came to see me emcee a burlesque show and had a blast. It was so fulfilling to hear his laughter and know he had a great time. My sister also came to see ‘Angry Black Woman 101’ at the SF Fringe Festival, and it was a powerful experience for both of us. She had her own stories to share, which made the experience even more meaningful.”
For Seabron, white folks in want of enlightenment are the perfect viewers for “Angry Black Woman.”
Contemplating the potential of a full home filled with indignant, blond “Karens,” Seabron says, “I’d be delighted. I would, also, be intrigued! If a ‘Karen’ buys a ticket and attends my show, it might indicate that they’re open to learning or at least curious. Maybe they’ll walk away seeing Black women as multifaceted human beings, rather than the stereotypes they might have clung to. I’d welcome the opportunity to inspire growth, even if it starts with uncomfortable conversations.”
“Angry Black Woman 101” runs March 15 by way of April 13 at The Marsh-Berkeley, 2120 Allston Means, Berkeley. Tickets are $25 to $100 at themarsh.org.
Charles Lewis III is a San Francisco-born journalist and performing artist. He has written for the San Francisco Chronicle, KQED and extra. Dodgy proof of this may be discovered at The Pondering Man’s Fool.wordpress.com.
