MA RAINEY Play Guide2
MA RAINEY Play Guide2
MA RAINEY Play Guide2
PLAY GUIDE
About the Table of contents
ma rainey’s black 3 Ma Rainey’s Black Bottom Synopsis, Characters, Setting
bottom Play
4 About the Author: August Wilson
Guide
5 Sharing Beauty with the World—
This play guide is a resource designed to Liz Fentress and August Wilson
enhance your theatre experience. Its goal
is twofold: to nurture the teaching and 6 The Century Cycle
learning of theatre arts and to encourage
essential questions that lead to enduring
understandings of the play’s meaning and 7 Adrien-Alice Hansel on Ma Rainey’s Black Bottom
relevance. Inside you will find:
8 Music as Storytelling, How Much Did That Cost?
• Contextual and historical information
including a list of characters, plot 9 Gertrude “Ma” Rainey—Mother of the Blues
synopsis and information about the
playwright.
Institutional Racism: Some Terms and Definitions
• Evocative, thought-provoking articles
on topics surrounding the play, which are
meant to incite conversation and analysis.
Language in Ma Rainey—Dr. Thomas Offers Her Insights
2
Cast of
Characters
Ma Rainey Based on Gertrude “Ma”
Rainey, an influential Blues singer from the
1920s. She is portrayed as an outspoken if
not difficult artist who has no illusions that
her white associates are only interested in
her for the money. She is fiercely protective
of her artistic integrity and personal
interests.
Chicago’s African American population steadily increased after the Civil War because Slow Drag Bass player in Ma’s band.
of job opportunities there. It became an especially popular destination for Northern- He got his name by slow dancing for hours
migrating African Americans between World War I and the 1920s. With many industrial to win a contest. A professional musician
jobs opening up because of World War I, there were increased financial opportunities for in his mid-fifties, he has worked with
African Americans in a vibrant and politically active community. Cutler for more than 20 years.
African American artists also thrived in Chicago. The black literary output from Chicago Toledo Piano player in Ma’s band. A
between the 1920s and 1950s rivaled that of the Harlem Renaissance, with authors self-educated and literate member of the
such as Richard Wright, Willard Motley, William Attaway, Frank Marshall Davis and band, Toledo speaks eloquently about the
Margaret Walker. black man’s experience at the time and tries
to educate the other members of the band.
3
About the Author: August Wilson
August Wilson was born Frederick August
Kittel in 1945. He spent his early years
in Pittsburgh’s Hill District, a vibrant,
mixed-race neighborhood. After dropping
out of high school at age 15, Wilson spent
many hours at the local public library
and immersed himself in the works of
African American literary luminaries
such as James Baldwin, Ralph Ellison and
Langston Hughes. When he wasn’t at the
library, he was listening to and observing
the people around him, especially his
elders. This early immersion in the culture
of the Hill District and its voices would
significantly influence his work. Another
major influence on Wilson was The Blues.
In 1965, around the time he bought his
first typewriter, he picked up a Bessie Smith
record, “Nobody in Town Can Bake a
Sweet Jelly Roll Like Mine,” and listened to
the song 22 times in a row before realizing
that he could turn over the record. In the
rhythms and attitudes of The Blues, Wilson
found the connection to his ancestry
that he had lacked growing up as the
biracial son of a German immigrant and
an African American woman descended
from sharecroppers. When his father died,
he took his mother’s maiden name as his
own to solidify his ties with his African
American heritage, and was thereafter
known as August Wilson.
5
The Century Cycle
The ten plays of August Wilson’s Century Cycle—one for each decade of the 20th century—chronicle
in the African American experience. Here’s a decade-by-decade guide to Wilson’s groundbreaking
work.
With the exception of Ma Rainey’s Black Bottom, all of the plays take place in Wilson’s home
neighborhood, the Hill District of Pittsburgh.
king hedley
(1985) The sequel
to Seven Guitars, King
Hedley II explores the
devastating consequences
of African American Charles Parnell in the 2002 production at Actors Theatre.
disenfranchisement during
the boom times of the
Reagan administration. Just jitney (1977) The working-
released from prison, King class employees at a community cab
Hedley plants a garden and company face the government-sanctioned
joins his community in the demolition of the abandoned storefront
search for redemption and they use as a cab station. The play celebrates
security in the midst of the creative, community-oriented survival
confusion, regret, loss and strategies of an inner-city neighborhood as
senseless violence. it copes with the destabilizing effects of the
passage of time and the misguided urban
renewal policies of the seventies.
August Wilson outside his childhood home.
6
Ma Rainey’s Black
Bottom (1927) A
tense recording session on Chicago’s
South Side exposes the exploitation of
African American musicians in the white-
dominated commercial music industry.
Successful, demanding Blues singer Ma
Rainey battles her producers and her
band members, including the talented
and ambitious trumpeter Levee. Wilson
depicts the psychological consequences of
African American musicians’ struggles for Ray Anthony Thomas and Joshua Wolf Coleman in the 2001
production at Actors Theatre.
economic and artistic self-determination
in the face of racism and a shifting The Piano Lesson
marketplace.
(1936) Timber cutter Boy Willie
Ma Rainey and her band. travels north from Mississippi to retrieve a
piano from his sister, Berniece. Boy Willie
wants to sell the piano to finance a farm,
but Berniece wants to keep it because it is
a family heirloom carved with the story
of their ancestors, who were slaves. The
Two Trains siblings must decide not only the fate of
the piano but also how to come to terms
RunninG with their family’s painful history.
(1969) Regulars at
a soul food diner examine
life in the wake of the death
of Malcolm X. The Hill
District is changing—the
diner is for sale, and no one
can escape the question of Seven Guitars (1948) Part murder mystery, part
whether or not to assimilate memory play, Seven Guitars depicts the events leading up to the untimely
into mainstream white death of Floyd “Schoolboy” Barton, a gifted Blues guitarist. Released from
culture. But despite a lack jail after serving time for the crime of “worthlessness,” Floyd tries to retrieve
of guarantees in romance, his guitar and get to Chicago to make a record. He believes he is on the brink
business or life, the of a career breakthrough, but bad decisions and worse luck prevent him from
members of the community leaving Pittsburgh.
who stay true to themselves
ultimately triumph.
7
Ma Rainey’s Blues
When Ma Rainey’s Black Bottom opened in New York in 1985,
it was the second non-musical play by an African American to
run on Broadway. The previous play, Lorraine Hansberry’s drama
A Raisin in the Sun, opened in 1959, 36 years before. Writing
about the premiere in The New York Times, Frank Rich wrote that
August Wilson’s play “sends the entire history of black America
crashing down upon our heads…. This play floats on the same
authentic artistry as The Blues music it celebrates.” Wilson would
go on to have his complete Century Cycle produced in New York
City, placing the experiences of black Americans at the center
of his work. His opus forms, as Ellison says of The Blues, “an
autobiographical chronicle of a personal catastrophe expressed
lyrically.” Expressed so lyrically, indeed, that the details of Wilson’s
characters both live as expressions of their specific situations and
resonate beyond their specific decades to form a story of African
American life as it was, could have been, and can yet become.
At the heart of the play lies a struggle for what Ma’s music is and
means. Levee, the young trumpet player in Ma’s band, has been
writing up-tempo settings of her songs at the request of the studio
owner. When Ma learns that he plans to record Levee’s version of
her signature song, she threatens to walk out. “It’s what the people
want now,” explains Ma’s manager. “They want something they can
dance to…makes ’em forget their troubles.” But Ma, along with
her other bandmates, sing to help people remember, not forget.
“White folks don’t understand The Blues,” Ma tells Levee. “They
Greta Oglesby in the 2011 production of Ma Rainey’s Black Bottom at Actors Theatre. hear it come out but they don’t know how it got there. They don’t
Photo by Alan Simmons. understand that’s life’s way of talking. You don’t sing to feel better.
You sing because it’s a way of understanding life.” Ma gets her way
“The Blues is an impulse to keep the painful on the recording, but all that Levee doesn’t understand—about life,
details and episodes of a brutal experience alive about music or about how life works for African Americans in the
1920s, even in the North—has tragic consequences for him and the
in one’s aching consciousness, to finger its jagged rest of the band.
grain and to transcend it, not by the consolation
Director Ron OJ Parson finds August Wilson’s work—and Ma
of philosophy but by squeezing from it a near- Rainey in particular—a stunning reminder of just how much
tragic, near-comic lyricism. As a form, The Blues there is to remember about the African American experience.
“I’m a better person, directing August Wilson. Because of what I
is an autobiographical chronicle of a personal learn about the past, sure, but his plays always connect me to the
catastrophe expressed lyrically.” ancestral spirit of my people.” And in reconnecting his audiences
to The Blues—the “near-tragic, near-comic lyricism” of African
—Ralph Ellison American legacy in the United States—Wilson recrafts the lives
of these long-forgotten musicians into a lesson on suffering and
resilience.
—Adrien-Alice Hansel
8
Music as Storytelling
With Music? About Music? consequences of racial inequalities for Okay, so why a play about musicians?
African American characters.
So it’s not a musical? Bands, in their own way, form a sort
Classical Blues music developed and of family, and have their own internal
No, not exactly. A musical uses song and became popular at a time when African structure: the band leader at the top and
dance to further the plot of a play. But Ma American racial identities were changing. the supporting musicians below. Bands
Rainey’s Black Bottom is a play with music, The communal spiritual music that had are all brought together by the common
and about musicians. unified the African American community goal of creating and performing music.
during the abolitionist movement was However, artists each have their own
August Wilson uses Blues music within shifting to reflect a growing individual motivations, creative and monetary, which
the play to inform us about the underlying and self-determined identity. However, can cause conflict. By also including the
social, political and emotional lives of the emancipation did not mean the end of band manager and record producer, Wilson
characters. The Blues acts almost as another racism, segregation and prejudice. The shows us more motivations for making
character in the play, telling us all the Blues gave voice to personal and political music.
secrets that the characters are not able to difficulties facing African Americans.
say aloud. Music illuminates the emotional -Jane B. Jones
Car New 1925 Model T Ford: $300 New 2011 Ford Taurus: $24,810
Fancy pair of men’s shoes Handmade leather shoes: $8.50 Handmade leather men’s shoes: $325
Sandwich Steak sandwich at the Cotton Club: $1.25 Steak sandwich at Jack Fry’s: $10.75
9
Gertrude “Ma” Rainey
Mother of The Blues
The character of Ma Rainey may seem
larger than life, but the fiery diva was
actually one of the most popular Blues
artists of the 1920s. The real Ma Rainey
was born Gertrude Pridgett on April 26,
1886 in Columbus, Georgia. Gertrude first
performed at the age of 14 at the Springer
Opera House. In 1904, she married
fellow performer Will “Pa” Rainey and the
couple began touring together as “Rainey
and Rainey, Assassinators of The Blues.”
Although they divorced 12 years later,
Ma kept her stage name for the rest of her
career.
Ma Rainey performed songs that contained Ma’s favorites, “Traveling Blues.” In a rare
provocative images of women who were interview, Ma talked about an act where
independent, and defiant. Through The she would come onto the stage dressed in
Blues, Ma was able to address some of the traveling clothes and carrying a suitcase: “I
most stringently taboo subjects of her time, put the suitcase down, real easy like, then
like domestic abuse and female sexuality. stand there like I was thinking—just to let
Ma quite openly referred to her own them see what I was about. Then I sing.
bisexuality in lyrics like “Went out last night You could just see them…wanting to go
with a crowd of my friends, They must’ve been someplace else.”
women, ‘cause I don’t like no men” from the
song “Prove It On Me Blues.” Ma recorded more than 92 songs with
Paramount Records between 1923 and
Another hit, “Black Eye Blues” portrayed 1928. But in the 1930s, female Blues singers
women who were the victims of domestic began to wane in popularity, including
violence, and yet still come off as resilient Ma. She eventually moved back down to
and powerful forces to be reckoned with. Columbus where she managed two theatres
until she died in 1939. Unfortunately, due
“Take all my money, blacken both of my eyes,
to the low quality of the records made for
Give it to another woman, come home and
Paramount’s black customers, many of Ma’s
tell me lies;
albums suffered severe damage over time.
You low down alligator, just watch me sooner
Yet her legacy lives on. In 1983, sixty years
or later,
after her first recording for Paramount, Ma
Gonna catch you with your britches down.”
was posthumously inducted into The Blues
Strange as it may seem, one of the most Foundation’s Hall of Fame and into the
revolutionary ideas Ma brought to her Rock and Roll Hall of Fame in 1990. She
fans was travel. Ma belonged to one of lives on as an example of female resilience,
the first generations of black women who autonomy, and musical influence that can
had freedom of movement, a fact she best be summed up in Ma’s well-earned
sang about in songs like “Leaving This nickname: the Mother of The Blues.
Morning,” “Runaway Blues,” and, one of
-Christina Lepri
10
The world of ma Rainey and
Institutional Racism
Ma Rainey’s world exists just 64 years after
the 1863 Emancipation Proclamation
(which declared freedom for African
American slaves in Confederate States) and
during the heart of the Great Migration
(the movement of 2 million-plus African
Americans from the south to the north).
Intense disenfranchisement and strict
segregation was preeminent. Individual
racism was strong and unabashed–1927
witnessed race riots, lynching, violence
and harassment. Institutional racism was
ubiquitous.
11
Language in Ma Rainey
U of L professor Dr. Thomas offers her insights
The African American Theatre Program (AATP) has begun its 17th
year as a special discipline within the University of Louisville’s
Theatre Arts Department. It consists of thirteen different courses
and two productions yearly on the mainstage season in black
history, literature, culture and performance. Each course provides
insight into the heritage and culture of peoples representing the
African Diaspora. These courses serve two undergraduate minors
and a Graduate Certificate in African American Theatre making
the University of Louisville the only institution with such a
program.
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Glossary
Arrangement: An adaptation of a piece of Juke joint: An informal, often-rowdy
music intended for a particular instrument, bar, dancehall and performance space
group of musicians, performance context, popular among African Americans in
or style of music. the rural South. Juke joints were a key
Band room: A rehearsal space and break incubator for The Blues.
room separate from the studio and control
booth. In Ma Rainey’s Black Bottom, this is
the domain of the African American band
members.
Brogans and clod-hoppers: Two Florsheims: A brand of shoes, in this Manager: A business professional whose
terms that refer to heavy work shoes. case men’s dress shoes. In contrast job is to guide the career of an artist in
Both terms also imply that the wearer to the other band members’ old the entertainment industry. Duties include
of these shoes is a low-class, rustic clod-hoppers, Levee’s shoes are new, negotiating contracts and scheduling
person. expensive Florsheims. performances and recording sessions.
Control booth: The area designated for the Shuffling them feet: An allusion to
operation of technical equipment. In Ma Jug band: A makeshift group of minstrelsy, a performance genre that
Rainey’s Black Bottom, this is the domain musicians playing upbeat popular popularized negative caricatures of African
of the white producers, situated above the music on homemade and found Americans through music, dance, skits
studio. instruments such as washboards, and the use of blackface (makeup used
bottles and kazoos, in addition to other to darken one’s face, used by both black
Cornet: A brass instrument similar to instruments such as harmonicas and and white performers). When Slow Drag
a trumpet. Levee plays the cornet in banjos. Jug bands likely originated in says Levee is “shuffling them feet” for the
Ma Rainey’s band. Louisville in the early part of the 20th white producers, he means that instead of
century. maintaining his dignity, Levee is groveling
in order to get ahead in the music industry.
—Jessica Reese
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Discussion Questions
Pre-show
1. Ma Rainey takes place inside the
recording studio where Ma and her
band are trying to make their new Blues
record. How do you imagine music
being used in the show? What kind
of instruments do you associate with
The Blues? How would you describe a
Blues performance? What songs do you
associate with The Blues?
2. Institutional racism was a major force
in the world of the recording industry,
and Ma Rainey’s world at large. The
characters of the play, true to history,
live their lives responding to this
oppressive force. Have you ever seen
examples of institutional racism in the
media? In your own lives? How do you
imagine that racism will be portrayed
onstage?
Post-show
1. The play is called Ma Rainey’s Black 2. Spoiler! Why do you think Levee lashes 3. Who do you think was the main
Bottom, but Ma herself doesn’t get a lot out at Toledo? Can you relate this act character of Ma Rainey? Is there a
of stage time. Why do you think that is? of seemingly senseless violence to any protagonist of this piece? An antagonist?
How do the only two female characters, modern equivalents? Do you think they are specific people or
Ma and Dussie Mae, try to have a part of the situation?
voice in this male-dominated recording
studio?
BRIDGeWORK
At Your Desk 2. Ma Rainey was a real Blues singer who recorded many albums.
1. The characters in the play are Blues musicians. Blues songs Listen to one of her albums and write a review.
are usually about some personal problems and how the singer
is feeling about those problems. Write lyrics to your own
Blues song.
On Your Feet
1. Ma Rainey is a lady who knows what she wants- much like a 2. Levee spends a lot of time in the play trying to convince
queen. Select one person to be the Queen. The group forms a everyone to do his version of Ma’s hit song. Think of a time
circle around the Queen. The Queen goes around from person when you tried to convince someone of something you wanted
to person in whatever order she likes and demands an offering very badly. Break the class up into groups of 4-5. Each person
from her subjects by saying “And What Do You Have For Your will have five minutes to arrange the other people in their
Queen?” The offering could be a song, a dance, an imaginary group into a frozen picture or tableau that represents that
object; whatever you think will please the queen. If the Queen moment from their own life when they tried to get something
does not like it, he or she yells “Off With Their Head!” and that they wanted. Each member of the groups should arrange their
person is out of the circle. The last person standing becomes the own tableau. Then perform them for the other groups in silent
new queen. Queen often works well when the teacher plays the succession and discuss with your audience what they gleaned
part of the Queen. from this frozen parade of images.
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Cross-Curricular Connections
geography
The play takes place in south side of Chicago in 1927. What about
the location and history of Chicago in the 1920s that makes it an
appropriate location for this play? What was happening in Chicago at
that time?
math
What are the time signatures of Blues music? What effect do those
time signatures have on the overall feeling of the music?
history
The Blues is an American musical form. When did begin? How has
it changed over time? Create a timeline of The Blues and how it has
developed over time.
Writing Portfolio
Personal Literary Transactive
Many of the characters in Ma Rainey’s Ma Rainey’s Black Bottom is part of August Write a review of the performance of Ma
Black Bottom suffer from lack of control Wilson’s Century Cycle. Pick another Rainey’s Black Bottom that you saw at Actors
over their music, their pay and other aspects play from the Century Cycle. Read it and Theatre of Louisville. Describe what it was
of their lives. Write a personal narrative write a paper comparing that play to Ma like to watch the play, but be sure to write
about a moment from your own life when Rainey. What were the themes and issues more than just the plot of the play. Think
you did not have control over a situation. of the other play by Wilson? How were about how the play tells the story. Make
What were the circumstances? How did you the character portrayed? Was the structure the experience come alive for the reader by
react to them? Did you accept the situation similar? What about the language? using lots of sensory details when writing
or fight back? Were you ever able to gain about several of the play’s elements, like
control? the costumes, lights, props, music, how the
actors said their lines, and how the director
realized the vision of the play. Let the
audience decide for themselves if the play is
worth seeing.
15
Works Cited
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chicagohistory.org/pages/27.html >
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Davies, Angela Y. Blues Legacies and Black Feminism. New York: Pantheon Books, 1998. Print.
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Prentice-Hall, 1970. Print.
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Broadcasting Service. Web. 27 Oct. 2010. <http://www.pbs.org/jazz/exchange/exchange_race_records.htm>.
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1998. Print.
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Film
Cadillac Records (2008)
Lady Sings The Blues (1972)
St. Louis Blues starring Bessie Smith (1929)
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