words rachel read

A controversial play by Eugene O’Neill becomes even more so in the hands of a pair of women.

On the most mundane level, in theatre a mask hides the identity of the person behind it: that first meeting of Romeo and Juliet is made all that more dramatic because both are masked. Yet, masks also play less obscuring roles – they can, as in Commedia del ’Arte, for instance, define a whole archetype. In The Wooster Group’s production of Eugene O’Neill’s The Emperor Jones in 1993, a mask became a weapon to challenge traditional values of gender and race.

Widely regarded as a fine mix of expressionism and realism, O’Neill’s eight-scene play tells the tale of black railroad porter Brutus Jones, a convicted murderer who is sent to prison. He escapes to a West Indies island where he sets himself up as such a brutal dictator that the natives revolt – he has to flee to his eventual ruin. The Emperor Jones was a groundbreaking work when first staged on Broadway in the 1920’s as the first American play to feature a black actor in a leading role. Before that production, white actors in black make-up took such roles. In 1993, to make a point The Wooster Group took novelty even further and cast Kate Valk – a white actress – in the role of Jones.

‘There is a long theatrical tradition of actors performing roles of the other sex on stage. It was a very attractive and powerful option for us,’ says Elizabeth LeCompte, founding member of The Wooster Group and director of The Emperor Jones. ‘The Wooster Group is an ensemble and we cast shows from within the company and a pool of associates. Kate, who has been a part of the company since 1979, has played several roles using a black mask, including in Route 1 & 9 and L.S.D. (…Just the High Points…). The Emperor Jones is the aesthetic culmination of that “story” within our work.’

LeCompte first read the play in college, and deeply identifies with the character of Brutus Jones, his struggle striking an emotional chord in her. But it was not until she saw Kate playing Tituba in blackface in the group’s production of L.S.D. (…Just the High Points…) in 1984 that she remembered it: ‘I was reminded of Paul Robeson’s performance in the film of The Emperor Jones,’ she says.

According to LeCompte, Brutus Jones has been a favourite role of the 51-year-old actress. ‘She enjoys the power of playing a man,’ the director says. Valk starred in the role in its 1993 première, as well as during this January’s Chicago tour. She will reprise the role in the coming HK Arts Festival performances in February. ‘Kate’s change in posture is very important as is her contacting the male resonance in her voice. Of course, the music of Brutus Jones’s language is there in the writing. That’s true of the other characters as well, Smithers, Lem and the Old Woman.’

Though the group has performed The Emperor Jones for over 15 years in the Big Apple and on tour, LeCompte considers the play has an ongoing universal significance, not only in America but in the world situation, even as that evolves. ‘The play, a struggle with cosmic significance, will always have political and social repercussions. It’s basically about power, the dominator and the dominated.’ While in the past racial segregation was so extreme that even black characters had to be played by Caucasians, does the dramatist consider a reversal is underway, with black culture now so deeply rooted in American youth and a black president having newly emerged? ‘Times,’ she says, ‘have not reversed – it is fantastic that we have a new black president and a woman as secretary of state, but many problems and obstacles loom large.’

To the more politically correct, The Emperor Jones may be a cause for some outrage – for instance, the word ‘nigger’ frequently used in the play, is now avoided because of derogatory connotations. But LeCompte isn’t worried. ‘Self-censorship doesn’t enter my mind when I am working. Among the artists whom I admire, I don’t see self-censorship or political correctness playing a role.’ Nor is she concerned that cultural differences will be a barrier to Hong Kong audiences’ enjoyment of the show. ‘Our production includes music, dance, and video. It’s very aural and visual and, even though the language is in a heavy dialect, the sense of the play is quite accessible,’ she says. She believes the plot summary in the programme will also help guide the audience through Jones’ adventures. She is quite definite as she states, ‘Anyone should be able to walk into the theatre and enjoy the show.’

The Wooster Group’s The Emperor Jones will be staged at the HK Cultural Centre Studio Theatre from February 18 to 21 at 8:15pm, and February 22 at 5pm. Tickets are $350, $250 and $150 from URBTIX, 2734 9009.