Lyric Stage Boston presents: Crumbs From the Table of Joy
Performances begin Friday, Jan. 10 and run through Sunday, Feb. 2.
“I enjoyed the play but as a “black” male in America, I found it at times painful to watch. Reminiscent of Lorraine Hansberry’s 1959 play “A Raisin in the Sun”, two-time Pulitzer Prize winner Lynn Nottage’s play “Crumbs at the Table of Joy” (both play titles were inspired by poems from Harlem Renaissance poet Langston Hughes) is a germane, prescient, at times, biting and raw adaptation of atavistic racism of the civil rights movement and post-civil war Jim Crow era, mediated with sporadic sidesplitting comic relief and adolescent idealism through day dreams of movie magic of the 1950s, providing complex historical context for dialogue, understanding and compassion in confluence with the racial and sociopolitical disunity manifesting in present day society. A vibrant and illuminating depiction of the “Black” working-class struggle for equality and inclusion replete with dramaturgical artistry”
—Jacques Fleury, Patch News-Boston
Synchronized Chaos Literary Journal
Crumbs From the Table of Joy
Two sisters and their recently widowed father struggle to find their place in the world while holding tight to the love they have for each other.
Boston, MA: Lyric Stage Boston begins the new year with Lynn Nottage’s touching portrait of a family longing to find the light and spark that has been dimmed in their everyday lives. Directed by Tasia A. Jones and featuring a cast of new talents and Boston-area favorites, Crumbs From the Table of Joy is the perfect way to warm your heart and enrapture your mind this winter season.
Adrift in Brooklyn during the racially charged 1950s, two teenage sisters Ernestine and Ermina live with their devout, recently widowed father, Godfrey, who follows the teachings of spiritual leader Father Divine. Almost to the point of obsession, Godfrey’s staunch beliefs cause his girls to heal their wounds with Hollywood films, daydreams, and lots of cookies. Their humdrum lives are turned upside down with the arrival of their vivacious Aunt Lily, who brings with her a few bad habits and a taste for rebellion. When Godfrey makes a shocking decision that involves a German woman named Gerte, can the family find new meaning in what makes a home?
Director Tasia A . Jones says. “We may find ourselves scrounging for crumbs from the table of joy, as we search for something to help us get from one day to the next. As we watch the Crumps wrestle with many questions of identity, love, faith, and belonging, I hope we can let the theatre be a sanctuary. I hope it can be a place for us to find our own answers to our deepest questions. I hope we can let it be a sacred space to feel whatever we need to feel, and I hope it can also be a space for us to forget if that’s what we need right now.”
Jacques Fleury
Jacques Fleury is a Boston Globe featured Haitian American Poet, Educator, Author of four books and a literary arts student at Harvard University online. His latest publication “You Are Enough: The Journey to Accepting Your Authentic Self” & other titles are available at all Boston Public Libraries, the University of Massachusetts Healey Library, University of Wyoming, Askews and Holts Library Services in the United Kingdom, The Harvard Book Store, The Grolier Poetry Bookshop, Amazon etc… He has been published in prestigious publications such as Wilderness House Literary Review, Muddy River Poetry Review, Litterateur Redefining World anthologies out of India, Poets Reading the News, the Cornell University Press anthology Class Lives: Stories from Our Economic Divide, Boston Area Small Press and Poetry Scene among others…Visit him at: http://www.authorsden.com/jacquesfleury.
Jacques Fleury’s book You Are Enough: The Journey Towards Understanding Your Authentic Self
I will happily remain silent, lips sutured, sealing ancient,
festered wounds (though hapless impulses tug at stitches),
my tongue a giddy atrophy, old car in its garage. I’ll not
wag or lash it anytime soon.
I know this silence, a wide horizon, an ocean, a silence
nearly as deep as magma sputtering beneath
the Laurentian Abyss. Awed by sublime, I only teeter
at its precipice, a wanderer in a Romantic’s painting.
I search my shelves for adequate locutions, attic, cellar,
spare room, to fit rather than buy a new articulation.
But my attempts remain clumsy, lumbering obstacles
so long as obsession hinders my intent (My mind
a fence row, nettles, burs and briar strangled in barbed wire.
There. There now.)
Does silence abide the absurd or pass unencumbered,
whistling through my ribs, wind through an abandoned
house? As the Buddha, a monk, I shall loosen my grip
on petty clamor, what’s futile, samatha, tranquility,
my singular desire.
This silence is (and I shall listen without interruption)
a breeze whispering through pines just outside
my window; the lulling murmur of phoebes hopping
and pecking across the yard;
the trillium pushing noisily though mayapples and loam;
with the morning sun, apple blossoms opening one by one.
I shall regard each arrival, each pink bud,
each white explosion.
This silence is (Though much too sentimental, I’ll try again.)
that warm afternoon, lolling in bed, when there’s nothing else,
when I apprehend, galvanic skin to skin, lip to breast,
I love my lover, when words are ludicrous.
David Sapp, writer and artist, lives along the southern shore of Lake Erie in North America. A Pushcart nominee, he was awarded Ohio Arts Council Individual Excellence Grants for poetry and the visual arts. His poetry and prose appear widely in the United States, Canada, and the United Kingdom. His publications include articles in the Journal of Creative Behavior, chapbooks Close to Home and Two Buddha, a novel Flying Over Erie, and a book of poems and drawingstitled Drawing Nirvana.
Wael Elouny, star bridge between Egypt and Hollywood
Wael Elouny, 42 years old, is an Egyptian star, born in the cultural capital Alexandria, home of the legendary Bibliotheca Alexandrina. Wael Elouny is making his debut in Europe and the USA with the film “Ancient taste of Death …on mother pearl floor” by Antonello Altamura, a film with new philosophical aspects. Wael has a spontaneous character, a very lively spirit, a volcano of creativity. Wael, in addition to cinema, has experience in theater and television and is the winner of many film awards.
Walking with Wael through the streets of Cairo, everyone recognizes him and stops to ask for his autograph, because people like Wael and he does not want to have the mask of the star. Wael works with big film productions, but is attracted by indie productions, overflowing with creativity and certainly a faithful mirror of current customs. For all this I introduced him to the Italian director Antonello Altamura, 50 years old, for “Ancient taste of Death” an indie movie of the Hollywood Art Film Production, based between Hollywood and San Francisco, so the production is Californian in cooperation with an Italian production.
It is a film that links the dramas of the Hollywood golden age with the enigmas and dramas of ancient Egypt at the time of Cleopatra VII. It is a film where the world of the invisible and the metaphysical acts on reality, which, elusive, never, really allows itself to be fully identified. The scene I shot with Wael is totally immersed in this context. The character of Wardal, who has two souls, goes to the oracle of Siwa to meet Bayed (Wael Elouny), since he is opposed by Ottavio-Ottaviano (Antonello Altamura in his debut as an actor). Bayed advises Wardal against eliminating Ottavio. Wardal rebels against Bayed’s advice, which he takes as an insult to his power, which he sublimates by saying: “I am history”, while Bayed interrupts Wardal’s abstraction-delirium, who points a gun at Bayed, but Bayer’s charisma prevents his assassination and Wardal, consumed by the drama, falls at Bayer’s feet.
Wael and I wanted to shoot the scene in Arabic, under the supervision of the great political journalist of “Akhbar El Youm” Ph.D. Ahmed Elsersawy. On that day in December 2024 Wael was busy with two films and I with a television recording. We both wanted to shoot that scene which in the film will be called: “I am history”. We repeated it several times and each time we enriched it with a new idea, in five hours of work, pressed by our other work commitments. There was a perfect harmony between me and Wael, a great professionalism. Then, from Cairo, we made a video call to Antonello Altamura in Turin. Wael and I were very satisfied with our work and Altamura likes a lot that scene.
Here is a true story of our world of cinema, here is an important step of cooperation between Californian and Egyptian cinema and the Arab world. There is a project to create a solid bridge between Hollywood cinema and Egyptian, Saudi and Arab Emirates cinema through a colossal film festival. Fingers crossed.
