‘The Stamped Project’ @ Bishop Arts Theatre Center
Dr. Ibram X. Kendi came to BATC for a post-show talk on March 1….
—Rickey Wax
The 4th Annual Banned Books Festival at Bishop Arts Theatre Center, meticulously crafted by director Jori Jackson, once again proved why it’s one of the most thought-provoking theatrical events in Dallas. Six local playwrights took on the challenge of adapting sections of Dr. Ibram X. Kendi’s award-winning book, Stamped from the Beginning, into ten-minute plays that explored America’s deeply rooted racial history. The result? An afternoon of gripping, provocative, and at times humorous storytelling that kept audiences engaged from start to finish.
The set, designed by Rachel Velasco, was minimal yet symbolic—a scrim shaped like a book, emblazoned with red words that resembled blood, perhaps representing the price paid to write America’s history. Cameron Barrus’ lighting design further enhanced each play’s tone, shifting from deep blues and amber hues for more somber pieces to bright, warm lighting for comedic moments.
THE PLAYS:
Throwing Blind by Straton Rushing kicked off the afternoon with a witty yet introspective look at bias. Two fraternity brothers (Max Rose and John H. Marshall) prepare for a dart tournament but are forced into an uncomfortable conversation about race when Thom (Max Rose) spirals over his ex-girlfriend’s new Black boyfriend. Wanting Will (Marshall) to second his frustration, Thom instead finds Will challenging his views, forcing a moment of self-examination. The play cleverly balanced humor with a sobering look at the casual racism ingrained in social circles, ending on a note that left the audience still questioning: Will Thom confront his prejudices, or dismiss the challenge to change?
Wake Up by Ashley H. White took an abstract approach, presenting three archetypes—The Revolutionist (Claire Fountain), The Assimilationist (Wesley Johnson), and The Segregationist (John H. Marshall)—as they debate their place in society, while a fourth character (The Observer, played by Johanna Nchekwube) urges them to consider the power of unity. This piece cleverly dissected the roles we assume—whether as passive bystanders or active participants in progress.
Coming to Umreeka by Maryam Baig shifted gears, delivering a smart and biting satire on immigration. A woman (Curtisha Starks) fights for her citizenship in an infuriating bureaucratic showdown with Mr. Brown (J.R. Bradford), a government official who seems determined to make her journey as difficult as possible. Despite having lived in the U.S. for 26 years, her intelligence and perseverance are met with skepticism. Mr. Brown fixates on irrelevant details—like the fact that she takes the city bus—revealing his underlying biases. The rapid-fire dialogue and comedic timing between Starks and Bradford kept the audience engaged, blending humor with the weighty reality of navigating a system designed to exclude.
Incommunicado by Aaron Zilbermann took the audience into dark, deeply unsettling territory. Set in a laboratory, the play draws inspiration from real-life horrors, evoking the legacy of medical experimentation on Black bodies. Dr. Charles Davenport (John H. Marshall) teaches his daughter Lenore (Claire Fountain) about genetics while dehumanizing Black Body (Curtisha Starks) and Pluto (Wesley Johnson), treating them as specimens rather than people. The doctor’s callousness, the daughter’s complicity, and Black Body’s poetic defiance made for a chilling piece. The play serves as a haunting reminder of how science has been weaponized against marginalized communities, and of the dangers of silent compliance.
Ham and Cheese by Calvin Walker dove into the intersection of religion, racism, and capitalism. Taking place in the hull of a slave ship, Canaan (J.R. Bradford) and Silas (Wesley Johnson) debate their fate, intertwining history and theology. The play references the Curse of Ham, a biblical misinterpretation used to justify slavery—and leads to a gripping discussion on faith as a tool of oppression and resilience. Canaan, a descendant of Noah, believes that history is written by those in power (“Sense don’t make the rules”), while Silas, confused and enraged, struggles to understand why they are bound in chains if his people built the ship. The play’s dialogue is poetic and philosophical, forcing the audience to question the narratives that have shaped our understanding of race and history.
Finally, A Condition of Dissonance by Camika Spencer ended the afternoon with an uproarious and cathartic satire. Marva (Johanna Nchekwube), a savvy social-media historian, goes live in a park to educate her followers about Silvia Hector Webber, a Black woman dubbed the Harriet Tubman of Texas. Enter Donna aka LaDonna (Claire Fountain), a self-important Karen who insists Marva has no right to be there. What ensues is an all-too-familiar clash, but with a delightful twist: as Marva’s followers rally to expose Donna, her employer sees the livestream—and she promptly loses her job. And then, because the universe has a sense of humor, aliens abduct Donna—never to be heard from again. The play’s sharp wit and social commentary had the audience in stitches, providing the perfect comedic release after an evening of intense subject matter.
The beauty of the Banned Books Festival lies not just in the talent of its playwrights, actors, and creative team but in its unwavering commitment to amplifying necessary conversations. Each play, whether abstract, historical, or comedic, served as a reminder that history is not just in textbooks—it’s alive, woven into the fabric of today’s struggles and triumphs. If you missed this year’s festival, consider this your warning: don’t let the next one pass you by.
WHEN: February 22-March 2, 2025
WHERE: 215 S Tyler St, Dallas, TX 75208
WEB: bishopartstheatre.org
