[funky music] [rhythmic drum music] [gentle piano music] - We are at Emancipation Oak here on the campus of Hampton University, and a lot of people know what "Emancipation Oak" means.

"Emancipation," not necessarily importance of this tree that we are about to see.

These are hallowed grounds, so to speak, because of what happened here on the 1st of January 1863.

Africans who have been enslaved in this country for a little over 200 years learned that they had been freed by the Emancipation Proclamation, and they learned it here.

And that's the importance of the oak.

This tree is symbolic of a people who struggled to be free and equal, and also for education.

[inspiring symphony music] - We have a very close relationship with the city of Hampton because, you know, this is a very historic area.

Right to the east of us on our campus is Fort Monroe, and that's where the first contraband slaves arrived.

And so, we've even done stories on the contraband slaves, as well as, you know, Hampton University was founded by General Armstrong.

And he started Hampton University with students who had just been freed and who needed an education.

And so, he went across the country raising money in order to educate young, Black freed slaves.

- And that had been the mantra of all of the presidents, but particularly Armstrong.

He's the founder.

This is Armstrong.

And I quote, "I wish my institution "to excel in whatever it undertakes."

[dramatic symphony music] - This time we're gonna run through it.

We're gonna do things a little differently because of filming.

We knew that was gonna come, right?

Okay.

- So, regarding my entrance with Brie.

So, lights up, I enter, and I just start talking.

She doesn't even have to hum first or?

- [Dr. Ward] Well, she hums first, but you take a beat.

- Okay.

- [Dr. Ward] And then you start.

- Okay, enter, beat, start.

Got you, thank you.

- Okay, ready to go?

All right, going from the top of the show.

We've done large works.

We've done small works.

We've done original works.

We've collaborated with other theaters, and we've even produced a web series at Hampton.

So, we're really, really happy with the work that we do here.

We have some very dedicated students, and we also have some very dedicated faculty that work really hard to make sure that our students are prepared.

The first thing we dealt with, of course, was the sensitivity of the subject matter, skin color and church politics.

So, we had to talk to them extensively about that.

- I'm Dr. Robin Boisseau, and I am dramaturg and assistant director for "Color Struck" and "The Church Fight."

I was charged to look at the script and see what places in the script the students might not be aware of the history behind what was going on, they might not understand like the Jim Crow car, what a plug hat was, what colorism is, and what "color struck" meant.

- And then from there we moved into the vernacular that both playwrights use in their plays, you know.

And so, we did weeks of just dialect training.

And a lot of the students, [chuckling] at first they kind of hesitated because they didn't want... "We don't talk like that," is what they would say.

But once we actually started learning the history of our, you know, our legacy and then also dissecting the characters - it's important to dissect the characters and see and hear them - and then, they kind of let go of what they consider the popular vernacular and took on the vernacular and dialect of the characters in the play.

- The whole experience has just been amazing.

We started with a presentation by Dr. Ward, Professor Watson, and Dr. Boisseau.

They kind of ran us through the history.

- Honestly, at an HBCU you get experiences like this.

I've never been filmed before.

So, this was a great opportunity, and I just think that it's really a community.

- Dr. Ward worked with us for several weeks on getting the correct dialect for the region where we were, the time period, and our characters, Like each person, while it was kind of the same, each person spoke in their own way.

- I love my cast.

I love my castmates, I love them so much.

Very talented people, awesome.

It was a great time, and I think that adjusting for camera was definitely a bit of a challenge maybe at first for some of us.

I know it was for me especially, but my castmates, they adjusted so well.

They did a great job.

And of course, when we're performing for a live audience, I guess it's more so what we're used to in theater, but it was a great time.

- Film is so different from live theater.

In live theater of course you get that immediate gratification and that feedback, and they're used to that.

Matter of fact, they thrive on that.

But when they, when you go into another medium like film, they have to realize that it's not quite the same, but they wanna keep the same intentions of the characters.

I tried to teach them that you have to work differently, but just as hard.

- My name is Dylan George.

I am the costumer for "Church Fight" and "Color Struck."

I took a lot of inspiration from 1920s art, Archibald Motley in particular.

A lot of his art pieces are fantastic.

"Cocktails" is a good one that I took a lot of inspiration from for "Church Fight" in specifics.

I work with the actors, and so their...the way that they move their bodies.

As soon as I saw "Church Fight," the people with the canes, if they wanted larger stomachs or bigger breasts or whatever their characteristics were with all of that is as soon as they started moving, I said, I know exactly how you're tryin' to move, and let's costume that person.

I don't really work with the person.

I work with the character, if that makes sense.

- Oh, I loved the play the first time I read it.

First of all, it's a satire.

And so, when you write, when Ruth Shelton wrote this play, she was really takin' a risk in dealing with this type of subject matter and being a woman playwright in that time period.

- "Church Fight," [laughing] you know, it's funny.

It's that, we'll say all these things behind people's backs but they won't say it to their face.

That's like the obvious theme in it.

And it just kind of solidifies that thought for me of like, you know, be true to who you are.

If you're gonna say somethin', you know, be willing to say it.

If you're gonna talk about somebody, be willing to say it to their face and not, you know, just talk about people behind their back.

And it's, it was just a fun piece, you know, to play that because I try to avoid talkin' about people behind their back.

But getting to do that as a character is kind of fun, like seeing that, goin' back and forth with people.

But, yeah, those are probably the two biggest things that I've pulled from it.

Just the core thing of both of them is just, you know, be true to yourself.

Be true to who you are.

Focus on you.

Don't worry about what everyone else is doin' because everyone else is focusin' on their own thing.

You got your own path.

You got your own life, and you got your own goals and dreams that you should pursue.

- Well, wife, I must go.

It's 7:30, and I have to skip along now.

But I want you to remember, if that committee meets here today, tell 'em we ain't gonna pay another cent in that church until Par-son Procrastinator leaves.

Tell them Parson, Parson Shoot from Rocky-town, says he'll come and take our church anytime.

- Don't you worry, Ananias.

I ain't gonna pay no more money to that man.

Why, he has plumb robbed the treasury.

Oh, hence the shame for a preacher to stay at a church until he kills it plumb dead.

Oh but here, baby, take your dinner basket.

- [Narrator] Ananias takes his basket, says goodbye as he goes out the door.

Cleaning up table.

- Oh my, I do hope they can get Brother Procrastinator moved by night.

I've got so much work to do today.

I just ain't got the time to fool with all them people that are comin' here, but we have got to attend to God's work first.

- [Narrator] Knock at door.

Opens door.

- Oh, why, you all are here before I've gotten my house cleaned up, but please come right in.

I'm so glad you all mean business.

- [Narrator] Enter Sister Instigator with glasses on, looking over them.

Sister Meddler, chewing gum.

Sister Experience with book and pencil looking very important.

Sister Take-It-Back with head down as if afraid of being discovered.

Sister Two-Face smiling sweetly with pretty hat and veil on.

Brother Investigator with a notebook.

Brother Judas leaning on cane.

All ladies are dressed in house dresses, except for Sister Two-Face who has a street dress on.

Sister Sapphira shakes hands with each one calling the name as she does so.

- Oh, just sit right down and let us see what can be done.

I'm just all on fire about it.

- Well, Sister Sapphira, I'll tell you in the beginning.

It's no easy task to move a minister.

You see, in the first place, you've got to have a "charge" against him.

Now, what charge have we against Parson Procrastinator?

- Well, Brother Investigator, we ain't got no particular charge against him.

He only been here 13 years, and we is tired of lookin' at him.

- That's right, that's right.

- That won't do, Sister Instigator.

You must have sufficient evidence and proof that he's broken the law, or lived unrighteously.

- Couldn't we just make up some charge against him?

- Whoa oh, better not do that, Sisters.

You'll get into trouble.

Mmm hmm.

- Child, there ain't no danger of that.

We could just simply say that Brother Procrastinator has not walked in the straight and narrow path since he's been here.

- Well, Sister Sapphira, you can't say that unless you tell just wherein he failed to walk in the path.

- Well, I'll just tell you the truth, Brother Investigator.

- Okay.

- You know I know him.

- [Brother Investigator] Mmm hmm.

- He and I have been arm in arm here ever since he started.

- Yes.

- He's a pretty, uh, crooked sort of fellow.

- [Brother Investigator] Mmm hmm, all right.

- Now, of course I wouldn't like for him to know that I squealed on him so let's.

- Okay.

- Well, I know one thing, and I seen it with my own eyes.

- [Brother Investigator] What'd you see?

- I saw him hold onto Sister Holy's hand for one night so long at the prayer meeting, Brother Two-Face had to come speak to him about it.

- Oh, girl.

There now, did y'all hear that?

Now, I have been watchin' them two for some time now, and y'all know Sister Holy was the one who gave him that gold pencil.

- Gold pencil.

- Ooh.

- Now, now, Sisters, you all had better listen to me.

You know I've been in one church fight, and I promised God that I'll never be in another.

- Sweet Jesus, not again.

- Now, now in the first place, no church fight can be built on a lie.

It's better to let the preacher stay then damn our souls tryin' to get rid of him.

- We want no cowards in our band.

- That's right, that's right.

- Oh, if there's anybody here that's afraid to come out and fight in the open, let them get out at once.

- Well, I'm one that's not afraid.

You all know me.

You know what I say first, I say last.

- Say it, Sister, say it.

- I started to move our Brother Procrastinator, and I do not expect to stop until he is gone.

- That's the way you gotta win out, Sisters.

You got to have that fightin' spirit.

- I tell you, we must get rid of this man.

Why, none of the young people wanna come to church because he can't read so anybody can understand him.

If he don't go, this church is goin' to destruction and ruin.

- Now, sisters and brothers, I have listened careful to every word you have said.

- Okay, okay.

- And I ain't yet had sufficient evidence to ask Parson Procrastinator to go.

- Brother, are you listenin'?

- Uh uh, shh.

Brother Investigator, I wish to drop this word of warnin', if I may.

- [Brother Investigator] Yes, you may.

Go ahead.

- Thank you, thank you.

[clearing throat] Now, when I was in the fight against Parson Hardhead, some of the sisters told so many stories that the bishop had to turn him out of the church for life.

Now, now, I don't think we ought to tear the church all to pieces just to get the minister to go.

If he ain't doin' right, let the officers see that he does do right.

- Okay.

- And if he ain't a good man, let the church get together and pray for God to touch his sinful heart and convert him.

For after all, we are serving God, not man.

- [Brother Investigator] Come on.

- Men may come, and men may go, but God stays forever.

- Yes.

- Amen.

- I see Sister Experience ain't with us in this fight.

Now, I ain't never been in no church fight before, but I'm in this one heart and hand.

- I think we ought to find out where Brother Procrastinator got all that money from to buy that $7,000 house on 6th Street.

- $7,000?

- Yes, $7,000.

- Yes, I forgot that.

Now, that does seem funny when we poor creatures can't hardly get a crust of bread to eat.

Now, there's a charge against him right there.

- That's so.

I never thought of that, and that's a good charge against him.

- What's that, Sister Meddler?

- Why, he bought a big house on 6th Street and paid a whole lot of money spot cash for it.

- Right.

- Well, what can you do about it?

That was his own affair so long as he does not infringe on ours.

- I don't know why it ain't a charge against him.

It gives our church a bad name for the Parson to be flashin' money around like he was a rich man.

Then again, where did he get all that money from?

I know Mornin' Glory Baptist Church ain't give it to him 'cause we only pay him $10 a week.

- He don't deserve but $5 a week.

[Brother Investigator laughing] - Ah, Sisters, here comes Brother Procrastinator now.

- Come in, Parson Procrastinator.

I am glad you came.

- Yes, Brother Investigator, I just come back from conference and heard a church fight was on against me and that they did not want me to come back again another year.

Well now, I am here.

What charge have you all against me?

- I just told them, Brother Procrastinator, that they would have to have some charge against ya.

- That is correct.

Now, let me see who we have here.

Oh, here's my friend who will die by me, I know.

Ain't that right, Brother Judas?

- Oh yes, Parson.

You can always depend on me.

- Uh, Parson Procrastinator, you know I'm your friend.

I told them there was no charge against you, but some of 'em said they had a charge.

- Had a charge against me?

Well, who was it that said so?

- It wasn't me, Brother.

I ain't never seen nothin' wrong out of ya.

- I've never said it, Parson.

- Well, somebody must have said it.

Look it up in the minutes, Brother Investigator.

- [Brother Investigator] Okay.

- I know who said it 'cause I was lookin' right in their mouths when they said it.

[people murmuring] - Now, I know I never had no charge against Brother Procrastinator.

I don't even know nothin' about him.

Only, only good things.

- And Parson Procrastinator, you do look so fine since you've come back from conference.

- [Brother Judas] Oh, Lord, there she go.

- And we is all just crazy about you.

- It says here in the minutes that you bought a $7,000 house on 6th Street, but I failed to put down who said it.

- Oh, is that it, is it?

Oh, well, I wants the one who said it to get right up here and tell me why they call it a charge against me.

- Well, I never said it to but I know who did say it, but it's none of my business.

- Yes, it is your business, Sister Experience.

You know from your past experience what it means to have a church fight.

Now, I wants the one who said this charge to own it.

- I think it was.

- Uh, that will do, Sister Meddler.

We want the sister what said this charge to own it themselves.

And if they can't say last what they said first, well then, she's a prevaricator by the law.

- [Sister] Oh, in that case.

- Now, Brother Investigator, since nobody will own this charge against me, why don't me just scratch it out, and I wants all them that's for me to raise their hand, yes.

And, Brother Investigator, you count 'em out.

- Okay.

All what's in the favor of Parson Procrastinator stayin' with us this year, raise your hand.

Mmm hmm, there she goes.

Saw that one comin', okay.

All right.

Oh, what's your objection, Sister Experience?

[Sister Experience laughing] - [Brother Investigator] Why's she laughin'?

What's so funny?

- I'm just sittin' here countin' all the liars.

[people murmuring] - Well, that will do.

The vote is carried, and if it's carried by liars, then, then, Brother Investigator, you just write it down.

And I will see you all at prayer meetin' Friday night.

- Ain't he a wonderful man?

- Girl.

- Oh, girl.

- I don't think we'll ever find another one like him.

- Well I had intended to tell him just what I thought of him if he had stayed.

- Mmm hmm.

- Well, he is a good man, and we can't afford to let him go.

- [Brother Investigator] I don't know about that.

- Yeah, I said that in the first place.

See, that's the trouble with our people is they never stop to to think.

- They don't, do they?

- That is just it, Sister Sapphira.

Oh, now, I thank God I have never said a harmful word against that man in my life.

- Ooh, Lord forgive her.

- You all ought to be ashamed of yourselves, startin' all that fussin' and denyin' it.

Nevermind, I'm gonna tell Parson Procrastinator.

- I'm glad I didn't say a word against him.

You all know I just love Parson Procrastinator.

- We know.

- Yes, we know.

- I was the one that gave him that gold pencil.

- Oh Lord.

- Well, I didn't want everybody to know it.

- She done gave him the gold pencil.

- She need to repent.

- Oh, Sisters, do let us go home before we defy the law any longer.

- Yes, all stand please.

Lord, smile down in tender mercies upon those who have lied and those who have not lied.

Close their lips with the seal of forgiveness.

Stiffen their tongues with the rod of obedience.

Fill their ears with the gospel of truth.

- [Sister] Yes, sir.

- And direct Parson Procrastinator's feet toward the railroad track.

[group responding] [foot stamping] Come on now.

- Yes sir.

[foot stamping] - [Brother Investigator] Yes, Lord.

- Yes, Lord.

- [Brother Investigator] Can I get an amen?

- Amen.

- "Color Struck," that's a whole different story.

There is nothing really humorous about "Color Struck."

It deals with a subject matter that as a culture, as a people, we've dealt with for years.

Really prior to slavery, we dealt with the skin color and how it affected our families, how it affected our work, and how it affected our entire lives.

- I did a PowerPoint presentation for them about Zora Neale Hurston, about "Color Struck."

Anytime they had a question about the dialect or what something meant, I went in, and if I didn't know, I went and found out.

- And so when you see "Color Struck," more than likely you're gonna, something's gonna resonate with you that you've experienced, or you've talked to other people, and they've experienced.

But it's something that as with "Church Fight," we need to talk about in our communities in order to get past that.

- "Color Struck" and "The Church Fight," they epitomize some of the issues that Black people were dealin' with culturally in the 1920s.

- For "Color Struck," the time period was very sensitive.

It deal with colorism.

Emma, who is my lady in the show, she is jealous of light-skinned women or light-skinned people in general.

And John, you know, he was very demanding, very controlling, manipulative, but he still loved Emma.

But you know, was friendly with the light-skinned women.

Very different time periods.

- For "Color Struck," I play Emmaline Beazeby.

God, how do I talk about Emmaline?

Emmaline, she is young.

She's very young.

She's not much older than I am.

At the beginning of the play she's 20.

There's a lot about her.

You know, there is a lot to her, and I think a lot of what the audience knows about Emmaline we think about after the play.

After the curtain call, you think about the things that she does and why she does these things.

[somber piano music] [lighthearted 1900s piano music] - Time, 1900.

Setting, early night.

The inside of a Jim Crow railway coach.

There are luggage racks above the seats.

The windows are all open, and there are exits in each end of the car right and left.

A few seats remain unoccupied.

- Howdy do, Miss Effie?

You'se lookin' just like a rose.

Fact is, if you wasn't walkin' along, I'd think you was a rose.

Looka here.

Where's Sam at?

- I don't know, and I don't care.

- Lemme escort you to a seat.

How come Sam ain't here?

Y'all on a bust?

- The man that don't buy me nothin' to put in my basket ain't goin' with me to no cake walk.

Take your arm from 'round me, Dinky.

Go on and hug your Ada.

- Do you think I look at Ada if I got a chance to be with you?

I always was sweet on you 'til old Mullet-head Sam cut me out.

- Just look at these darkies comin'!

Hey, Dinky!

Here comes Ada with a great big basket.

- Where's Sam, Effie?

- Lord knows, Ada.

- Lord, have mercy.

Who you gonna walk the cake with?

- Nobody, I reckon.

John and Emma are gonna win it no how.

They's the bestest cake walkers in this state.

- You'se better than Emma any day in the week.

'Cause Sam can't walk like John.

Looka here.

Ain't John and Emma goin'?

They ain't on here.

- My God, suppose they got left.

- Here they come, nip and tuck.

Whoo-ee!

They'se gonna make it.

[train whistling] - [Narrator] And the train begins to move.

They enter panting and laughing at left.

- Don't y'all scare us no more like that.

There could be no cake walk without y'all.

Them shad-mouf St. Augustine coons win that cake, and we about to kill 'em all bodaciously.

- It was Emmaline nearly made us get left.

She says I was smilin' at Effie on the street car.

She had to get off and wait for another one.

- You were smilin' at her, and she was smilin' back, just like an ole chessy cat.

- [John] I wasn't.

- You was.

I seen you lookin' just a like a possum.

- I wasn't.

I never gets the chance to smile at nobody.

You won't let me.

- Just the same, every time you sees a yaller face, you takes a chance.

- [Narrator] They sit down in peeved silence for a minute.

- Ada, les we all sample the basket.

I bet you got huckleberry pie.

- No, I ain't.

I got peach an' tater pies, but we ain't gonna touch a thing 'til we gits to the hall.

- Naw, don't do that.

It's all right to save fried chicken, but pies is always et on trains.

- Aw, shut up.

- Hello, Effie.

Where's Sam?

- Deed.

I don't know.

- Y'all on a bust?

- None of your business.

You got enough to mind yourself.

Turn 'round.

- [Narrator] Enter conductor left, callin' tickets cheerfully and laughin' at the general merriment.

- I hope someone from Jacksonville wins this cake.

- You live in the "Big Jack?"

- I sure do, and I wants a taste of that piece of cake on the way back home tonight.

- Just rest easy.

Them Augustiners ain't gonna smell it.

Is they, baby?

- Not if I can help it.

- Look here, you cake walkers.

Y'all oughta get up and limber up your joints.

I heard them folks over to St. Augustine been oilin' up with goose grease and over to Ocala they been rubbin' down in snake oil.

- You better shut up, Wesley.

You just joined the church last month.

Someone's gonna tell the pastor on you.

- Tell it, tell it, take it up and smell it.

Come on out you John, Emma, and Effie and limber up.

- Naw, we don't wanna do our walkin' steps.

Nobody won't want to see them when we step out at the hall.

We can do somethin' else to warm ourselves up.

[lighthearted 1900s piano music] Come on out, Effie.

Sam ain't here.

So you gots to hold up his side too.

Step on out.

- Hot stuff, I reckon!

Hot stuff, I reckon!

[upbeat 1900s piano music continues] - Woo.

[John applauding] - Woo hoo!

If that Effie can't step, nobody can.

- Course you'd say so cause it's her.

Everything she do is pretty to you.

- Now, don't say that, honey.

Dancin' is dancin' no matter who is doin' it.

Nobody can hold a candle to you in nothin'.

[mellow 1900s piano music] Come on.

What makes you always pickin' a fuss with me over some yaller girl?

What makes you so jealous nohow?

I don't do nothin'.

- [Narrator] The train whistle blows.

[train whistling] There's a slackening of speed.

Passengers begin to take down baskets from their racks.

- John!

John, don't you want me to love you, honey?

- Yes, I want you to love me.

You know I do.

I don't like to be accused of likin' every light-colored girl in the world.

It hurts my feelings.

I don't wanna be jealous like you are.

- [Conductor] Next up, St. Augustine.

St. Augustine, next up.

- [Narrator] The crowd has congregated at the two exits, pushing good-naturedly and joking, all except John and Emma.

They are still seated with their arms about each other.

- Then you don't want my love, John, cause I can't help myself from bein' jealous.

I loves you so hard, John, and jealous love is the only kind I got.

Just for myself alone is the only way I knows how to love.

- [Narrator] Setting: a weather-board hall.

The place has been divided by a curtain of sheets stretched and a rope across from left to right.

Enter the Jacksonville delegation, laughing, pushing proudly.

- Here we is, folks, here we is.

Got to take that cake on back to Jacksonville where it belong.

- Go on, you Jacksonville mullet-head coons know what to do with a cake.

It's gonna stay right here in Augustine where the good cake walkers grow.

- Taint no 'walkers' never walked 'til John and Emmaline prance out, you mighty come a tootin'.

- [Narrator] Great laughin' and joshin' as more people come in.

John and Emma are encouraged, urged on to win.

- Let's we get to seat, John, and sit down.

- Sure will.

There's a nice one right over there.

- [Narrator] Newcomers shake hands with them and urge them on to win.

- If you don't go away from here.

Lordy, if it ain't Joe.

- I thought you had done forgot us people in Eatonville since you've been livin' up here in Jacksonville.

- Hmm, course I ain't.

Looka here, folks.

Joe Clarke oughta be made chair.

The man is meetin'.

I mean past Great-Grand Master of Ceremonies, him bein' the onliest mayor of the onliest colored town in the state.

- Yeah, that's fine.

- Yes sir, yes sir.

- Get your partners, one and all, for the grand march.

Get your partners, gentlemen.

- Let's we all eat first.

- [Narrator] John and Emma go buy ice cream.

They coquettishly eat from each other's spoons.

- You certainly is a ever lovin' mamma when you ain't mad.

- You oughtn't to make me mad then.

- I don't make ya.

You makes yourself mad, then blame it on me.

I keep on tellin' you I don't love nobody else but you.

I know heaps of half-white girls I could get if I wanted to, but I just wants you.

You know what they say?

The darker the berry, the sweeter they taste.

- Oh, you tries to run me over and keep it under the cover, but I won't let ya.

Let's eat our basket.

- Alright.

- Lets everybody eat.

Motion's done carried.

- [Narrator] Effie crosses to John and Emma with two pieces of pie on a plate.

- Y'all have a piece of my blueberry pie.

It's mighty nice.

- Naw!

We don't want no pie.

We got coconut layer cake.

- I'd choose a piece of pie, Effie.

Will you set down and have a snack with us?

- No, I gotta run back to my basket, but I thought y'all might wanna taste my pie.

- Thank you, Effie.

Mighty good too.

Honey, be nice.

Don't act like that.

- Naw, you done ruined my appetite now carryin' on with that punkin-colored ole gal.

- What can I do?

If you had acted polite, I wouldn't have had nothin' to say.

- Naw, youse just hog-wile over her 'cause she's half-white!

No matter what I say, you keep carryin' on with her.

Be polite?

Naw, I ain't gonna be deceitful and bust my gizzard for nobody!

Let her keep her dirty old pie over there where she is.

- Shh, honey, you mustn't talk so loud.

- I ain't gonna bite my tongue!

If she don't like it, she can lump it.

My back is broad.

[Emmaline grunting] She calls herself the big cigar, but I can smoke her.

- [Narrator] The people are laughin' and talkin' for the most part and pay no attention.

- Couples, come one and all for the "Parse-me-lah" contest.

Mathilda Clark is winner, and if she would step forward, she will receive a beautiful wool fascinator.

Now then, since the rooster's crowin' for midnight, and most of us gotta get up and work in the mornin', the Great Cake Walk will begin.

I want the floor cleared 'cause the representatives of the several cities will be announced, and we wants them to take the floor as their names all called.

They wants to do a grand promenade around the hall.

Then, they will commence to walk for the biggest cake ever baked in this state.

10 dozen eggs, 10 pounds of flour, 10 pounds of [lips smacking] butter, and so on and so forth.

Now then, the first couple from St. Augustine.

[lighthearted 1900s piano music] From Daytona.

From Ocala.

And last, the most popular walkers in the state, from Jacksonville, Miss Emmaline Beazeby and Mr. John Turner.

- John, let's we all don't go out there with all them.

Let's we all go on home.

- Why, Emma?

- 'Cause, 'cause them girls is gonna be pulling on you and haulin' on you.

- Shucks!

Come on.

Don't you hear the people clappin' for us and callin' our names?

Come on!

Come on, Emma!

There ain't no sense in your actin' like this.

The band is playin' for us.

You hear 'em?

- Naw, John, I'm scared, I.

- Look, I got to go in.

I've been practicin' almost a year, I... We done come all the way down here.

I can walk the cake.

Emma, we got to.

I got to go in.

- [Narrator] He looks into her face and sees her tremendous fear.

- What you scared about?

- You won't do it.

You'll come on home with me all by ourselves.

Come on, John, I can't.

I can't go out there and see them girls, Effie hangin' after you.

- I got to go in.

Whether you come in with me or not.

- Oh, them yaller wenches!

How I hate them!

They gets everything they wants.

- We're waitin' on the couple from Jacksonville.

Jacksonville, where is the couple from?

- Here they is out here spoonin'.

You all can't even hear your names called.

Come on, John and Emma.

- Comin'.

- What's the matter, Emma?

You and John spattin' again?

- He went and left me.

If we spattin', we done had our last one.

Oh my God, he's out there with her!

Oh them half-whites, they gets everything!

They gets everything everybody else wants.

The men, the jobs, everything!

The whole world got a sign on it.

Wanted: light colored.

Us blacks was made for cobblestones.

- Ladies and gentlemen, Miss Effie Jones will walk for Jacksonville with Mr. John Turner in place of Miss Emmaline Beazeby.

[lighthearted 1900s piano music continues] Couples take your places.

When the music starts, gentlemen, parade your ladies once around the hall, and then the walk begins.

Couples to the floor.

Stand back, ladies and gentlemen.

Give 'em plenty room.

And first, the couple from St. Augustine.

And last, but certainly not least, the couple from Jacksonville.

And by unanimous decision, the winner of the cake goes to the couple from Jacksonville.

- You're from Jacksonville, ain't you?

Ain't you happy?

Woo hoo!

[lighthearted 1900s piano music continues] - [Narrator] Time: 20 years later.

Setting: the interior of a one-room shack in an alley.

There is a small window in the rear wall upstage left.

A cheap bed is against the upstage wall.

Someone is on the bed but is lyin' so that their back is toward the audience.

As the curtain rises, Emma is seen rockin' to and fro in the low rocker.

A dead silence, except for the sound of the rocker and an occasional groan from the bed.

Once, a faint voice says, "Water," and Emma in the rocker arises and carries the tin dipper to the bed.

- No more right away.

Doctor says not too much.

You got right much fever.

I better go get the doctor again.

- [Narrator] There comes a knockin' at the door.

[hand knocking] And she stands still for a moment, listening.

[hand knocking] - Who's that?

- Does Emma Beazby live here?

- Yeah, who is it?

- It's me, John Turner.

- John, did you say John Turner?

- Yes, Emma, it's me.

- John, your hand.

John, flesh and blood.

- It's me all right, old girl, just as bright as a basket of chips.

Make a light quick so I can see how you look.

I'm crazy to see you.

20 years is a long time to wait, Emma.

- Oh, let's we all just sit in the dark awhile.

I wasn't expectin' nobody, and my house ain't been picked up.

Sit down.

- Just to think, Emma, me and Emma sittin' side by each.

You know how I found you?

- Naw, how?

- Soon as I got in town I hunted up Wesley.

He told me how to find you.

That's who I come to see, you.

- Where you been up North somewhere?

Nobody out to where you got to.

- Yes, up North, Philadelphia.

- Married yet?

- Oh yes, 17 years ago.

My wife is dead now, and so I come as soon as it was decent to find you.

I wants to marry you.

I'd die happy if I did.

Couldn't get over you.

Couldn't forget.

You forgive me, Emma?

- Naw, John, how could I?

- Oh Emma, I love you so much.

Strike a light, honey, so I can see how you look, see if you changed much.

You know you was such a handsome girl.

- We don't exactly need no light, do we, John, to just sit and talk?

- Yes, we do.

Go on make a light, honey.

I wanna see you.

- Bet your wife was some high-yaller dickty-doo.

- Naw, she wasn't either.

She was just as much like you as I could get her.

Make a light, and I'll show you her picture.

Shucks, I gotta look at my old sweetheart.

- [Narrator] He strikes a match and holds it up between their faces, and they look intently at each other over it until it burns out.

- You ain't changed none at all, Emma.

Just as pretty as a speckled pup yet.

- Go long, John.

'Member how you used to bring me magnolias?

- Do I?

Gee, you was sweet.

'Member how I used to pull my neck tie loose so you could tie it back for me?

Emma, I can't see to my soul how we spent all this time away from one another.

'Member how you used to make out my ears had done run down, and you used to screw 'em up again for me?

- [laughing] Yeah.

I used to think you was gonna be my husband then, but you let that ole.

- I ain't gonna let you alibi on me like that.

Light that lamp.

You can't look me in the eye and say no such.

Now of course I don't wanna look too bossy, but I believe you got to marry me to get rid of me.

Well, that is if you ain't married.

- Naw, I ain't.

- Not so good, Emma.

But wait 'til you see that little place in Philly.

I got a little Rolls-Rough too.

I'll teach you how to drive it too.

- I've been havin' a hard time, John, and you left.

Oh, ain't nothin' been goin' right for me.

I ain't never been happy.

- You gonna be happy now, Emma, 'cause I'm gonna make you.

Gee, I ain't but 42.

You ain't but 40 yet.

We got plenty of time.

- [Narrator] There's a groan from the bed.

- Gee, what's, what's that?

- That's my child.

She's sick.

Reckon I'd better go see about her.

- You got a child?

Gee, that's, that's great.

You know, I always wanted me one.

Didn't have no luck.

Now, we can start off with a family.

Girl or boy?

- A girl.

Comin' to see me again soon, John?

- Comin' again?

I ain't gone yet.

We ain't talked.

You ain't kissed me or nothin', and you ain't show me our girl.

- [Narrator] Another groan more prolonged.

- She sounds pretty sick.

Let's see.

- [Narrator] He turns in his chair, and Emma rushes over to the bed and covers the girl securely, tucking her long hair under the covers too before he arises.

He goes over to the bed and looks down into her face.

She's mulatto.

He turns to Emma teasingly.

- Talk about me likin' high-yallers.

Your husband must have been pretty near white.

- I was never married, John.

- It's all right, Emma.

Everything's gonna be okay.

Our child looks pretty sick, but she's pretty.

I think she oughtta have a doctor.

- I done had one.

Of course, I can't get no specialist or nothin' like that.

Ain't got a whole lot like you.

Nobody don't get rich in no white folks' kitchen nor in their wash tub.

You know I ain't no school teacher or nothin' like that.

- It's all right, Emma, but our daughter is bad off.

Now, run off and get a doctor.

She needs one.

I'd go if I know where to find one, but you could get one in the quickest.

Now hurry, Emma.

- She'll be all right, I reckon, for a little while.

John, you love me.

You really want me, sure enough?

- Sure I do.

Think I came all the way down here for nothin'?

I wants to marry again.

- Soon, John?

- [John] Real soon.

- I was just thinkin'.

My folks is away on a little trip.

Be home day after tomorrow.

We could get married tomorrow.

- Well, all right.

Now, run on after the doctor.

We must look after our girl.

Gee, she's got a full suit of hair.

I'm glad you ain't let her cut it off.

Emma, run on after to get the doctor, honey.

- Reckon I better go get a doctor.

Don't want nothin' to happen to her.

After you left, I used to have such a hurtin' in here 'til she come and eased it some.

- Here, take some money and go get a good doctor.

There must be some good colored ones around here now.

- I wouldn't let one of them tend to my cat if I had one, but let's we don't start a fuss.

- [Narrator] John caresses her again.

When he raises his head, he notices the picture on the wall and crosses over to it with her, his arm still about her.

- Why, that's, that's you and me.

- Yes.

I never could part with that.

John, you're comin' tomorrow morning, and we gonna get married, ain't we?

Then, we can talk over everything.

- Sure, but I ain't gone yet.

I don't see why we can't make all our arrangements now.

- [Narrator] Groans from bed and feeble movement.

- Good Lord, Emma, go get that doctor.

- Doctor right around the corner.

Guess I'll leave the door open so she can get some air.

She won't need nothin' while I'm gone, John.

- [Narrator] She crosses and tucks the girl in securely and rushes out.

John sits in the chair beside the table.

looks about him, and shakes his head.

The girl on the bed groans, "Water, so hot."

John looks at her excitedly.

Emma enters.

When she sees John at the bed, she's in a fury.

- I knowed it.

A white skin.

- Emma.

- Let me in so I can kill you.

Come in here sneakin' like a pole cat.

- So this is the woman I've been wearin' over my heart like a rose, for 20 years.

She so despises her own that she can't believe anybody else could love it.

20 years.

20 years of adoration, of hunger, of worship.

- [Narrator] There comes a knockin' at the door.

[hand knocking] She rushes to open it.

It's the doctor White.

- Well, shall I come in?

- That's right, doctor, come on in.

- [Narrator] Doctor crosses the bed, looks at the girl, feels the pulse, and draws up the sheet over the face.

- Why didn't you come sooner?

I told you to let me know at the least change in her condition.

- I did come.

I went for the doctor.

- Yes, but you waited.

An hour more or less is mighty important sometimes.

Why didn't you come?

- Couldn't see.

- [Narrator] Doctor looks at her curiously.

Then, sympathetically takes out a small box of pills and hands them to her.

- Here, you're worn out.

Take these every hour and try to get some rest.

- [Narrator] The wind from the open door blows out the lamp, and she's seen by the little light from the window rocking in an even monotonous gate.

[gentle piano music] - There was so much teaching.

We dedicated so much time to understanding the dialect.

And it was definitely, definitely a lot of work was put in, a lot of late nights, and I really think it paid off.

And I learned, I think, a lot about myself and my language being a Virginia native versus like someone from Florida, such as our characters.

It was great work.

I appreciate Dr. Watson and Dr. Ward putting in the work with us, and it was a great time.

I, it was awesome.

- You think about Black people, there's always this sort of poly-rhythmic movement rooted in Africa that allows our bodies to really just move.

And the cake walk, the top of that body is really stiff and rigid, and it was hard for them to embody it or understand it.

However, as we went into the research, as we looked at the footage, as we started to understand the context and what it represented, it became easier and easier for them to embody it and understand what it represented.

So once those connections were made, it became a lot easier to get the actors to move in this sort of upright, yet still showing our rhythm in our feet, in those other parts of our body.

And so, it all came together into what we see on stage.

- This is my first time doing Reader's Theater, and I actually really enjoyed it.

So, I think it really re-sparked my love for the stage, and I got to experience what it would like, what it would be like to be on the set where like, long hours, cut, stop, redoing it.

So, I think actually doing this show made me want to stay in the performing field even more.

- For theater stage, you only get one time.

So before shows, I'm goin' over lines and tryin' to lock in, make sure I give the audience something to remember.

So, you only get one shot.

Film, you get a couple of takes.

You still gotta get it in one try, but it's multiple takes.

- Even though you're reading, you still, if the director came up and took the script away from you, you probably could still carry on because the reading all the script, it's just intel... Well, telling the audience that you're interpreting the playwright's words.

And you're not really just, you know, acting them full out, but you are in a way acting them full out because you want to give those layers to the character that the characters deserve.

- Hampton University has played a vital role in my life.

It has allowed me to be around other creatives and challenge myself and push me to keep going.

- Being at a HBCU, being at Hampton specifically, has been absolutely amazing.

So, everything that I'm getting, everything that I'm doin', I am grateful for, I'm thankful for, and I'm honored.

I'm blessed to be in this position.

Dr. Ward, Dr. Middleton, Dr. Otto, Dr. Boisseau, everybody that I've come across has taught me everything that I need to know and more, and I'm excited to continue learning and growin' my career.

- This tree is about 90 feet around the diameter.

It's a very huge tree, and you can notice that you can touch it.

Some of the great leaders of the world, Frederick Douglass was here in 1884.

Some of the outstanding scholars you guys may know.

This is where Ruth Carter, fashion designer for "Black Panther," attended here.

When former President Obama was runnin' for the Presidency in 2008, he promised Hampton students that if he was elected, that if the students would work hard on his behalf, that he would come back and deliver the commencement address.

And so, what he did in keepin' his promise, he came back and gave the commencement address in, I believe, it was 2009.

So, there was some discussion in different circles around the campus as to what should be a gift for the President for havin', you know, kept his word.

And so, it was finally determined after lots of discussion that he should be given a small sapling of, a small tree that was grafted from the Emancipation Oak.

And that sapling was given to him the day after he gave the commencement, and it is now planted on the White House grounds.

[mellow jazz music] ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need ♪ What I need, what I need [gentle piano music] [gentle symphony music]