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Playwright Aleshea Harris and Director Whitney White Bond at a Taqueria

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Samuel R. Delany

Jonathan Bailey

Piet Oudolf

Beanie Feldstein

Daniel Roseberry

Radha Blank

Katerina Tannenbaum

Ethan Hawke

Christopher John Rogers

Katie Stout

Raja Feather Kelly

Aleshea Harris and Whitney White

Jamie Nares

Saweetie

Patricia Urquiola

Rirkrit Tiravanija

Faith Ringgold

Louise Erdrich

Sheila Hicks

Virginie Viard

Tschabalala Self

Jordan Casteel

Toshiko Mori

Caroline Polachek

Daniel Romualdez

Ivo van Hove

Pim Techamuanvivit

Pierre Hardy

James Whiteside

Mona Mansour

Chika

Manuel Solano

Kid Cudi

Playwright and Director

Aleshea Harris and Whitney White

Eating Together

Harris (left), 40, and White, 36, photographed at Tacombi in Fort Greene, Brooklyn, on Sept. 28, 2021.

Jennifer Livingston

Playwright Aleshea Harris and Director Whitney White Bond at a Taqueria

The pair discuss boundaries and the politics of greed over Mexican food.

April 21, 2022, 5:00 a.m. ET

Listen to White read a version of this story.

Whitney White: I first encountered Aleshea through her work; I’d read her script for “Is God Is” (2018), and I’d never seen anything so stunning, breathtaking, brutal and hyperfeminine. Someone from Harlem’s Movement Theatre Company called me and said, “We’re doing her next play,” and I was like, “Please let me talk to her; let me find a way to direct it.” I read “What to Send Up When It Goes Down” (2019), and she once again knocked my socks off, with just as much rigor and power. That was our first collaboration, and we’ve since moved on to our second: “On Sugarland” [about a Black community in the South, which finished its run at New York Theatre Workshop last month].

Aleshea makes fully formed worlds. When she says something, she means it. When she wants something, she goes for it. It’s hard to have a bottom line in the world of theater, to have boundaries and an aesthetic to which you commit yourself. But that’s what she does every day. As a director, I’m drawn to large visions of expression, and Aleshea helps the work stay honest. At the same time, I think ours is a tension that’s so delicious — between being grounded and wanting to shoot off into other worlds.

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24 Hours in the Creative Life

Continue Reading

During “What to Send Up When It Goes Down” at BAM [Brooklyn Academy of Music] in 2020, we went to the taqueria Tacombi practically every day. Having a meal together builds community, sisterhood and family. And eating’s a theatrical tradition: One major practice of the French director Ariane Mnouchkine at La Cartoucherie in Paris is for the cast to feed the audience. I love having food with Aleshea — there’s something powerful about women coming together and being ravenous.

That translates to the work, as well. With any creative practice, you have to go as deep as possible; you can’t lie to yourself. So I get greedy about the prep, gobble it all up and leave it onstage.

Listen to Harris read a version of this story.

Aleshea Harris: Whitney talks about being greedy a lot. It’s important, especially for Black women, because we’re often made to feel that we don’t deserve things. So I really love this politics of being greedy, with food and with work — this idea that I’m allowed to have whatever I want.

Often, that’s time. I like to say that I’m good but slow. I’m meticulous and want to create something that’s extraordinary for my potential collaborators. I want them to feel a little afraid of it, just like I am, and that it’s a bit unwieldy. I want to give Black actors and Black people a gift, a play they’ve never seen before. I want to give them the opportunity to feel expansive and challenged and loved and nurtured. So it goes from being a very solitary process — it’s just me for months, years — and then, suddenly, there’s an army of people with all these thoughts, ideas, questions and opinions. There’s a lot of nurturing my spirit that must happen in order to give away this baby that I’ve been holding on to for years. But it’s good to have a midwife in Whitney — the people queen to my boundary queen — a great intermediary to help with that baby, and to be a source of assurance that it’s going to be fine.

This interview has been edited and condensed.

The Artists

A glimpse into how creative people live and work, from dawn to dusk to the early morning hours.

5 a.m.

Samuel R. Delany

Writer
6 a.m.

Jonathan Bailey

Actor
7 a.m.

Piet Oudolf

Garden Designer
8 a.m.

Beanie Feldstein

Actor
8 a.m.

Daniel Roseberry

Fashion Designer
9 a.m.

Radha Blank

Writer and Filmmaker
9 a.m.

Katerina Tannenbaum

Actor
10 a.m.

Ethan Hawke

Actor
10 a.m.

Christopher John Rogers

Fashion Designer
11 a.m.

Katie Stout

Artist and Furniture Designer
11 a.m.

Raja Feather Kelly

Choreographer
12 p.m.

Aleshea Harris and Whitney White

Playwright and Director
12 p.m.

Jamie Nares

Multidisciplinary Artist
1 p.m.

Saweetie

Rapper
1 p.m.

Patricia Urquiola

Architect and Industrial Designer
2 p.m.

Rirkrit Tiravanija

Artist
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Faith Ringgold

Artist
3 p.m.

Louise Erdrich

Writer
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Sheila Hicks

Artist
4 p.m.

Virginie Viard

Fashion Designer
4 p.m.

Tschabalala Self

Artist
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Jordan Casteel

Artist
5 p.m.

Toshiko Mori

Architect
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Caroline Polachek

Singer-Songwriter
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Daniel Romualdez

Architect and Decorator
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Ivo van Hove

Director
7 p.m.

Pim Techamuanvivit

Chef
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Pierre Hardy

Accessories Designer
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James Whiteside

Ballet Dancer
10 p.m.

Mona Mansour

Playwright
11 p.m.

Chika

Rapper
12 a.m.

Manuel Solano

Artist
1 a.m.

Kid Cudi

Musician and Actor

Source: Theater - nytimes.com


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