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“Pullman Porter Blues” may not be destined to make musical theater history, but it does celebrate America’s history through a good, solid night of drama and the unerring power of the blues.
Cheryl L. West’s play, running at Arena Stage, is about a rarely taught moment in our nation’s history: the story of the George Pullman train porters.
It is a story with rich significance for Washington. A statue of A. Phillip Randolph, the great Pullman porter labor leader, graces Union Station, and porters played a pivotal role in the great migration of Southern blacks in the first half of the 20th century, when Washington served as something of a geographic milestone for those fleeing segregation for opportunity in the supposedly enlightened North.
The story resonates so deeply that on its opening night in D.C., “Pullman Porter Blues” was introduced by a proclamation read in the show’s honor, announcing that D.C. Mayor Vincent Gray had declared Nov. 29, 2012, through Dec. 29, 2012, “Pullman Porter Awareness Month.”
The play takes place over the course of one night. It opens on the evening of June 22, 1937, hours before boxers Joe Louis and James Braddock would enter the ring. That night Louis would win the bout in eight rounds, a victory that the African-American community claimed as their own.
(Sitting in the audience at Arena Stage on opening night was Louis’ granddaughter.)
“Pullman Porter Blues” is the story of three generations, a family of Pullman porters — Monroe (Larry Marshall), Monroe’s son Sylvester (Cleavant Derricks) and Sylvester’s son Cephas (Warner Miller).
It is Cephas’ first night working the train. He is a young medical student, and his father and grandfather have scrimped and saved along the way to send him to university. Sylvester is bound and determined to make sure Cephas doesn’t follow him into a life working on the train.
But, for reasons only the very young can rationalize, Cephas leaves school and convinces his grandfather to get him a shift on the first-class train from Chicago to New Orleans, one of the main arteries of the great migration. As it happens, a former Pullman maid/current Blues superstar/raging alcoholic with a heart of gold named Sister Juba (E. Faye Butler) is also on board. Joining these four are Sister Juba’s blues band, a poor white stowaway who has a way with a harmonica named Lutie (Emily Chisholm) and the awful bossman with a gorgeous voice named Tex (Richard Ziman).