Free Man of Colour

I am studying American History at Adelaide University, and our Lecturer has suggested that Free Man of Color may be applicable to the course. Being a theatre person, I offered to do a brief review, but I think I got a little carried away! Anyway, I'm posting the review, my first on this web site, here for anyone who may be interested. 19-March-2009 Free Man of Color is the story of John Newton Templeton, and how he comes to be the first African American to graduate from Ohio University. The story opens to the haunting tune of Amazing Grace, and this tune is repeated at various intervals throughout the performance. As time passes, however, the tune begins to break down, finishing in a discordant cacophony of sound, vaguely recognizable as Amazing Grace, symbolic of the doubt, and disenchantment that develops in Templeton as the story progresses. From here on, the story is related in a series of flashback episodes, each episode interluded with Templeton directly addressing the audience. David Roach, and Rob Croser's racked set cleverly combine elements of symbolism and realism. The expansive map on the curved back wall is symbolic of the New and the Old Worlds respectively. Europe and Africa to our right, and the New World of the Americas to our left. When John Templeton points to this map, he is pointing towards the real Africa, or the real America, rather than those depicted on the map. The open doorway between the two worlds serves as convenient means for entering or exiting the stage, as well as providing a symbolic representation of the vast separation of the two worlds that is the Atlantic Ocean. The sparse furnishings of the Reverend Roberts Wilson's office portray the realistic elements. There is the Reverend Robert Wilson's desk upstage, and to our left, and Jane Wilson's desk, downstage, and to our right. Almost completely covering the floor is a rug, emblazoned with the Seal of Office for the American Colonization Society. Hardly a true representation of the floor covering in a Reverend's office in 1820s America, this rug is symbolic of Reverend Wilson's true allegiance. Downstage, and to our left, is a large trunk, a sad reminder of lost sons. Mathew Marciniak's lighting nicely compliments the set, with the lighting state representing the emotional atmosphere of that moment. For example, the lighting state shifts from warm to decidedly frigid on Jane Wilson's first entrance. This may lead one to suspect that Jane will be the sole antagonist of this tale, disrupting Templeton's progress at every opportunity, and very early on that appears to be the case. Her attacks on Templeton are vindictive and bitter, at times bordering on overt racism. In the second act, however, it becomes clear that Jane Wilson may well be the stabilizing influence behind a confused, and naive John Newton Templeton's final determination. Director, Rob Croser, uses all of the available space, particularly in the exchanges between John Templeton and Jane Wilson. In these scenes, Jane dominates the space. In the first of these exchanges, Templeton attempts to take control, relying on his new-found status with the Reverend Robert Wilson, but Jane quickly asserts her superiority, circling Templeton in a predatory fashion, finishing upstage to take advantage of the racked set to tower over him. It is not until the second act that we discover the true motivation behind her actions. It is Jane Wilson's determination that leads John Templeton to realize that he may have more in common with her, than with the Reverend Robert Wilson. He, striving for equality for all, regardless of race, and she, equality of all, regardless of gender. David Roach, as the Reverend Robert Wilson gives a consistent, workmanlike performance, marred by an occasional loss of lines. Shedrick Yarkpai, as John Newton Templeton, is solid, and uses the acting space well, but there are times when projection lets him down. The stand out performance, however, is that of Lyn Wilson, as the Reverend Robert Wilson's wife, Jane Wilson. Lyn controls the space whenever she is on stage, and it is her strength in the first act that prepares us for change in dynamics that develop in the second act. Will John Newton Templeton embrace the ideal of a new Eden in Africa, and consent to become the Governor of Liberia, or will he become a true "free man of color", and take control of his own destiny? To discover the answer to this question, get along to the Odeon Theatre in Norwood for this worthwhile, and thoughtful portrayal of one of the darker sides of American liberty. You will not be disappointed. Free Man of Colour Odeon Theatre, Norwood. March 14 to March 27 Director: Rob Croser Set Design: David Roach and Rob Croser Lighting Design: Matthew Marciniak John Newton Templeton: Shedrick Yarkpai Reverend Robert Wilson: David Roach Jane Wilson: Lyn Wilson