Save this article to read it later.
Find this story in your accountsSaved for Latersection.
Its not fun to criticize these plays.
The things theyre taking on arehard but so is art.
And we have a way of losing our creative and critical rigor when were faced with real-life injustices.
We start to waffle, to wonder whether representation simplyseeingup on stage that such-and-such a problem exists is enough.
Its not, and neither isEves Song.
And yet, when the house lights came up, the woman behind me was weeping.
They called me Kerrice Lewis, says one (Rachel Watson-Jih).
They called me Amia Tyrae Berryman.
Who do you talk to when everyone you love is dead?
says the third (Vernice Miller).
I was called Kathryn Johnston when they shot me and killed me …
I was almost 100 years old.
These things are horrible, and theyre true, and theyre being presented with the heaviest of hands.
For the woman behind me, it worked or at least, it made her cry.
But every time a Spirit Woman took the stage, I gritted my teeth.
Their house is falling apart get it?
But there are no real, robust laughs inEves Song.
Meanwhile, its difficult to tell whether and where Lloyd and Bonney are aiming for parody.
So guess what color Upendos hair and lots of her clothes are).
Upendo is introduced as a teaching figure: Are you from Africa?
asks the smitten, never-been-to-a-protest-or-let-her-hair-down Lauren, and her crush replies, Arent we all?
She also provides the plays title.
Imagine what the world would be like if we lived life remembering our song.
Why didnt you comply?
Since the play needed to be done with her.
Eves Songis at the Public Theater through December 9.
