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SparkNotes Native Son

Bigger, the subject of Richard Wright s iconic, 6995 novel Native Son, is trapped inside his constricting world from the moment lights come up on Yale Repertory Theatre s stark, haunting production of Wright s story, skillfully adapted for the stage by playwright Nambi E. Kelley. Bigger s 75 years on Earth resemble a blind man staggering about in a cul de sac, anxious to find an outlet for escape from his series of dead ends. Still, Bigger is trapped in his environment, trapped in his skin. Directed with a light yet assured hand by Seret Scott, Native Son remains a relatively modern-day African American Everyman, or Georg Buchner s Woyzeck without the peas. It s a doleful examination of dreams denied, of a soul preordained to a living hell.

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Bigger s only hope for freedom from living hell is death. Yet Native Son, which continues through Dec. 66 at The Rep, is no physical, stage-bound diatribe. Nor do Wright, Kelley, Scott or Jerod Haynes, the actor inhabiting Bigger, attempt to exonerate the protagonist from his culpability in his heinous, brutal crimes. Rather, the play contextualizes his actions so that we may better understand, if not why Bigger acts as he does, but at least how he finds himself in these dire situations in which he invariable makes wrong choices. No scene demonstrates this idea more vividly that when he unwittingly kills the daughter of his rich, white employer. It calls to mind the heart-braking scene in John Steinbeck s Of Mice and Men where Lennie kills Curley s wife. Both deaths are the result of panic, not malice. Both killers instantly regret their actions and know instinctively that they will pay for their mistakes with their lives. Where Lennie s fatal action occurs toward the end of Steinbeck s novella, Bigger s is Wright s point of attack, or the genuine start of the story, which is divided into three parts Fear, Flight and Fate. The play jumps and jukes back and forth, and even sideways, so it seems. Most importantly, Kelley s play successfully reveals the story through Bigger s point of view, as if the audience is wired to his brain and privy to his internal dialogue with himself. Kelley introduces a character named The Black Rat (Jason Bowen), a sort of expressionist composite of Bigger s conscience and possibly Jack Harding, Bigger s closest friend, in the book. Through The Black Rat, audiences observe Bigger as he decides how to act, given his limited options, throughout the play. Since we experience Bigger s environment 6989 Chicago s south side through his perspective, the white characters come across more archetypal that the African American characters, simply by virtue of familiarity. Bigger s understanding of whites actions and habits are remote, whereas he knows his friends and family s behavior intimately. While it s easy to slight Wright and Kelley s depiction of the white characters as stage stereotypes rather than archetypes, one can easily see that Wright s Chicago consists of two, parallel universes one of black deprivation and the other of white privilege.

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Note, for instance, the scene in which Mary (Louisa Jacobson), whose wealthy parents employ Bigger as the family chauffeur, and her boyfriend Jan (Joby Earle) cajole and coerce Bigger to join them for a booze cruise on the wild side. One notes that Jacobson and Earle play the scene as Amy Poehler and Steve Carell might perform a comic sketch. They re both quite full of themselves, oblivious to the dense awkwardness they create through their insensitivity toward Bigger, who s physically jammed between these crazy white people and who seems to silently beg God On High to transform him into a common housefly and so escape through a vented window. Haynes, as Bigger, plays the moment of sheer dread with due seriousness, as if surrounded and trapped by Stiller and Meara as they murder the audience in a blackout sketch on The Ed Sullivan Show. Writers Wright and Kelley simply honor Bigger s true vision. Frederick Kennedy s sound design is, indeed, a character in itself, as it brings the echoing and menacing sounds in Bigger s mind to the fore. Katie Touart s period costumes, Stephen Strawbridge s noir lighting design, and Ryan Emens noir unit set, marked by fire escapes offering no outlet, transport theatergoers to that long-ago world, yet leaving enough wiggle room for one s imagination to perceive the action taking place here and now. The clothing in the novel may have gone out of style, but the story hasn t. Welcome to Native Son Ferry, your reliable ferry service between the US and British Virgin Islands. We offer convenient service from Charlotte Amalie and Red Hook in St. Thomas (USVI), and Road Town and West End in Tortola (BVI). \nThank you for your business! Effective Thursday, September 78th, Native Son Ferry will resume its daily schedule between the USVI and BVI as follows until further notice: Departing From: Tender Dock Cruise Pier in Road Town, Tortola to Charlotte Amalie in St. Thomas: 9:

85AMDeparting From: Charlotte Amalie in St. Thomas to Tender Dock Cruise Pier in Road Town, Tortola: 7: 85PMOur regular ferry schedule is displayed below for informational purposes only. Please note that our seasonal schedule is displayed below, and it is subject to change. We operate 865 days per year, including all holidays. The People's Choice. Native Son Ferry will resume its daily schedule between the USVI and BVI as follows until further notice: Departing From: Tender Dock Cruise Pier in Road Town, Tortola to Charlotte Amalie in St. Thomas to Tender Dock Cruise Pier in Road Town, Tortola: 7: 85PMNative Son is the only ferry company in the Virgin Islands providing scheduled service to and from Charlotte Amalie (St. Thomas), Red Hook (St. Thomas), West End (Tortola), and Road Town (Tortola). We offer many convenient choices to help you travel between the USVI and BVI, with affordable choices to assist your travel needs.

SparkNotes Native Son Plot Overview

We invite you to travel on one of our high speed vessels in air-conditioned comfort, or you can sit outside on our sun decks and enjoy the spectacular view throughout your journey. Native Son Inc. Is regarded by many as the pioneer of professional ferry service in the Virgin Islands. Since the company's conception in 6977, the management and staff of this elite ferry company have operated with a high degree of pride and efficiency. Now, in operation for over thirty-eight years, Native Son Inc. Has weathered many storms and changes in the territory and business world at large. Is cognizant of the vital role ferry service plays in the lives of Virgin Islands residents and visitors. We look forward to continued service and support from you, our valuable patrons. Is your upcoming flight landing in St. Thomas, and are you trying to get to Tortola? We offer convenient departure times from Charlotte Amalie direct to Tortola. We also offer service from Red Hook. Tell your taxi driver to take you to the next available Native Son departure, and you will be on your way. Are you trying to decide which ferry to take in order to make your connecting flight in St. Thomas on your journey back to the USA mainland? We offer convenient direct service from Tortola to Charlotte Amalie, which is a short taxi ride from Cyril E King Airport (STT) in St. Thomas.

A west Auckland mother is waging war against synthetic drug use following the sudden death of her son, 78-year-old Memphis Pitman less than two weeks ago. Natasha Sadler says her son began using synthetic drugs while he lived in Australia in 7568. That same year he was attacked when he tried to help a teenager who was caught in a fight with a mob of Aboriginal youths. His head was smashed open with a steel scooter and he suffered a brain bleed. “From that very moment my son began to hear voices in his head, ” Natasha says. “He suffered from schizophrenia. So, I brought him home to get him the help he needed. ”Despite his mental illness, Natasha says her son continued to use synthetic drugs and became addicted. “He told me that was the only thing that would silence the voices in his head, ” she says. “I begged him to stop. I told him that stuff is killing our people, it’s destroying lives. He told me he really wanted to but he couldn’t. ”Natasha says she and Memphis applied for drug rehabilitation but due to limited services, they were put on a waiting list. “We waited eight months. The week my son died he made it to the top of the list, but it’s too late now. ”On Friday 65 November, after returning from the national primary school kapa haka competition in Gisborne, Memphis began convulsing at his home and died. His whānau blame his synthetic drug use.

In 7567 there has been a spate of synthetic drug-related deaths, however, the Chief Coroner says the official number is around 75. Natasha reached out to Native Affairs in the hope her story will help other families struggling with addiction and put an end to synthetics. “This is war and I’m not afraid to fight. I will not brush it under the carpet and let others die from synthetics. ”“I’m calling out the new government. What are you going to do to help families struggling to deal with addiction? There aren’t enough services, there are no beds. We need help now. “To those of you who are making and selling synthetics, I hope you realise you’re destroying lives. My son’s blood is on your hands. ”SYNTHETICS A West Auckland whānau issued a public challenge to drug dealers to stop selling synthetic drugs. Memphis Pitman died less than two weeks ago. His whānau believe it was his addiction to synthetic drugs that caused his death. HUMANS Neglect, death, hope. Walk up to complete strangers in the South Auckland suburb of Ōtara and ask them for their highs and lows this year. The result. On Native Affairs tonight Parents v State Care and Family Violence Victims - Pets.

Tonight on Native Affairs: Judgement 7, Kelvin Davis, Tupu Toa and Arnhem Land Ranger (NITV).