User:Pawilsong/sandbox

Hey Praycious - this is great work, in general! A few things that might be helpful (or not): I'd love a couple more sentences in the opening paragraph describing the sort of 'meta' quality of the piece, before diving into the short synopsis (which is written well!). Similarly, perhaps there might be the possibility of splitting those sections up - a sort of 'intro' and then a 'summary' or synopsis section. I also would love to see some links to other articles (perhaps the author of the play, or actors of note, or anything else) though I acknowledge you might be getting to those things later. Awesome job! Tobymsinger (talk) 17:03, 10 April 2019 (UTC)

Hello! You're writing is super clear and makes the summary of the play easy to follow. I appreciate that because I know writing clear summaries of plays is hard to accomplish. I like the heading "Life of the Play." It makes me more intrigued to read the section than a header like "production history," or something like that. I also like the inclusion of the original cast list. Have you considered doing a character list at the top of the page? It might be nice to get an idea of the names of the characters before going into the summary, and to reference back to it while reading. Another note about structure I noticed is the inclusion of the prologue description in the opening section. I don't mind that it's in there, but its might be stronger if that was separated by a line break, and had only a few sentences that define and capture the essence and impact of the play at the beginning. I also suggest italicizing the name of the play. Great work overall!

This is a user sandbox of Pawilsong. You can use it for testing or practicing edits. This is not the sandbox where you should draft your assigned article for a dashboard.wikiedu.org course. To find the right sandbox for your assignment, visit your Dashboard course page and follow the Sandbox Draft link for your assigned article in the My Articles section. Get Help

Pawilsong, your bibliography demonstrates that you have a good grasp of MLA style! Thanks for your attention to the details. FYI, it seems MLA would like us to include the access date for electronic sources: https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_works_cited_electronic_sources.html The main thing I notice is that all of your sources are journal articles. Be sure to find at least a couple of important books/monographs/edited collections about Yoruba ritual, egungun, etc. and integrate those into your article as well. Often, journal articles are revised when they finally make it into a book, so it's important to check if a scholar whose article you're using eventually wrote a book. Let me know if you have any questions. I look forward to seeing how this project develops! Amy E Hughes (talk) 21:18, 27 October 2018 (UTC)

References

Bailey, A. Peter. “A Look at the Contemporary Black Theatre Movement.” Black American Literature Forum, vol. 17, no. 1, 1983, pp. 19–21. JSTOR, www.jstor.org/stable/2904163.

Beams, David W. Theatre Journal, vol. 38, no. 2, 1986, pp. 247–248. JSTOR, www.jstor.org/stable/3208142.

Bullins, E., & New Lafayette Theatre. (1974). The New Lafayette Theatre presents (1st ed.]. ed.). Garden City, N.Y.: Anchor Press.

Gant, Lisbeth. “The New Lafayette Theatre. Anatomy of a Community Art Institution.” The Drama Review: TDR, vol. 16, no. 4, 1972, pp. 46–55. JSTOR, www.jstor.org/stable/1144753.

Harrison, Paul Carter. “The Crisis of Black Theatre Identity.” African American Review, vol. 31, no. 4, 1997, pp. 567–578. JSTOR, www.jstor.org/stable/3042321.

Hill, Anthony D. “Rituals at the New Lafayette Theatre.” Black American Literature Forum, vol. 17, no. 1, 1983, pp. 31–35. JSTOR, www.jstor.org/stable/2904167.

Houchin, John. “Robert Macbeth, the New Lafayette Theatre, and the Politics of Art in the 1960s.” New England Theatre Journal, vol. 24, Aug. 2013, pp. 57–78. EBSCOhost, ez-proxy.brooklyn.cuny.edu:2048/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ibh&AN=93997047&site=ehost-live.

Murray, James P. “Black Movies/Black Theatre.” The Drama Review: TDR, vol. 16, no. 4, 1972, pp. 56–61. JSTOR, www.jstor.org/stable/1144754.

O'Brien, John. “Interview with Ed Bullins.” Negro American Literature Forum, vol. 7, no. 3, 1973, pp. 108–112. JSTOR, www.jstor.org/stable/3041297.

Wesley, Richard. "The New Lafayette Theatre." Bay State Banner (1965-1979), Mar 18, 1971, pp. 14. ProQuest, https://login.ez-proxy.brooklyn.cuny.edu/login?url=https://search-proquest-com.ez-proxy.brooklyn.cuny.edu/docview/371292947?accountid=7286.

Pawilsong, this looks like a great list of sources with which to start! Overall, as you demonstrated last semester as well, you have a good grasp of MLA style. I see that you missed including the title of the David Beams article in your citation; just be sure to add that if/when you cite it. Also, there are some eccentricities in your citation for the Bullins book -- please double-check the book examples in the MLA handbook and/or look at the MLA page on the OWL at Purdue web site. Thanks for including URLs for the databases for the journal-article citations, but remember that you can include DOI numbers instead of URLs for articles you retrieve from databases (and I think MLA actually recommends including DOIs instead of URLs whenever possible). Finally, please note that in MLA, page numbers are listed in an abbreviated way, like this: 108-12 rather than this: 108-112. See the handbook for more rules about page numbers. Thanks and I look forward to seeing your work on this project! Amy E Hughes (talk) 13:32, 27 February 2019 (UTC)

Written by Ed Bullins, In The Wine Time is a play that evaluates the qualms of poverty on the black life. In The Wine Time opens with a lengthy soliloquy from Ray, Lou's nephew, at an older age expressing his silent and reciprocal admiration for "The Girl." He goes on to describe her physical attributes and their silent, but impactful, interactions. Ray introduces us to the characters of Lou and Cliff. He describes his summer nights with Lou and Cliff and how they drink their nights away with cheap port wine. In this soliloquy, Ray also mentions that Lou and Cliff are married and expecting a child. Ray ends his soliloquy by mentioning what seems to be his first and last conversation with "The Girl" who prompts him to "come find her when he is ready." After this conversation, Ray says he goes to meet Cliff and Lou for their last wine time so he can begin the search he has yet to complete. ^[1]

The majority of the play's action is on the Dawson's stoop on Derby Street and "The Avenue." Through conversations between the various characters, the audience gets to know the character's intentions and their subplots.

Act I begins on Derby Street, described as a small side street of a large northern American industrial city, in the early 1950's. The dialogue of the play opens with the sounds of a radio DJ stating that its a "black juicy, jamming' 'n' grooving' hot August night." We're then introduced to the characters Mrs. Krump, Cliff, Lou, Bunny Gillette, Doris and Mr. Krump. Mrs. Krump is calling to a drunken Mr. Krump to come back to their house and the other characters comment on Mr. Krump's normal drunken behavior. Mrs. Krump eventually comes out of her house and on to the street, calling up to her second floor for her 11 year old son, Edward, to come down and help, which he refuses. Throughout the Krump's conversation, Bunny and Doris make plans to go down to "The Avenue" to meet up with Red and Bama. Lou, Cliff and Ray are sitting on their front stoop talking about minding their business. We then see Red and Bama enter and taunt Mr. Krump. Miss Minny from her window, asks Ray to help Mr. Krump and he agrees. Through the conversation, we see that Ray always helps Mr. Krump and Cliff, Red and Bama all taunt Ray for his willingness to help. Red and Bama then exit to go meet Doris and Bunny. Cliff proceeds to have an unfriendly encounter with Miss Minny, denoting that they have had some issues in the past.

Lou scolds Cliff for his snide and vulgar remarks which offsets them into an argument. Through this argument it's revealed that Ray is Lou's nephew that she took in after her sister died. We also find out that Cliff is a Navy veteran and was in school after serving his term. As the dialogue continues, Cliff has cheated on Lou, although he claims she's lying and have this "wine time" every night. Cliff reveals his violent ways early on in the play by demonstrating it on Lou in their argument. Through their argument, the reader can sense the love that the two have for one another through the ebb and tides of the debate. At the end of the argument, lights go up and reveal neighboring residents looking at Cliff and Lou.

It then transitions to The Avenue where we see Red, Bama, Doris and Bunny Gillette. Red is flirting with Bunny Gillette and she seems to like it, while Doris does not. Shifting back to Derby street, we see Ray exiting the Krump's and Cliff go on an angry spiel about Ray's behavior. Ray rejoins Cliff and Lou on the stoop and conversations continue. We learn that Cliff was in the "guardhouse" for the majority of the time he served and Lou reveals that is why she married him, hoping that if he was married his commanding officer would not be as strict on punishment. We then see Ray, who is 16, partake in the wine and Cliff exposes that Ray used to drink with his mother so he wasn't a novice drinker.

After Lou and Cliff finish their conversation, Ray asks Cliff if he thinks he could get into the Navy. Cliff offers to sign the papers for Ray's enrollment when he gets of age and Lou refuses. Cliff and Lou go back and forth about who can sign for Ray to go to the Navy and ultimately they come to no conclusion as Cliff wants for Ray to enlist himself to get off of Derby Street. Lights go down and we are back on "The Avenue." The first thing we see is Red slapping Bunny Gillette and Doris in an outrage with a knife in hand.

Lights are back up on Derby Street. Lou exposes that she is pregnant when talking about how Cliff's violent ways. Cliff further goes to explain that he does not want the child because he feels like he can't properly take care of it. Exposing his stubbornness we recognize Cliff's unwillingness to get a labor intensive job because of his pride. Cliff also explains his motivation to continue to pursue his business degree so that he can make a living wage. The first act ends with Lou going inside and telling Ray to leave the idea of enlisting in the Navy because he is too young. ^[1]

Act II begins with lights up on "The Avenue" and we see Bunny Gillette, Red, Doris and Bama embracing. The couples have an exchange around men hitting women and what they would tolerate. It then shifts back to Derby Street where Ciff and Ray are sitting on the stoop. Beatrice and Miss Minny have a brief exchange with each other and then Ray and Cliff have an exchange about Beatrice and her "snobby" ways. Cliff and Ray then start a dialogue about Ray's women and who he should and should not deal with. Ray opens up to Cliff about "The Girl" and Cliff gives Ray advice about keeping his mind off of "The Girl." Cliff goes on a tangent about his experience with women across seas with Ray encouraging him to keep his mind open.

Tiny then appears and is startled by Silly Willy Clark. Tiny's screams cause the neighborhood to show up and forces Lou out the house. The Policeman comes over to check the scene out and Cliff reassures him that everything is okay, prompting The Policeman to leave. Silly Willy Clark comes over to the Dawson's stoop to apologize to Tiny and Lou invites Tiny in to the house while Lou finishes her hair. Tiny alerts Cliff that Doris and Bunny Gillette are headed over to the house from The Avenue. Silly Willy Clark then invites Ray and Cliff to accompany him to the liquor store and the three men leave. ^[1]

Forty-five minutes have elapsed and we begin this scene on Derby Street where Lou, Tiny, Doris, Bunny Gillette, Red and Bama are seated on the Dawson's stoop. A gallon of wine sits next to the group and everyone except Red and Lou have a cup. The conversation starts with Lou asking Red to refrain from using foul language on her stoop around the women. Red combats her by mentioning Cliff and his foul mouth. The women come to Lou's defense asking Red to stop. Throughout the scene Doris pokes out of the house asking the crowd if any one wants a hot dog.

Lou ends up asking Red to leave because he won't stop using profanity, Red ends up staying and Lou gives in. Cliff, Ray and Silly Willy Clark then turn the corner with their own gallon jug of wine half-emptied. Before they get the stoop, they stop and pass the jug amongst each other discussing what it means to be a man. The trio are visibly drunk. Red continues to be problematic and Cliff eventually comes over and supports Lou in her requests for Red's adjustment of attitude. The cast breaks off in to various conversations and Ray falls asleep on the stoop. Amongst conversation Red picks up one of the wine bottles and begins to pee in it. As the conversation continues, Red hands the half sleep Ray the bottle he just finished urinating in and proposes a toast. As half sleep Ray begins to raise the bottle too his mouth Bunny Gillette knocks it out his hand which wakes Ray up, causing him to punch Bunny Gillette. Red rushes Ray and hits him with a haymaker beside his head and the two begin to fight. Then everything breaks loose. ^[1]

In The Wine Time was first produced at the New Lafayette Theater on December 10,1968. The production was directed by Robert Macbeth. The cast from this production is as follows:

Cliff Dawson: Sonny Jim

Lou Dawson: Bette Jean Howard

Ray, Lou's Nephew: Gary Bolling

Miss Minny Garrison: Rosanna Carter

Bunny Gillette: Helen Ellis

Mrs. Krump: Voice of V. Rachman Cyrille

Eddie Krump: Voice of Leopoldo Manderville

Beatrice: Roberta Raysor

Tiny: Yvette Hawkins

Silly Willy Clark: Whitman Mayo

Red: Kris Keiser

Bama: George Miles

Doris: Peggy A. Kirkpatrick

A Policeman: Bill Lathan ^[1]

In October of 2013, In The Wine Time was revived by the Woodie King Jr.'s New Federal Theatre with the Castillo Theatre. The show ran for a month, directed by Mansoor Najee-ullah.^[2] Featuring Sandra Reaves-Phillips, Richard Brundage, Angelique Chapman, Khadim Diop, Matthew Faroul, Lindsay Finnie, Harrison Lee, Catherine Peoples, Shirlene Victoria Quigley, Kim Sullivan, Eddie Wardel, Eboni Witcher. ^[3]

Catherine Rampell from the New York Times reviewed the Castillo Theater's production of 'In The Wine Time' and stated "It is an affecting play, if not unequivocally Mr. Bullins’s best, and it deserves much better treatment than this production, jointly presented by New Federal Theater and Castillo Theater."^[4] Jerron Herman from Theatre Is Easy noted "I was confused and reassured throughout—a testament of a good revival. Ullah’s direction comes boldly into view with his infused animal play with the characters."^[5]