Proof That I Went to the Show :)

Dickinson Poetry Analysis

Poetry naturally lends itself to incorporating emotion into the writing. Sharing the specific people and places that have certain memories attached to them can become very powerful poems. Emily Dickinson does this very well in her poem titled “‘Hope is the thing with feathers.” Although it does not directly describe a certain place, we can use it to reveal different parts of her life, where she lives, and how she feels about these different aspects of her life. For example, she writes, “‘Hope’ is the thing with feathers - / That perches in the soul - / And sings the tune without the words - / And never stops - at all -” This quote shows a lot about her thoughts on her surroundings. I know from the background that I did on Dickinson that she wrote a lot about nature and connecting the physical world to her own ideas. She lived alone in her family’s house with a garden and looking over it while writing probably gave her a lot of inspiration for her writing. In this quote, Dickinson compares the concept of hope to a bird and its behaviors. She shares how she believes that hope stays in the soul, and just sings, never stopping. I can tell that she feels positively about hope, that it can be a very powerful feeling. This comparison of birds to an inanimate object such as hope is very effective because she is able to highlight feelings that come with hope through the means of a bird. For example, she says that the bird sings its tune in the soul without ever stopping. This shows that when you have hope in your heart, it never dies out; it will always be there. It would be very difficult to put this thought into words otherwise, but approaching it in this way allows for more people to understand what she was trying to say.  

It is clear from this poem that she takes a lot from the environment around her. Making analogies with nature seems like it comes rather naturally for her. She writes, “I’ve heard it in the chillest land - / And on the strangest Sea - / Yet - never - in Extremity, / It asked a crumb - of me.” She is saying that even when you are at the very end of your belief when you are in a really bad place, there will always be hope and it will never ask for anything in return. Through her words, I can feel as though I understand how she felt when writing this. I thought that she felt almost in awe of this power that did so much for no reason. There was also a small realization of the power hope has and the circumstances that it works in. Using words like ‘strangest Sea’ and ‘chillest land’ clear creates a picture in the readers’ mind about how bad the situation really can be. Dickinson’s connection to nature and her ability to use it in her writing is a valuable aspect of her poems. It allows readers to makes these connections for themselves to render her feelings to her audience. This is very important for the readers because of the fact that poetry can sometimes be so abstract. On the other side, it lets the readers makes their own decisions based on their background, giving each reader a different opinion about her pieces. This is part of the joy that is poetry.

Nye Poetry Analysis

For most people, their most cherished relationships are with their family members. You’re stuck with them and you know that they’re always looking out for you. Consequently, the memories that you have with them are something that everyone looks back on, but something authors and poets write about. A Palestinian-American poet, Naomi Shihab Nye, has written many pieces about her family. She has a way of sharing details about her parents without directly stating them. For example, in My Father and The Fig Tree, Nye writes in the third stanza, “Years passed, we lived in many houses,/ none had fig trees./ We had lima beans, zucchini, parsley, beets./ ‘Plant one,’ my mother said./ But my father never did.” Previous to these lines, Nye shows how much her father liked fig trees and the fruit that it bore. But in this stanza, the readers see another side of him. Although he loved figs, none of the houses had figs. And when his wife told him to plant one, he still didn’t do anything. This shows a lot about his character and how he feels about the figs. On one hand, it could be said that he was lazy and did not want to put in the work needed for gardening. But I believe that there is something bigger. I think that the speaker’s father connected the figs to his childhood home when he used to pick and eat the fruit straight off the tree. Further, he felt that if he attempted to plant a tree in the U.S., it would not have been as good as the ones he ate during his childhood. Also, he may have wanted to keep the fig tree as a symbol of his homeland. So when he finally went back he would be able to experience the same things as when he was a child. To ruin the picture, or even the taste in his head of those figs would be worst than not having any figs at all. It is clear that the way that he remembers his childhood and native country is very important to him because it is so far away from him. It also gives some depth to the father’s attraction to the figs. It shows that there is a deeper reason for why he likes figs, past something superficial like the taste or the look.

Another important relationship is also shown in the same excerpt from above. There are multiple ways that one can look at the way the mother responds to her husband’s actions. Some people might imagine her suggestion with a mocking or annoyed tone. But, as we discussed in class, I think their relationship is much deeper than that. Although it may have been a sincere suggestion to make him feel better, I think that she knew how much figs meant to him and asked if he wanted to plant one as a gesture. I can imagine the staging now; the mother in the middle of some chores, and once she hears him talking about the fig trees, calling out, “Why don’t you plant one?” All in all, I think that Nye’s ability to share things about her characters with giving the reader straight description is a talent that makes her writing that much more interesting to read. She uses specific lines to tell the readers about certain things that relate to the storyline. Her writing is also a prime example of why each reader interprets the poem differently. The various backgrounds, upbringings, and past all play a role in how someone approaches and forms an opinion about the poem in question. Nye’s use of her own relationships in her writing makes it that much more relatable and enjoyable to read.

My Staging Proposal

My Love, My Love by Rosa Guy has a compelling storyline which makes it quite interesting to try to adapt. There are a few specific aspects that I would like to focus on in my adaptation. One would be the fairytale feel to the story. The basics of the plot are that a girl, who is pining for more in her life, falls in love with a boy who suddenly becomes a part of her life through a car crash. She nurses him back to health and eventually follows him back to his house to be with him. The themes of love and adolescence are very apparent. But the story does not have a happy ending as expected. I think this is where we could really showcase this difference. A big part of this would be the way that Desiree carries herself. While she is caring for Daniel and falling in love with him, she needs to look content and very happy. She would walk very lightly and daintily, almost floating. As she starts to realize that Daniel does not love her anymore, she should change her gait, possibly more slumped, but still very eager. This is because she still wants Daniel to be with her. Her clothes could change from brighter, more vibrant hues to darker, duller shades. This could show her returning to the clothes of the people from her village who have accepted their fate. Similarly, she has also understood that this is her life; without Daniel. She has understood the hard way what her parents tried to tell her.

Another aspect of the story that I would be excited to adapt would be the role of the gods. Showing the interaction and reaction of the gods is something that we could elaborate on. We get parts of each god’s character through the details, but to grow their personalities into roles would engaging. There should be a scene where, on one side of the stage, the humans are going through something while, on the other side, the gods are watching and changing the situation. One example could be when Daniel’s car crashes. On stage left, on the ground, Daniel would be driving along in his car. A platform in stage right would be where the gods are looking over the situation and making changes. Papa Gey would start as the only one on the platform, but as the scene progresses and plans are made for Desiree and Daniel, slowly each god comes onto the platform to discuss what’s going on. Each god will be dressed differently to showcase the contrast between them. Papa Gey would be wearing all black, with a top hat and mustache while Erzulie would be wearing pinks and reds with fitted, attractive clothing. The power that the gods have combined with their varying personalities make for such an enthralling scene. I think that the lighting for the gods’ side of the stage would be much brighter when compared to the human side. To show their inferiority, the side would be dimly lit. It also reinforces the fact that the gods are less aware of the humans than of themselves. These two aspects, namely the fairytale feel of the story and the role of the gods in the story, would be the things that I would focus on when adapting this story. They’re the parts that intrigued me the most. The relationships between the different humans (like Desiree and Daniel) and the gods (Agwe and Asaka or Erzulie and Papa Gey) are the key parts of the story that can be interpreted and created into a show.

In-Class Writing pt. ii

There is a clear difference between Desiree and the other people in her village. Throughout the whole book, Desiree's thinks and acts differently to them. Page 60 is particularly indicative of that. Desiree goes the village elder, Monsieur Bienconnu to ask him about Daniel's family, and he tells her the story of the Beauxhomme family. But Desiree only hears the parts that she wants to hear; that peasants have been with their family in the past. M. Bienconnu gives her advice about the situation, saying "'Ma belle,' he said gently, 'To be tranquil, one must hang one's hat where one can reach it. Keep one's heart where one can feel its beat" (60 Guy). He is saying that she must have reasonable dreams that she can attain. It truly represents how the villagers think because that is the way they must think, for their survival. These villagers do not have much and therefore they cannot afford to think like Desiree does. They must work to keep living. Desiree, on the other hand, dreams for more and maybe even thinks that she deserves it. And her reaction to his advice shows this. She thinks that because she survives the storm, she can do and want anything. She doesn't have that feeling to survive because she has always been taken care of, by her parents, by the other villagers, even by the gods. Her mindset because of her past determines her actions in the future. 

In-Class Writing

Desiree is a very interesting character in terms of how she is portrayed to the audience. I think her basic clothing should be very similar to what the other villagers are wearing. But her accessories, the parts that adds to her outfits is what sets her apart. I imagined the villagers wearing simple clothing in darker colors. This represented how they had to made their clothing from whatever cloth they could find. There would lots of patches, and possibly even rips or holes. This shows they are working in these clothes, and that is why they are so worn out. Desiree, on the other hand, would still be wearing dark colors but with other added elements. For example, she may be wearing a colorful headband to tie back her hair or a shawl around her neck. I think that this shows that even though her family may not have a lot, because the other villagers think so highly of her, any extra fabric may be given to her. It sets her and her wishes.

Chapter Four, Five Notes & Senses Chart

Further Oral Activity Reflection

I think that my Further Oral Activity went pretty well, considering the fact that it was the first time I have ever talked for thirteen minutes straight. I now understand why this is an assessment for the IB program. Only a student who is very familiar with both the text and their process of creating their adaptation could have been successful. One of the main reasons why I felt somewhat confident was because I rehearsed the FOA twice before the actual thing. I noticed that even though the practice orals were different, it helped me work through the order of how I wanted to present my points. The specific things that I said for each one was different every time, but I knew that after I talked about how our adaptation was different from the original text, I had to move on to the changes in Josephine’s character. One thing that I found somewhat difficult at first was what to write in the notes section. I didn’t know what to write and how detailed I had to be in notes for me to be able to present it the way I wanted. As I was practiced, I found that once I got the details of the story and background straight, it was much easier for me to analyze our choices, how they related to the original text and their effect on the audience. Therefore, the majority of the notes were focused on the plot of the story, told in the order I preferred. One thing I think I could have improved was the way I spoke. Listening back to the recording, I thought that I did not sound sure of myself in the entire time. Also, there were multiple times when I couldn’t find the right words to describe what I was trying to say. These moments when I am stuttering and stumbling is where I think it starts to get a little confusing as a listener. Sometimes, I think because I have such a specific way that I want to express my thoughts, it is hard for me to get it out in the way I want. Overall, my FOA turned out a lot better than I expected because of (what I thought was) a lack of notes and the different presentation every time. I think that for the final, I was able to really forget about the recording and really focus on the content and connections I wanted to share.   

Further Oral Activity Draft

         The text that was used for this adaption was Krik? Krak! by Edwidge Danticat. The book is made up of various short stories taking place mostly in Haiti. Each story has its own characters that exist in their own stories, but do not interact with characters from other stories. The stories are connected through the themes that the author intertwines throughout the whole book. One particular story, Nineteen Thirty-Seven, was able to truly showcase the themes and changes that we wanted to highlight in our adaptation. One of these ways is the characters’ relationships with other characters and objects and how they change within the story. I say ‘objects’ because in this story the Madonna, a wax doll, plays an important role. Of the characters, Josephine was the one that intrigued me the most. In the story, she visits her mother who is in prison for practicing voodoo. Their interaction is very distant. Although it has been some weeks since they have seen each other, they act as if they were just introduced to each other. But, every time she goes to visit her, she brings the Madonna doll and her mother can make it cry. Her feelings toward the doll imitate how she feels about her mother’s traditions and background in voodoo, namely she doesn’t know what to think. Her mother was part of such a close-knit community comprising of the women with whom she crossed the river with and has created a life with in Haiti. Josephine is not sure of her role in this world that her mother was a part of. This confusion and inner turmoil was one of the main themes we wanted to highlight in our adaption. Another important theme was the role of the Madonna and the way it changes throughout the story. The doll’s importance to the mother was clear from the story, but Josephine’s relationship to it as well as her realization of its true importance was another area that I wanted to explore. I really wanted to find out what happened ‘before’ this story to give the changes that we saw.
           I wanted our adaption to show the events and interactions that led to what we see in the story. The crossing of the river, Josephine’s youth, her mother’s relationship with her at that time, were all important aspects of the plot that the author deliberately left out. The main events of our adaptation were things that did not happen in the story itself, but were the events that led up to, and caused the events in the story. We wanted to show the crossing of the river and how that affected the mother, as well as the way that Josephine’s mother introduces her to voodoo and her background. It also shows Josephine’s mindset and her reactions. Josephine has an interesting position because she has, on one side, her mother telling her about her culture, but she also has her education and other children telling her society’s opinions of her mother’s views. She is very much put in between these views and she doesn’t know what to think which we see in the actual story as well. We also wanted to introduce the Madonna as a character, rather than just an object. Her relationship and opinions were very important in shaping the plot as well. An interesting idea was to have the Madonna only be able to talk to Josephine’s mother, even though she could see and hear everything that was happening. This forces her to voice her opinions through the mother. The transition occurs when Josephine’s mother is arrested and Josephine is left alone. Similar to when her mother was alone when she had to cross the river, Josephine has Madonna for support and guidance. The Madonna has been ‘passed’ down to her from her mother.  
          There were many features in the text that helped create the script. There were many interactions in the story between characters that we were able to turn into aspects of voodoo. For example, there is a conversation between Josephine and a woman that came to her house that had a call and response structure. It sounded very much like a code between the women of Josephine’s mother’s group, kind of like a way to prove who you were. I thought it would be interesting to share the process how she learned it. There are also many lines that her mother says to her that are also incorporated into the script. These become an important part of Josephine’s mother’s character.
As an actor, I think that the biggest thing that I tried to work on was the internal conflict that Josephine has. In the original story we see this confusion, but seeing younger, more impressionable Josephine and her views on her mother’s culture was different for me. Throughout our adaptation, she is learning from her mother about different parts of her religion. She learns because she loves her mother and does it because of this trust. I showed this by acting eager to learn these new concepts. When Josephine’s mother calls her, I made sure to respond and answer her quickly to show this. She accepts the new ideas, but it is clear that she is still pondering them. I showed this by pausing and looking away as if I was trying to formulate an opinion about it. Josephine then has to go to school where many children think poorly of voodoo. Josephine has to make a decision about her opinions and then even goes so far as to voice them to her classmates. When she comes home having stuck up for voodoo, she isn’t sure how to feel. I walked onto the stage slowly, and when asked about school, I hesitated, showing that she didn’t know if her actions were right. After hearing the approval from her mother, I made sure to have a smile on my face, proud of what I did. Lastly, after going to the river, she starts to question her mother and what she has told her. In the monologue about this, I made sure to increase my volume as the emotion escalated, and look around as if there might be an answer somewhere.
    I think the biggest thing that brought our final production down was the lighting and the sound. I spent a long time working to create the cues that we wanted, but in the end, they did not work as we intended. I think that if we had more time to work with the lights and practice with them, we would have realized which of those were unnecessary. From the beginning we wanted the lighting to be a large part of the production because of the abstract aspect that we were going for. In the end, we just couldn’t experiment with this as much as we would have liked. The other big issue was our set. We had a lot of scene changes, usually one in between each scene. There were only two main settings, but shifting between them was difficult for us. Using the triangles was important for us because it create that sense of abstractness that we were striving for. For the scene where the mother is crossing the river, I think the triangles were very effective. The mother was able to run through them, as she was crossing the river. The Madonna coming in to follow her halfway through was very effective too. It showed how the Madonna came in the middle of her crossing.

**i will be adding a conclusion of some sort, but i wanted to get your feedback on what i have and get a better feel for what the ib is looking for before i wrote it, thanks!**

Final Performance Reflection

          I think that our final scene has come a long way from the start of this assignment. From the beginning, we didn't want your average scene adaptation; we wanted something abstract and different. We wanted to take main themes from the story and apply them to the backstory that the author did not give us. We started with lines from the book that we wanted to incorporate into the scene. But as we were working on our script, we found it hard to create the scene that we wanted because none of us knew what we wanted. We just had a vague idea of what it was going to be like. It was as if someone gave you a blurry picture and you didn't know what it was, but if you clearly, you could immediately recognize it. Once we had our initial script done, we were constantly making changes and improvements to the lines. One day we would add more lines to develop Josephine’s thought process and then that night we would make changes to the plot. Because of this, it was difficult to learn our lines. But I do believe that our script was one of our stronger points. The characters were developed and exactly like we imagined. The addition of the Madonna as a character that could only connect with one of the characters was an interesting concept to explore. I think the shift from the mother interacting with the Madonna to Josephine finally seeing and talking to Madonna was one of the main points of the scene. It gave the reasoning behind Josephine’s beliefs and gave the final scene more of an impact on the audience.
           I think the biggest thing that brought our final production down was the lighting and the sound. I spent a long time working with James to create the cues that we wanted, but in the end, they did not work as we intended. I think that if we had more time to work with the lights and practice with them, we would have realized which were unnecessary. From the beginning we wanted the lighting to be a large part of the production because of the abstract aspect that we were going for. In the end, it was the time crunch that didn’t allow us to explore this as much. The other big issue was our set. We had a lot of scene changes, usually one in between each scene. There were only two main settings, but shifting between them was difficult for us. Using the triangles was important for us because it creates that sense of abstractness that we were striving for. For the scene where the mother is crossing the river, I think the triangles were very effective. Sam was able to run through them, as she was crossing the river. The Madonna coming in to follow her halfway through was very effective too. It showed how the Madonna came in the middle of her crossing. But, I must admit, the changes were difficult for the three of us to manage. Overall, I am content with the result. I feel that with more time, it could’ve been so much better and more organized. I think this process was definitely a learning experience. I learned so much about how much time and effort goes into a single production, even a smaller scene like this. If I could do it again, I would know exactly what to change to create a more effective production. But it was an experience that I’ll never forget.     

Final Script Draft

BEGINNING

Lights Rise. Setting is a kitchen with Grandmother and her daughter.  

Grandma: Did you hear what true he oh said the other day? He will not stop at anything to insult the Haitians.

Mom: What did he say this time?

Grandma: He accused us of stealing food and starting more violence in this country. There are rumors that he sends men to Haitian villages to kill entire families. He should know we just want peace.

Mom: That’s horrible. I heard Edwidge’s family has already left. Their youngest is only four months old. They don’t want their children to grow up here.

Grandma: It may be our time soon as well.

Mom: Mamman, in this state, I can’t go anywhere.  

Grandma: Let us pray. Bondye will watch over us.

Mom: faint gunshots wait. Manman, do you hear that?

Grandma: What is that? (louder gunshots) We should leave now. Quick, I know where we can go.

(multiple gunshots, screams heard outside. Chaos and panic ensues in the room.)

Women shouting, screaming “What is going on?” “Run!!”

(gunshots getting louder and louder)

At edge of river (one side of stage) (gunshots can be heard, but faint)

Mom: Hurry. I see them over that hill. Faster!

Grandma: (clearly distressed) I can’t. I'm tired; please, Let me sit.

(sits on nearby rock?)

Mom: We both know it will be safer on the other side.

Grandma:  I need to tell you something. Listen to me

(loud gunshots heard, as if they are much closer)

Mom: Manman, they're getting closer.

Grandma: listen to me, I’m getting old. I am afraid our time together is very limited.

Mom: What are you talking about? (looks at Grandma and understands)

Grandma: You should go on without me. I won't make it across the river; I'll only hold you back.

Mom:(pause), I’m not ready to say goodbye.

Grandma: I know, take this. (Gives her daughter the Madonna)  Keep the Madonna. On the other side, maybe you will have someone to take my place. I hope you will. But if you don’t, you will always have the Madonna. (Shouting is heard again, louder) Go! Escape from this place.

Lights focus on Mother, preferably red lighting.

She is wearing the wings of fire. She stands alone, empowered. Somehow police officers run from her.

Then she realizes she is all alone, and lost the Madonna doll. She calls out for her mother when the Madonna (person) appears.

Lights come up slightly.

Mom: Who are you?

Madonna: I am the Madonna.

Mom: How did you find me?

Madonna: Your mother sent me to guide you. You and your child are safe here.

Mom: Thank you.

MIDDLE

Lights Up Full Stage (white)

J: Tell me the story again.

Mom: Again? Josephine, this story gives you nightmares.

J: Please?

Mom: Alright. It was 1937, 12 years ago, right before you were born. Grandma and I were at home when the soldiers had come for us. we had to leave quickly. We ran and ran, until we got to the river. With nowhere else to go, I jumped in. But Josephine, that water changed us. We emerged new women. The soldiers ran from us and our wings of fire. I lost my Mamman that day. But here, I could give you a better life. Bondye saved us from the river. Remember he will protect her.

J: But, what about the others?

Madonna: (Interrupts) She will meet them soon enough. Tell her to go to bed.

Mom: That’s enough for today, Josephine. Go to bed.

(J leaves the area)

Lights go down on the bed, and go up center stage.

Mom: Why can’t I tell her about them?

Madonna: Because she is not ready. She will learn about the others in time.

Lights fade out

Lights Up

(J enters from stage left)

Mom: Josephine, how was school today?

J: It was okay. A priest came to school today, he was telling us about God and the Bible. He taught us that God created the world in seven days, and showed us the seven sins. He said voodoo was sinful, too. Some of the other kids clapped when he said that.

Madonna: (clearly alarmed) WHAT? How Are they allowed to bring in priests like that?

Mom: And what did you do? Please tell me you did something.

J: I couldn’t say anything to the priest. We weren’t allowed to speak during his presentation, but after, I overheard some of the boys making fun of Fanelia. You know her mother, right?

Mom: Yes, she was one of the women who escaped through the river with me.

J: Well, I couldn’t stand what those boys were doing. They were tearing her apart, calling her a baby killer. It made me so mad. I had to say something, so I walked up to Jonal and told him the truth.

Mom: The truth? She is trying to get Josephine to say it herself, and prove to Madonna she is ready

J: That there is nothing wrong with voodoo. Just because her mom believes in Bondye, doesn’t mean she is worthless! Right?

Mom: You’re very right, Josephine. Bondye is our God. It is why I escaped through the river. It was so you could grow up somewhere safer.

(Josephine nods, thinking, exits right)

Madonna: She proved herself worthy today, you know. You should be very proud of her.

Mom: So I can tell her everything now?

Madonna: Not everything today. But eventually.  

Lights Up Full Stage(white)

Madonna: Today is the day to teach her what your mother taught you.

Mom: You said she was too young.

Madonna: She has proven herself.

(Mom sits down, thinking. Sees Josephine playing stage left)

Madonna: (puts hand on Mother’s shoulder) It’s time.

Mother: (takes a deep breath) Josephine love, come here. I want to teach you something.

All light fades, except a soft circle light that focuses on the pair

Lights fade out, come back up  

Mom: Who are you?

J: I’m a child of that place. I come down from that long trail of blood.

Mom: Where are you going?

J: I am walking into the dawn.

Mom: Who are you?

J: I am the first daughter of the first star.

Mom: Where do you drink when you're thirsty?

J: I drink the tears from the madonna's eyes.

Mom: And if not there?

J: I drink the dew.

Mom: And if you can't find the dew?

J: I drink from… um…

Mom: the rain…

J: the rain before it falls.

Mom: And if you can't drink there?

J: I drink from the turtles hide.

Mom: How did you find your way to me?

J: By the light of the mermaid’s comb.

Mom: Where does your mother come from?

J: Thunderbolts, lighting, and all things that soar.

Mom: Who are you?

J: I come from the puddle of that river.

Mom: Speak to me.

J: You hear my mother who speaks through me. She’s the shadow that follows my shadow. The flame at the tip of my candle. The ripple in the stream where I wash my face. Um. I will . I can  . . (struggling for the right words)

Mom: I will eat my. . .

J:  tongue if I ever whisper that name, the name of that place across the river, that took my mother from me.

Lights Fade

Lights Up on House set

Madonna: Get Josephine ready to leave.

Mom: Where we taking her now?

Madonna: The river.

Mom: The police are already on high alert from the festivities.

Madonna: Don’t worry.

(exit stage right)

Lights Fade

They are now at the river bank. The sun shines above and the water is crystal clear

Lights Up Full Stage

The mother dips her and Josephine’s hands into the water.

J: I expected the water to be red, like in your story.

Mom: The blood of the lost ones washed out a long time ago, Josephine. But their souls are here, in this river. We come here to pray and to thank Bondye for saving our lives.

J: Oh.

Mom looks toward the audience and begins to speak

Mom: Here is my child, Josephine. We were saved from the tomb of this river when she was still in my womb. You spared us both, her and me, from this river where I lost my mother. Let her flight be joyful, and mine too.

(Mom stands downstage, J. stands more upstage. As her mother staying in praying position, looking up toward the sun, she delivers this monologue. She never crosses her mother downstage. She always stays behind her.)

J: The river isn’t red... I don’t see any souls.... How can someone believe in what they cannot see? This whole time I have followed her, listened to her, believed her. I waited so long to see this river of red, to see what she said was true. My whole life has led to this moment, but what if I followed her blindly? (emotion gradually climaxes) The river isn’t red! It’s brown and murky. There aren’t any souls, just hard, warm rocks and sand that I can feel beneath my feet. (She kneels down to feel the ground) I know it’s real, I can see it. But I can’t see the souls. How can they be real? Manman and the Madonna hide so much from me. How do I know they’re telling me the truth now? Maybe that Priest was right at school. Maybe voodoo isn't as real as Manman thinks it is.

Lights go down.

Scene change to the house. Lights Up.

Mom: You're back later than usual, Josephine. Was everything alright at school today?

J: Yes, I went to a friend's house after school.

Mom: Who?

J: Fanelia. I got to meet her mother. The Madonna said she crossed the river with you.

Mom: but I didn't realize you two were friends. Is she in your class?

J: No. I don't really know her that well.

Mom: But she invited you over her house?

J: Well she invited me home for a snack to thank me for standing up for her last month. She showed me the shrine in her house. I’ve never seen anything like that before. I wish you could've seen it.

Mom: That's very kind of her. How's her mother?

J: Fanelia told me her sister was born a few weeks ago. Maybe we both can go visit them sometime.

Mom: We’ll see.

Lights down. Back up to just the mom and madonna

Mom: I’m worried about Fanelia and her family. I heard their baby, Emmanuel, isn't doing too well, but I don't want to upset Josephine. Maybe we should go visit.

Madonna: We should. Without Josephine. We can go tomorrow after she goes to school.

Mom: Okay, we will go.

Lights out.

Full Lights fade back up on ?? set

(Guards enter stage left, walk toward Mamman, and grab her arms)
Mom: No! What are you doing? Get off of me! (struggling with the guards) I demand for you to tell me what is going on!

Guards: We were instructed to take you away for the death of Emmanuel. Please come with us.

Mom: No! I have a daughter; I cannot just leave her here! No, please let me go!!  

(Guards are taking mother away, Madonna hovers toward the back, watching & reacting as if she cannot do anything. Josephine wanders onto the stage)

J: Mamman? Mamman! Mamman! Where are they taking you?!! MAMMAN! NO!

(Mother tries to speak, but is stopped by guards. Throws wings back near Josephine, while she is dragged offstage stage left.  Josephine reaches for jacket.) Mid reach, the lights immediately blackout.

Lights up to Josephine sitting at river with wings in her hands

(sitting on the ground, thinking, holding wings)

Madonna: (walks up near Josephine) Why did you come to the river?

J: (gets up) What? Who are you?

Madonna:  (walking toward Josephine) I am the Madonna, Your mother sent me to guide you. You are safe here.  

J: The Madonna? What are you talking about?

Madonna: I was sent to guide you, just I did for your mother, her mother, and her mother before her.

J: Guide me? I don’t understand.

Madonna: You will eventually. I am sent to guide you through this life and into the next. I helped your mother cross the the river. I was there for all the hardships in your life,  and I will be there for the many more in your path. But I have always known you to be strong. Look at where you are now, the river.

J: I couldn’t go back home. Not without Mamman. I didn’t know where else to go. I thought someone here might have an answer. But I’m the only one here.

Madonna: There was nothing I could have done, you know. She was brave until the end.

J: (understands the meaning of what Madonna is saying, starts to cry) I have nothing else in this world! Mamman was all I had!!

Madonna: Your mother made sure to give you what saved her life. (looks at wings) And you will have me. It will have to be enough.    

Spotlight comes back on on Josephine & Madonna onstage back to audience, says ending to response, blackout.

Blackout remains, Spotlight on Josephine.

J: “Our mothers were the ashes and we were the light. Our mothers were the Embers and we were the sparks. Our mothers were the flames and we were the blaze. I am the child, Josephine. My mother was saved from the tomb of this river when I was still in the womb. You spared her from this river where she lost her mother. Yes. I will eat my tongue if I ever whisper that name, the name of that place across the river, that took my mother from me.”

Madonna goes to put the wings on Josephine, blackout.