The Rhetorical Review

Salt Lake City, UT—Directed by Jerry Rapier, the world premiere of Full Color at Plan-B Theatre brings together an extraordinary team of artists to illuminate the voices and experiences of Utah’s BIPOC (Black, Indigenous, and/or people of color) artists. The production features playwrights Tatiana Christian, Chris Curlett, Dee-Dee Darby-Duffin, Courtney Dilmore, Bijan J. Hosseini, Tito Livas, Iris Salazar, and Darryl Stamp. This is a unique play; there are no scene changes and no intermission. Full Color uses the personal narrative form to interrogate systemic racism and cultural identity in contemporary America. Full Color features stories of identity, race, and resilience both on and off the stage that serves as an intimate yet confrontational theatrical experience seeking to provoke thought, break down stereotypes, and foster empathy among its audience.

Full Color draws on a rich history both in theatre, literature, and poetry that explore racial identity, social justice, and marginalized experiences, drawing comparisons to Ntozake Shange‘s For Colored Girls, Anna Deavere Smith’s Twilight: Los Angeles, 1992, and Jesmyn Ward‘s The Fire This Time. Like these works, Full Color uses the personal narrative or monologue to evoke powerful emotions and raise awareness, broadening its scope to include diverse racial and cultural voices. It shares thematic ties with Claudia Rankine’s Citizen in its portrayal of everyday racism and aligns with Dominique Morisseau‘s Pipeline in highlighting personal stories behind systemic issues. August Wilson’s How I Learned What I Learned also parallels Full Color in using personal storytelling to critique societal norms. Full Color follows a tradition of powerful works that use narrative to challenge, provoke, and inspire change.

Each monologue delivers a unique perspective, grounding its arguments in lived experiences to establish credibility while simultaneously evoking deep emotional responses. For example, in Dee-Dee Darby-Duffin’s “Fried Chicken,” the protagonist, portrayed brilliantly by Yolanda Stange, confronts the microaggressions of a deli worker, using humor and confrontation to expose the indignities of racism. Her sarcastic response to the worker’s assumption about her economic status—”What’s an EBT card?”—becomes a powerful moment of reclaiming dignity and undermining prejudice.

The production questions social narratives that define and constrain the BIPOC experience. In Tatiana Christian‘s “I Still Have To Live Here,” the monologue critiques performative Black identity politics and liberal allyship, asking the audience to reconsider mainstream approaches to anti-racism. The rhetorical challenge is directed both outward, toward society’s flawed structures, and inward, critiquing internalized expectations and communal responses to racism.

Full Color excels in the staging of these monologues, which often break the fourth wall and address the audience directly. This choice fosters a confrontational atmosphere that invites introspection and dialogue. Plan-B Theatre brings together an extraordinary team of artists to illuminate the voices and experiences. The minimalist set dressing by Scenic Designer Janice Chan, with limited props and set pieces, shifts focus entirely to the performers, allowing their voices and bodies to occupy the space dynamically.

Lighting Designer Emilio Casillas adds the perfect glow to the set. The simplicity of the staging, an outdoor camping setup, allows the actors to shine. Scenic Builder and Electrician David Knoell executes the design to perfection, bringing Chan’s design to life. Sound Designer Cheryl Ann Cluff adds beautiful sound effects that enhance the storytelling of each performer without distracting, contributing to the vibrant storytelling on stage. Stage Manager Taylor Wallace ensures the seamless flow of the performance. Together, this dynamic team crafts an evocative theatrical experience that vividly portrays the BIPOC experience.

The performances, though consistently compelling, vary in their use of pacing and tone. In some instances, the emotional intensity could benefit from more subtle modulation, as moments of continuous high tension can feel overwhelming. Yet, this rawness is also a testament to the performers’ commitment to their material, as seen in Darryl Stamp’s “American Survival Story,” where the visceral recounting of racial profiling invites the audience into an intimate space of vulnerability and defiance. I was so impressed by Terence Johnson’s delivery of this material and his ability to create moments of levity for the audience almost instantly after recounting several traumatic encounters with racism.

The thematic emphasis on personal stories draws attention to the ways systemic oppression manifests in everyday life. The production’s strength lies in its ability to articulate these experiences without resorting to clichés or oversimplifications. However, it occasionally borders on didacticism, particularly in sections where the message risks overshadowing the artistry. For example, the monologue “Let’s Not” by Tito Livas critiques racial inequities in casting practices with fervor but might benefit from a deeper exploration of the internal conflict beyond frustration with industry discrimination. Full Color contributes meaningfully to discussions on race and representation by giving voice to stories often misunderstood. The diversity in the playwrights’ backgrounds enriches the narrative fabric, creating a mosaic of cultural experiences that resists monolithic interpretations of identity. Below, I will provide a sample of each monologue.

“Fried Chicken” by Dee-Dee Darby-Duffin

The monologue recounts a personal experience at a grocery store deli, where Dee-Dee Darby-Duffin encounters a microaggression from an employee who loudly assumes that she is attempting to pay with an EBT card, thereby implying she is on government assistance. Darby-Duffin, portrayed by Yolanda Stange, uses humor and quick wit to challenge the employee’s assumptions and turns the situation around by feigning ignorance about what an EBT card is. This incident triggers a reflection on the social stigma attached to poverty and the experiences of growing up with financial struggles.

“American Survival Story” by Darryl Stamp

Darryl Stamp, portrayed by Terence Johnson, shares his experiences of racial profiling and being pulled over by police in Utah, recounting instances of microaggressions and overt racism. The narrative includes anecdotes from the speaker’s life, illustrating the emotional toll of being constantly perceived as a threat. It reflects on the speaker’s attempts to cope with these experiences while retaining his dignity and sense of humor.

“Should I be grateful knowing that I’ve been ‘free’ for the last 159 years, and granted civil rights 60 years ago? You see, I live in a state within a country I love that has never loved me back.” ~American Survival Story by Darryl Stamp

“I Still Have To Live Here” by Tatiana Christian

Tatiana Christian, portrayed by Talia Heiss, reflects on life after the George Floyd protests, touching on her decision to leave Twitter due to disillusionment with performative activism. She discusses the complexities of navigating Black identity politics, questioning the focus of mainstream anti-racism efforts and critiquing the limitations of liberal allyship. The monologue offers a personal perspective on the struggle to reconcile racial identity with broader social movements.

“Fox and the Mormons” by Chris Curlett

Set against a backdrop of woodland-like lighting, Chris Curlett‘s monologue explores his experience as a Black actor in Utah’s predominantly white LDS community. Curlett, portrayed by Alex Smith, recounts instances of being tokenized and subjected to microaggressions in the local theatre scene. Drawing parallels to the fable of “The Fox and the Grapes,” the narrative explores the frustration of being offered opportunities that are perpetually out of reach due to systemic barriers.

“Here” by Courtney Dilmore

Courtney Dilmore reflects on returning to her grandmother’s home on a Diné reservation, reconnecting with her cultural roots and the land. Dilmore, portrayed by Abyanna Wood, peels potatoes and tends to chores, contemplating her grandmother’s dementia and the generational strength passed down through her family. Dilmore weaves together memories, cultural identity, and the healing power of returning to one’s origins.

“In the vast sand dunes, stood my childhood playground. Sandstone rock formations. Even laid on the rocks for a while. Little did I even notice, I drifted. Slept. I slept till the sun was nearly in the early evening position. Returning home before dark, always before dark. There, mom stood in front of the stove. As if I never left, she had dinner on the table. This continued for days. Only after all the beautiful rest I received, and holding my own food in my hands, putting my feet and body in the dirt did I realize, she is the wisest person I know. I don’t know how, but she knew what my soul needed to calm the raging storm of panic and endless tasks.

So! Sitting here. Here is where I will continue to come. To feel like myself again when the weight of white people’s silly, repetitive questions become too much. When I need that connection to my people, culture, and humor again – the one that is deeply rooted in resilience that I can’t find anywhere else. The only place I don’t have to explain anything about myself.” ~”Here” by Courtney Dilmore

“Life is Color” by Iris Salazar

Iris Salazar, portrayed by Espehani Cerros,, reflects on the meaning of color and the complexities of being a “morena” Mexican woman. She discusses cultural perceptions of skin color, fashion, and beauty standards, interweaving personal anecdotes with reflection. Her lyrical monologue explores the tension between embracing ethnic identity and resisting reductive labels based on color.

“If I had a superpower, I would want nothing more than to be a time traveler. To visit the places where and how the people that are intertwined in my DNA chain lived. I want to see their lives, meet their loved ones that brought them joy, listen to their laughter, comfort them in their suffering, engage in their conversation.”

“I want to know who they were, what their colors were and how those colors made them who they are and led to the creation of me. Individual by individual down the line over years, decades, and centuries; from their beginnings to my now…I want to sit amongst the guests of an ancestor’s celebrations, to dance, feast, and feel their love. I want to sit face-to-face with them, look them in the eye, and say, ‘Thank you for all these beautiful colors that make me.’” ~”Life is Color” by Iris Salazar

“Let’s Not” by Tito Livas

Tito Livas recounts a voicemail from a casting agent who explains that he did not get a role because he was “too good-looking,” a euphemism for racial bias. The monologue critiques the veiled racism in casting practices, where BIPOC actors are often overlooked or tokenized. Livas, portrayed by Pedro Flores, reflects on the challenges of navigating the entertainment industry in Utah and the broader implications of racial inequity in artistic spaces.

“I wait, and wait, and I wait and wait – waiting for the longest… oh, god – I don’t know. How many heartbeats? Seconds, minutes, breaths of my life, until – in my periphery – I see the white of him driving away. I still don’t move – still can’t move sometimes – I don’t move but … l do, finally, exhale.”~”At Least One” by Biian J. Hosseini

“At Least One” by Bijan Hosseini

The monologue centers on Bijan J. Hosseini‘s experiences with racial profiling, particularly after 9/11. Hosseini, who has Persian and Okinawan heritage, portrayed by Alec Kalled, talks about what it was like to be treated like a threat, detailing his encounters with law enforcement, especially during travel when he was regularly subjected to invasive searches. The piece reflects on the narrator’s coping mechanisms and the absurdity of being categorized and discriminated against based on appearance. Kalled delivers Hosseini’s monologue beautifully.

In conclusion, Full Color stands as a vital contribution to the ongoing dialogue about race, identity, and social justice, resonating with the legacy of works that amplify marginalized voices through intimate storytelling. The production brings together a mosaic of experiences from Utah’s BIPOC artists, crafting a vivid and diverse portrait of contemporary life. With each monologue offering a unique perspective, the play challenges audiences to engage deeply with the complexities of living as a BIPOC in a society still grappling with systemic inequities. By blending humor, pain, resilience, and raw honesty, Full Color not only entertains but also educates and inspires, creating space for reflection and change. The production invites audiences to see beyond the stereotypes and labels, urging them to embrace the richness of life’s complex hues.

CAST & CREATIVE

Playwrights: Tatiana Christian, Chris Curlett, Dee-Dee Darby-Duffin, Courtney Dilmore, Bijan J. Hosseini, Tito Livas, Iris Salazar, and Darryl Stamp
Actors: Estephani Cerros, Pedro Flores, Talia Heiss, Terence Johnson, Alec Kalled, Alex Smith, Yolanda Stange, and Abyanna Wood
Director: Jerry Rapier
Lighting Designer: Emilio Casillas
Scenic Designer: Janice Chan
Sound Designer: Cheryl Ann Cluff
Stage Manager: Taylor Wallace
Scenic Builder & Electrician: David Knoell

Venue: The Rose Wagner Performing Arts Center: 138 W Broadway, Salt Lake City UT 84101

60 minutes, no intermission. No Late seating.

Dates: October 24-November 10 2024

Tickets: $15-25: https://planbtheatre.org/tickets/

Contact: (801) 297-4200, https://planbtheatre.org

• Plan-B Theatre Facebook: https://www.facebook.com/planbtheatreco
• Digital Playbill Accessed Here
• Study Guide: Here
• Accessibility Script Accessed: Here

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