House of Music

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  • Format: Paperback
  • Copyright: 2012-06-28
  • Publisher: Textstream
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House of Music takes place on a street in an affluent section of Harlem. The play explores the present-day complexities of a group of African Americans and a liberal Caucasian resulting from their experiencing the impacts of the Civil Rights struggle and subsequent Affirmative Action programs. The play is unique for many reasons. First, in most literature, there is one character that serves as the spokesperson for the author. This is not the case in this play. The author believes that in the real world, there is no one person who possesses all truth. This is especially true when presenting the subject matter of this play. Truth is relative; it is also a factor of time. What was true yesterday may not be true today, and the consequence of not being cognizant of this is one of the major issues explored in the play. The author, then, speaks through all the characters because to do so is closer to life's reality. The play is a discussion between people concerned on very complex issues, and each person's position is respected and considered with the same weight. It is up to the audience to decide with whom they agree; or it may be that they will agree with more than one character-such is life. The play is an exploration of myriad issues facing the African American community. Some of the issues, however, are universal, and thereby, the play has universal appeal. It is serious, delightful, and often funny. Finally, we have a surprise ending. Enjoy.


(The light fades as the two girls separate, Melissa leaving via stage left and Sherry going up the stairs. The light rises again to show the inside of Brownstone I. Racey is now dressed in a colorful caftan. She has a crystal, gold trimmed antique glass in her hand fill to half with Gin and orange juice. She is swaying in a sexy dance the middle of an extraordinarily elegant living room. She begins to sing to the song, making up her own words to the music..) Racey: "I got a job in nursing and nursing is just like a slave. Five long years, every Friday, I gave that motha fucka all of my pay...Next man I get he gonna have get a job and bring home some dough....Have you ever been mistreated- then you've gotta,, gotta know what I'm talking about. (She stumbles, drunkenly over to the bedroom door and yells to the room inside...) cont. Motha Fuck You!!! You g-g-g-god damn sunafabitch! (She twirls away from the door and bends over, jumping back screaming, a shaking her rear end at the door...) cont. Kiss my skinny yalla ass motha fucka!!!! (She walks to the bar and picks up the quart of Gin and refreshes her drink. She continues the song... ) cont. Racey: The next man I git is gonna half to work and bring home some dough!! (The record ends and she goes to the CD player to adjust the CD. "My Time After Awhile," fills the room. She again begins to substitute her own lyrics to the song..We see Dr. Eastman enter from stage right and stand in front of the window. The two-tiered matrix slides forward to center stage and we see Rick Lamb on the Balcony. Maria has also wheeled onto the lower balcony. Mother Mona and Hooky are on their balcony. All are looking toward Racey's house. ) cont. "It may be yo' time now motha fucka! But, black sunafabitch it's gonna be my time after awhile..." (she does bumps and grinds down to the floor) ..."Put the clean clothes I washed and walked on out the door...(she stomps both feet, fast, on floor) God damn cheatin' cock sucker! (She goes to the wall unit, opens a drawer and pulls out a black snub nose revolver. She runs to the bedroom door and drunkenly waves the gun at the room...) cont. I should blow your motha fuckin' brains out. Kill you! Kill you! (Baron enters from stage right and stops next to Dr. Eastman and the two men stare into Racey's window, watching her performance. Baron with mouth opened, transfixed. Dr. Eastman is smiling, sarcastically. He says to Baron.. Dr. Eastman: And this woman gives needles. Baron: (Baron begins to laugh, shaking) Man, I hope she's never called in to work on Saturday. Dr. Eastman: And you get sick and have to go to the hospital. (Racey sees them and staggers from the bedroom door, gun in hand, to the window and shouts..) Racey: What in fuck are you white Negroes looking at?! You want some of this hot lead? (She waves the gun. Baron snaps his head away and he and Dr. Eastman quickly make their way to the top of the steps. Maria looks over at Mother Mona and both laugh, knowingly.) Baron: (Talking to Dr. Eastman) That woman is crazy. She argues with that poor guy every Friday. If it were me, I would be long gone because one day she's going to kill him. Dr. Eastman: (calmly) He's already dead. Baron: I know that because a woman like that will kill everything you have inside you. I couldn't live with that- no one should have to...the cussing and the abuse. And they wonder why black men get white women. Dr. Eastman: Baron, there's no man in there. Baron: Cornell, what are you talking about; they have it out every Friday. Dr. Eastman: Have you ever heard him say anything to her? Baron: Would you say anything with her waving a gun around? Dr. Eastman: Baron, have you ever, in the last six months that you've been living here, seen a man in that house? Baron: No, but I'm busy I guess he comes and goes when I'm busy. Dr. Eastman: Baron, that man died over two years ago. They used to argue like that when he was alive. She just never got out of the habit, even after she collected that 1.5 million dollar life insurance policy she had on him. Baron: Cornell, you mean to tell me that no one is in that bedroom. Dr. Eastman: Not a soul; or maybe a soul but it ain't nobody. Baron: (Baron turns to look at Maria for confirmation; she smiles and nods her head in agreement.) O-o-h Shit! That bitch is crazy!

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