Clybourne Park at FUSION Theatre

Other Desert Venues!!

FUSION Theatre Company is growing! We're thrilled to announce performances beyond our home for the past ten years, The Cell. FUSION will present Clybourne Park:

Thursday, Mar. 7, The Cell, ABQ, 8PM GALA OPENING SOLD OUT!
Friday, Mar. 8, The Cell, ABQ, 6PM Special Time! SOLD OUT!
Saturday, Mar. 9, The Cell, ABQ, 2PM (matinee) SOLD OUT!
Saturday, Mar. 9, The Cell, ABQ, 8PM SOLD OUT!
Sunday, Mar. 10, The Cell, ABQ, 6PM SOLD OUT!
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Tuesday, Mar. 12, The Cell, ABQ, 8PM SOLD OUT!
Wednesday, Mar. 13, The Cell, ABQ, 8PM SOLD OUT!
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Friday, Mar. 15, The Kimo Theater, ABQ, 8PM
Saturday, Mar. 16, The Kimo Theater, ABQ, 2PM (Pay What You Wish matinee*)
Saturday, Mar. 16, The Kimo Theater, ABQ, 8PM
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Friday, Mar. 22, The Lensic Performing Arts Center, Santa Fe, 8PM
Saturday, Mar. 23, The Lensic Performing Arts Center, Santa Fe, 2PM (matinee)
Saturday, Mar. 23, The Lensic Performing Arts Center, Santa Fe, 8PM

* underwritten by a generous grant from
Bernalillo County

click to view a special promotional video about Saturday's special Pay What You Wish performance at the Kimo
underwritten by Bernalillo County

For tickets and information call 766-9412 or click here:

Free parking is plentiful in our lot just north of the theatre. The Cell is located at 700 1st St. N.W., just west of Broadway and south of Lomas. The historic Kimo Theater is on Central in downtown Albuquerque; ample parking is available in inexpensive public parking structures in the immediate vicinity. Parking in Santa Fe is available at a number of inexpensive public lots in the immediate vicinity of the Lensic.

Review, Broadway World, by Anya Sebastian, 3/11/13:

"CLYBOURNE PARK is not an easy play on which to slap a label. Part drama, part social history, part cultural commentary, woven together with humor that, in turn, inspires laughter, makes you wince, or leaves you squirming uncomfortably in your seat, this is not your usual theatrical fare. Also well-crafted (it won the 2011 Pulitzer Prize for drama) provocative and thought- provoking, Bruce Norris's play is an experience not to be missed.

Set in Chicago, the story unfolds in two acts - the first in 1959, the second in 2009 - in the same house that starts out as a comfortable home in the fictitious suburban neighborhood of Clybourne Park. The middle-aged couple who own the home, Bev and Russ Stoller (played by Jacqueline Reid and Bruce Holmes) are about to move. The neighborhood is white, their maid, Francine (Angela Littleton) is black and they have just broken the accepted social norms of the time and place, by selling their house to an African American family. Those are the basic facts that form the foundation for everything else that follows.

The first sign of trouble arrives in the form of Karl Lindner (Gregory Wagrowski) who turns up, accompanied by his very pregnant, deaf wife, Betsy (Jen Grigg) in order to persuade his friend not to sell the house to people who just 'won't fit in.' Karl is even prepared to put his money where his mouth is, offering to come up with a better price, if only Russ will change his mind.

It turns out that Russ's refusal to comply is less about race (he and Bev consider themselves to be 'progressives') and more about personal issues. He and Bev are moving, primarily, because of parental grief caused by their son, a soldier, who was badly treated by neighbors when he came back from the Korean war and ended up killing himself in that very same house.

The inability of the characters to even get along, let alone try to understand each other, is painfully evident almost every time they open their mouths. The situation is only made worse by the arrival of the local pastor (Evan Garrett) and, later, Francine's husband, Albert (Hakim Bellamy). Human failings, out-and-out racism, real estate and social issues are all intertwined in a complex collage of relationships, skillfully interpreted by this talented team of actors.

Fast forward to 2009. The tables have turned and Clybourne Park has become a predominantly black neighborhood. The house is now abandoned and dilapidated, but, after being overrun for years with drugs, graffitti and crime, the neighborhood is once again ripe for gentrification. A well-heeled white couple, Steve and Lindsey (Russ and Bev reincarnated and brought to life by the same two actors) are meeting there, with their lawyer and representatives of the local home-owners' association (Francine and Albert updated and redefined as Lena and Kevin.) The white newcomers want to tear down the house and put a mansion in its place; the black resident majority is anxious to prevent the influx of money from destroying the neighborhood's history and character.

Special shout outs go to Angela Littleton (Francine/Lena) and Hakim Bellamy (Albert/Kevin) who make particularly convincing transitions from servile underlings in the first act, to confident members of a superior social class in the second.

Ironically - and unfortunately - the final message seems to be that nothing has really changed very much in the intervening years between then and now. In spite of 'progress', underlying attitudes remain the same, regardless of who is expressing them. In other words, the more things change, the more they stay the same.

CLYBOURNE PARK is playing at Fusion Theatre's home base, the Cell, through March 23rd and is, according to Co-Founder and Executive Director, Dennis Gromelski, completely sold out. But don't despair! It then transfers to the Kimo Theater, March 15th and 16th, before making a final appearance at the Lensic, in Santa Fe, on March 22nd and 23rd.So be sure to grab your tickets, before those performances sell out too. This is one play you don't want to miss."

Review, The Independent, by Wally Gordon, 3/18/13:

"“I really think things are going to change for the better” are the saddest 11 words in Clybourne Park, a Pulitzer prize-winning play that is the current offering of Albuquerque’s FUSION Theatre Company. They may even be the saddest words in any contemporary play about American society.

The sentence is spoken nearly at the end of “Clybourne” by a mother to her son, a recently returned veteran who has been ostracized because during wartime service he massacred a group of civilians. Shortly after his mother’s avowal of hope, he goes upstairs to his bedroom and hangs himself.

This deeply thought-provoking play by Bruce Norris dramatizes two themes. One is, on numerous levels, the unlikelihood if not impossibility of change, real change, not just in time and place but in the neurons of our psyches. The other theme is that of stereotypes—the inevitability, injuriousness and incurableness of our penchant to dismiss other people’s individuality by relegating them to a group, by applying labels that shrink human beings to cardboard cutouts.

Most reviewers have described “Clybourne” as a play about racism. It is that, but it is also much more. It is about attitudes of all whites toward all blacks—not just whites who are openly racist but also, for example, a white woman who truly believes her black maid is her friend and needs her discarded cookware. It is about a white businessman who believes his white neighbor, in the name of community solidarity, should refrain from selling his house to blacks, even though that same community has rejected his son, the young veteran, as well as his whole family. It is equally about the white racist who asks if it is imaginable that blacks could ski, and a half century later the prosperous black man who demands if a less sophisticated white man knows how to ski, adding, “Well, if you ski, the place to do it is Zürich,” where he has recently traveled. It is, in a word, about prejudice in many forms, whether they involve class, race, economic status or military service. The first act of “Clybourne” takes place in a Chicago house in 1959 when the white homeowners have just sold their house in an all-white neighborhood to a black family. The second act transpires in 2009. It begins with an excerpt from the powerful inaugural speech of President Obama talking in ringing tones about hope for change and an America that comes together as one. Then we dig into the lives of a group of people, black and white, debating whether a modest white couple should be allowed to buy this same house, now located in an all-black neighborhood, and replace it with another house that is 15 feet taller, violating both the building code and the architectural character of the community, as well as, tacitly, the racial identity of the area. The play’s two acts not only have complex interrelationships with each other but also are a kind of sequel to perhaps the most famous play about the corrosiveness of racism in America, “A Raisin in the Sun.” “Clybourne” begins moments after the last act of “Raisin” concludes, with the same setting and some of the same characters, but without hope for a better world.

At first glance it might seem that a play about black-white race relations in a huge, segregated city would be inappropriate for Albuquerque audiences. But race here is a metaphor for the stereotypes that maim all of us, and the Chicago neighborhood is every community everywhere. In other words, like any fine work of art, “Clybourne” speaks to and for humanity.

The same seven actors, in very different roles, perform in the two acts, demonstrating laudable adaptability while emphasizing the way similar themes emerge among diverse people in different generations. Fred Franklin, a highly experienced director form Virginia, has done an admirable job with an able cast: Jen Grigg, Bruce Williams, Jacqueline Reid, Gregory Wagrowski, Hakim Bellamy, Evan Garrett and Angela Littleton.

Review, Albuquerque Journal, by Barry Gaines, 3/15/13:

"Clybourne Park, Bruce Norris’ formidably funny play about real estate and race, received the Pulitzer Prize and last year’s Tony for best play. Under the direction of Fred Franklin, FUSION Theatre Company presents a spirited production of the play at the KiMo Theatre. See it if you can.

The first act of Clybourne Park continues Lorraine Hansberry’s ground-breaking “A Raisin in the Sun,” where the black Younger family plans to move to the white Chicago neighborhood of Clybourne Park in 1959. The second act is set 50 years later in 2009, when another color line was broken as the Obama family rendered the White House exclusively white no longer. In both cases some thought, “There goes the neighborhood.”

Clybourne Park takes place in the house we never see in Hansberry’s play. Set designer Richard Hogle provides a modest living space in the first act as Russ and Bev pack for their move. They were rocked by a family tragedy and need a new start. Karl – a character in “Raisin” – visits with his wife, Betsy, to convince Russ not to sell to “a colored family.”

Young clergyman Jim, black maid Francine and her husband Albert all join the uncomfortable discussion of race that flairs into a shouting match.

Fifty years later, the house is derelict and ripe for gentrification. White couple Lindsay and Steve are looking to remodel, and they face black couple Lena and Kevin, who represent historic values. Lawyer Kathy and friend, Tom, join this discussion of – you guessed it – race. Despite lip service to mutual respect and sensitivity, the conversation devolves into a brawl.

The acting is excellent. Jen Grigg plays Betsy and Lindsey. As Betsy, she wears a blond wig and is pregnant. Her character is deaf, but so are all the characters. Grigg is stronger as modern Lindsey whose range of emotions is greater.

Evan Garrett is Jim and Tom. Tom’s role in the second act is minimal. As Jim, however, Garrett is fun – exhibiting the bonhomie peculiar to clergymen.

Bruce Holmes is powerful as Russ, whose emotional wounds he exposes with subtlety. As Bev, Jacqueline Reid captures the domestic discomfort exposed a few years later in Betty Friedan’s “The Feminine Mystique.”

Angela Littleton and Hakim Bellamy handle the black roles with skill. As Francine, Littleton displays the restraint expected of “the help.” As Lena, however, she is feisty and frank. A strong portrayal. Bellamy is all wide eyes and inconspicuousness as Albert, but his Kevin is cool and confident. Both actors change their body language with their characters.

I thoroughly enjoyed Gregory Wagrowski as Karl and Steve. In both acts he is the provocateur – with modulated but growing frustration and anger.

In “Raisin” Karl piously proclaims that the world’s troubles exist “because people just don’t sit down and talk to each other.” But then and now, talking isn’t enough."

Review, Entertainment Weekly, by Melissa Rose Bernardo, 4/27/12:

"Norris...may be a provocateur but he's also a clever writer who doesn't push buttons simply for the sake of starting a war of words. He knows how to create characters and then root both issues and prejudice deep inside them."

Review, New York Times, by Ben Brantley, 4/19/12:

"“Is this safe?” the man asks, as he guardedly takes a seat on a packing crate in the first act of Clybourne Park, Bruce Norris’s sharp-witted, sharp-toothed comedy of American uneasiness. Oh, foolish mortal. Of course it isn’t safe. You’re about to start talking about (can I say the word?) race. You might as well be running blindfolded through a minefield."

Review, Variety, by Bob Verini, 4/19/12:

"Rarely in American drama have the gaps between what one wants to say, how one says it and what one really feels been as hilariously explored for dramatic effect as Norris is able to pull off here. All [cast] are united in the task of peeling back society's veneer to confront the terrors lurking below the surface. Clybourne Park has no easy answers for the questions it raises about the historical roots and present-day dimensions of racial disharmony. But it sharpens the viewer's antennae for the obfuscation in which we timidly traffic when trying to discuss those questions, and that's a public service right there."

Clybourne Park Cast

Hakim Bellamy	Hakim Bellamy (Albert/Kevin) As the inaugural Poet Laureate of Albuquerque (2012-2014), Hakim is a National Poetry Slam Champion, performance poet, journalist, musician and community organizer. His acting career has included work on film (Swing Vote, Gamer, Romeo and Juliet vs. The Living Dead) and television (Crash). He is the co-creator of the multimedia Hip Hop theater production Urban Verbs: Hip-Hop Conservatory & Theater that has been staged throughout the country. More recently, Bellamy was featured as the “Friar” in Romeo & Juliet and was an original cast member of the hit musical theater production Roots Revival**. This is his FUSION debut. Hakim also performs with his band, Waylaid, at Broken Bottle Brewery. Info: www.hakimbe.com.
Jen Grigg	Jen Grigg* (Betsy/Lindsey) is honored to be collaborating with her FUSION family yet again as Clybourne Park marks their eighth season together. Previously at FUSION, she was “Miss Gluck” in A Lovely Sunday for Creve Coeur, “Catherine” in David Mamet’s Boston Marriage, “Mairead” in The Lieutenant of Inishmore, “The Giant” in Seven at a Swat, “Rebecca” in The Long Christmas Ride Home and “Girl” in Mr. Paradise. In addition to acting, Mrs. Grigg serves as the curator for FUSION's new play festival, The Seven, having read every play that has ever been submitted. Highlights include directing The Education of Macoloco by Jen Silverman both in The Seven: Something Left Unsaid and in NYC for the Samuel French OOB Fest, and acting in The Magician and the Memory, Blood, and Neighborly Do’s and Don’ts. Another favorite role was “Aramanda” in The Second Death of Priscilla (27th Annual Humana Festival), Actors Theatre of Louisville. Jen is also a nationally licensed massage therapist and resides in Sonoma County, California. Her BFA is from Cornish College of the Arts. She has been a proud member of the Actors’ Equity Association since 2009.
Evan Garrett	Evan Garrett (Jim/Tom/Kenneth) is a Chicago-based actor and performer. Previous FUSION work includes: The Seven: Something Left Unsaid and Being David Mamet. He has performed in the world premiere of Mickle Maher’s An Actor Prepares; Charles Mee’s Big Love, directed by award-winning Chicago theater personality Sean Graney; and Tony Kushner’s children’s play But The Giraffe!, directed by Kushner himself. He has worked at Steppenwolf Theater (where he was involved in their production of Clybourne Park**), Victory Gardens Theater, Court Theater, and About Face Theater. He is an Associate Artist with Manual Cinema, a touring shadow puppetry troupe. He has trained extensively with the New York-based SITI Company, led by Anne Bogart. Evan received a BA in Theatre and Performance Studies from the University of Chicago.
Bruce Holmes	Bruce Holmes* (Russ/Dan) most recently appeared with FUSION in the world premieres of The Mayan Flute, You Can’t Get a Decent Margarita at the North Pole, and Tennessee Williams’ Once in a Lifetime. Previous FUSION roles include: “Michael Novak” in God of Carnage, “Clown 2” in The 39 Steps, “Bill Fordham” in August: Osage County, “Brother Timothy” in The Mandrake, “William Detweiler” in How the Other Half Loves, “Ned” in Parlour Song, “Teddy” in The Homecoming, “Ben” in Death of a Salesman and “Christy” in The Lieutenant of Inishmore. He also appeared in FUSION’s children’s tours of The Invention and The Lost Ending, as well as in Jen Silverman’s award-winning The Education of Macoloco (Samuel French OOB Festival, NYC). Bruce has also directed and acted in several annual productions of FUSION’s The Seven: New Works Festivals. In Seattle, he worked at A.C.T., Center Stage, AHA!, N.W. Shakespeare Ensemble, and The Empty Space Theatre. Bruce has also performed with The Idaho Repertory Theatre and in Washington, D.C. he performed at Arena Stage and with the Washington Shakespeare Theatre. In Virginia, Bruce appeared with The Metro Stage Theatre. Recent film/tv credits include the USA series In Plain Sight, the feature film Fright Night and the lead in Ultimatum Pictures’ Voiceover. He received his BFA from the University of New Mexico and his MFA from the professional Actor’s Training Program at the University of Washington. Bruce has been a proud member of the Actors’ Equity Association since 2005.
Angela Littleton	Angela Littleton (Francine/Lena) is an actress/ASL interpreter who was born and raised in New York and graduated with degrees in Theatre and Psychology from Fordham University. She has performed in NY, AK, HI, OR and NM. Previous FUSION productions include: Doubt, Taming of the Shrew, Adam and Eve on a Ferry, A Streetcar Named Desire, Mad Hattr, The Art of Dining, The Eight: Reindeer Monologues, and The Seven. Some other favorite productions include: Medea, Coyote on a Fence, and Choke. Her most recent role was “La Negra” in a wonderful new play La Fea; A FlamenChoreoMyth** by Riti Sachdeva.
Jacqueline Reid	Jacqueline Reid* (Bev/Kathy) is a founding member of FUSION. At FUSION: Other Desert Cities, Time Stands Still, Once in a Lifetime, God of Carnage, The 39 Steps, August: Osage County, Overruled, A Lovely Sunday for Creve Coeur, How the Other Half Loves, The Homecoming, Parlour Song, Suddenly Last Summer, Private Lives, Hedda Gabler, The Glass Menagerie, A Streetcar Named Desire, The Taming of the Shrew, Closer, and Cat on a Hot Tin Roof. Regional: Romeo and Juliet, Agnes of God, Crimes of the Heart, Tribute. Film & Television: Heat Lightning (Best Actress: Bend, Oregon Film Festival), Doc West, Triggerman, In Plain Sight, Unsolved Mysteries, and True Confessions with Adam Arkin. Directing credits include the regional premiere of Doubt, Freud's Last Session, Red, The Mandrake, Happy Days, Death of a Salesman, The Lieutenant of Inishmore, Buried Child, Who’s Afraid of Virginia Woolf?, A Lie of the Mind, The Unexpected Man, The Long Christmas Ride Home and the world premieres of Mad Hattr and You Can’t Get a Decent Margarita at the North Pole. She is a graduate of the North Carolina School of the Arts. Jacqueline has been a proud member of the Actors’ Equity Association since 1983.
Gregory Wagrowski	Gregory Wagrowski* (Karl/Steve) has been working professionally as an actor and director for over thirty years. He served as the Artistic Director for both the Smokebrush Theater and The Colorado Actors’ Theater. He has performed a variety of roles in theaters across the country including the Public Theater in New York, the St. Louis Repertory Company, the Magic Theater in San Francisco, the Mark Taper Forum, and the Los Angeles Theater Center where he was an Artistic Associate for seven years. He was a founding member of two theater companies, The Old World Theater Company in Chicago and The Noe Street Theater in San Francisco. He is proud to be working with the FUSION once again, where he has been seen in productions of Freud's Last Session, Time Stands Still, You Can’t Get A Decent Margarita At The North Pole, Once In A Lifetime, Talk To Me Like The Rain, and August: Osage County. He has worked extensively in both film and television where his most recent credits include In Plain Sight, Odd Way Home, Mad Men, The Unit, Criminal Minds, and ER. He has also recently finished directing his first film, Matanza. Gregory has been a proud member of the Actors' Equity Association since 1981.

* member Actors Equity Association the union of professional actors and stage managers in the United States
** Equity Membership Candidate