By Abby Stuckrath
This article was originally published in The DC Line here.
Some called her an elitist; others said she coddled her students too much. But her biggest flaw? A fiery passion for inclusive education.
In the early 1900s, Anna Julia Cooper, a respected Black academic and activist, fought to empower Black minds by equipping them with the strongest weapon: knowledge. The internal and external threat to her tenure as principal of Washington’s historic M Street School is the subject of Tempestuous Elements, currently making its world premiere at Arena Stage through March 17.
Written by Kia Corthron and directed by Psalmayene 24, the play centers around the ensuing turmoil as a government probe intentionally spreads misleading narratives about the life and leadership of Cooper, who is played brilliantly by Gina Daniels. The production shines a bright light on an educator whose history hasn’t been celebrated enough.
During this period, DC’s public schools were strictly segregated, and most Black schools concentrated on vocational training. However, the M Street School — later renamed Dunbar High School — distinguished itself by offering a “classical” education, which included specialized courses in physics, mathematics and Latin. The aim was to prepare students for admission to accredited colleges such as Yale and Columbia. The Board of Education and even some students perceived these accredited colleges solely as institutions suitable for white individuals, a perception that Cooper was committed to dismantling. Her dedication was a spark of hope for the local Black community — a small fire that many were dedicated to smothering.
In Corthron’s play, Percy Hughes (Paul Morella), the director of DC high schools, begins investigating Cooper’s leadership after a Black doctor, O.W. Atwood (Joel Ashur), discusses rumors of students creating an off-campus drinking club. The two men — both based on historical figures — question Cooper’s fitness for a position that they see as naturally fitting for a man, and launch a social and institutional attack against her career. This scene sets the stage for the show to explore the intersectional barriers Black women like Cooper continue to face due to their race, gender and socioeconomic status.
Corthron’s script offers stimulating dialogue that effectively communicates the characters’ and community’s rich historical context, never feeling dense or overly complicated. Psalmayene 24’s direction complements the script with natural and dynamic staging. A play performed in the round can quickly become frustrating; no one wants to watch the backs of actors. However, Psalmayene 24 creates a fluidity that allows the actors to physically explore all realms of the stage, never letting the audience feel left behind. As is often the case at Arena’s Fichandler space, the stage design by Tony Cisek was intentionally simplistic, with supplemental furniture on the stage rather than entire set pieces. This allowed the actors to fill the space, avoiding unnecessary set elements. It also enabled the scene transitions to flow naturally and quickly. The women on stage were dressed in a spectrum of purples and pinks, symbolically linking them together. LeVonne Lindsay, the costume designer, likely incorporated this element to illustrate the interconnectedness of Black women in their shared pursuit of personal and community liberation. The chosen color palette conveys a sense of unity and solidarity, emphasizing the collective effort these women engage in as they navigate their respective struggles for freedom and empowerment.
The play’s first act unfolds gradually, with many scenes focused on bringing the audience up to speed on the historical backdrop. The second act marks the point where Daniels truly flourishes as Cooper. She commands the stage quietly, wrapping the character in a cloak of wisdom and empathy. Her presence is missed in the few moments she is not on stage. The ensemble meets Daniels’ newfound energy in the second act, in a lively Board of Education hearing where the entire cast gathers on stage in a show of solid support for Cooper’s leadership.
In the first act, Cooper’s student Hiram, played by ensemble standout Ro Boddie, asks to transfer to a school dedicated to technical studies. Cooper challenges him, urging him to try harder in his courses; he balks at her exhortation, complaining that learning Latin and discussing slavery are vestiges of the past. Their exchange and the overarching themes of the play ring true today, as states ban books discussing race, slavery is taught as beneficial in some cases, and Black women are continually displaced from rightly deserved leadership positions. Tempestuous Elements may be set over 100 years ago, but its discussion of public education in the United States is as relevant as ever.
In the beginning sequence, we see Cooper and Hughes holding a sledgehammer, a symbolic fight against each other, as the play’s protagonist attempts to break the glass ceiling that Hughes upholds. This show is a haunting reminder that Black women are still fighting for their right to lead and take control of the sledgehammer.
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