ABOUT THE READING
YOUR BLUES AIN’S SWEET LIKE MINE
Written and Directed by Ruben Santiago-Hudson
A One-Act Play with Q&A
WHEN: Sun, July 26, at 7:00 PM EDT
We will launch the Two River Rising Series by revisiting our 2015 world premiere production Your Blues Ain’t Sweet Like Mine, in an updated script by Tony-Award winner, Ruben Santiago-Hudson.
A relationship is developing between Zeke, a self-described “walking outburst” and Judith, “a seeker of knowledge” with a hidden past. In this explosive and hopeful examination of America’s racial divides, they discover the true meaning of history, sacrifice and legacy. During the show’s initial run audiences were inspired to explore and discuss their own experiences of race relations on a personal, local and national level. The demand led to us adding post-play discussions following every performance. The reading will feature original cast members Brandon J. Dirden, Andrew Hovelson, Merritt Janson, and Roslyn Ruff, with Glynn Turman coming on to play the role of Zebedee.
Benefiting Partner Organization: The Ruben Santiago-Hudson Fine Arts Learning Center is a non-profit affiliate of the Global Concepts Charter School lifting up the lives of neighborhood children in Ruben’s hometown of Lackawanna, NY.
FROM ARTISTIC DIRECTOR JOHN DIAS
“When Two River Theater premiered Your Blues Ain’t Sweet Like Mine in 2015,” says Artistic Director John Dias “we were not prepared for the nerve it struck in our audience. The play helped to dismantle some barriers to an open conversation about race. Since then I’ve wished every other theater in America could benefit from Ruben’s honest and vulnerable invitation to employ the power of theater to change us in this way.”
FROM PLAYWRIGHT/DIRECTOR RUBEN SANTIAGO-HUDSON
“Your Blues Ain’t Sweet Like Mine began with a thought that I woke up with one day:‘I’d like to write a play where everyone said just what they felt on that specific day of their lives. Things that they’ve kept inside far too long,’ says Ruben Santiago-Hudson. As a writer I was always told that the only place that I will get to express my clear, undiluted, voice is in the theater. What they didn’t tell me is that every artistic director but one, John Dias, would reject that clear undiluted voice saying that their audiences were not ready to grapple with the race conversation. In times like these there is no conversation that is more important. It gives me great pleasure to share with you