“We need to be represented on every level of American life…[Live Theatre] is where our stories are told…[We] are a living library,” Andre De Shields sums up the responsibility of African American Theatre artists, and the mission of his very own ministry, and his current projects during an up-close interview with BroadwayBlack.com.
Following a performance of The Jungle Book at the Goodman Theatre in Chicago, Andre invited us to his dressing room for what he called “immediate interaction to what’s happening now,” something that we don’t often get from our on-screen counterparts. The result of this sit-down was nothing short of magical. De Shields shared with us the journey to his current project, The Jungle Book, and the collaborative rehearsal process with the Tony-Award winning Artistic Team. Over a decade ago, He was able to experience Mary Zimmerman’s Metamorphoses on Broadway, which following the experience he found himself making a mental note that he wanted to work with the director who had created that experience. Little did he know that many years later he would take part in one of her creations.
Deshields is undoubtedly electric , as he played not one but two alpha males in the original production . While Akela, the leader of the wolfpack, was a role that came later in the rehearsal process, King Louie was DeShields first choice when the opportunity came. “The purpose of live theatre is to keep the oral history of [our] nation alive,” Deshields declared. Despite the cultural controversy of a black man playing an orangutan, a king amongst monkeys, DeShields made an active choice to bring as much “history” to the character as possible. “The mission of my ministry is to blow-up the stereotypes that present themselves. Every culture has its beauty [and its beast]. And if we are going to play the game, we have to show all of our colors.”
We can truly attest that DeShields accomplished the very thing he set out do, and ‘blew-up’ the stage with his vivid portrayal of King Louie, pulling from the likes of Louie Armstrong himself, Tina Turner, others, and inspired by his own interpretations of black culture. When asked how it felt to play such a dynamic character, he said, “It felt like power.” Deshields also described the process as being like a “potluck supper”, while Zimmerman invited the ensemble to each bring something to the table, and be collaborators in conceiving the piece, under her artistic vision. Deshields gave compliments to casting, constructing a company that is diverse, multicultural, and intergenerational.
Mr. De Shields believes in the message of Jungle Book, and seems confident in the mark it is going to leave on society. He talked about his very first professional production Hair, how the dawning they sung of is no more. “We are now at the threshold of a {new era],” exclaimed DeShields. He is confident that we are on the brink of a new-age philosophy, one that is more nurturing than in our past, as He makes reference to his own influence in the theatre community. When asked about his experience working with Tony Award winning choreographer Christopher Gatelli, De Shields expressed that this is not the first time they had crossed paths. He also expressed that there was a mutual respect for one another’s contributions to theatre.
Deshields also talked to us about his involvement with the National Black Theatre Festival, and the return of the production Knock me a Kiss to the festival. We were able to see a man of his caliber and work ethic jump from one work to the next with what seemed like ease. However, making the transition from King Louie to W.E.B Dubois is no easy task no matter how many grapefruits you eat, Andre. (wink)
