Cover: April Yvette Thompson as Hatshepsut and Sheria Irving as Senenmut in
'Fit for a Queen'; photo Lelund Durond Thompson.
By Megan Wrappe, ZEALnyc Contributing Writer, October 13, 2016
When you think of Ancient Egypt, it's hard to keep images of pyramids and tombs out of your head. The people who built these monuments are long gone, but we are still attracted to their unique way of life which is forever captured by their art. The Egyptians kept meticulous records, which is how we know so much about them, but one name that was supposed to be erased forever was the female pharaoh Hatshepsut. Her name was crossed out from public records and statues, as if to erase her name from people's memories. In a new play written by Betty Shamieah, directed by Tamilia Woodard, and produced by The Classical Theatre of Harlem, Fit For A Queen, reveals the life and reign of Hatshepsut in a way never before explored, and is making sure her name is no longer forgotten.
In most historical representations in which Hatshepsut is discussed, she is seen as just another pharaoh who climbed her way to the throne, with the added twist of being a woman. She is rarely humanized, and her family and personal life is almost always omitted. But in Fit For A Queen, she is portrayed as a real person ascending the throne of Egypt. For the first time, we see how Hatshepsut (April Yvette Thompson) interacts with her daughter Nefereru (Shereen Macklin), and how close she was to her trusted advisor Senenmut (Sheria Irving). Once that is shown, Hatshepsut becomes all the more relatable.
Through Thompson's very human portrayal, we see this mighty ruler's frustration with daily family drama, her concern over how she is viewed by her people, and her sincere confusion when she is potentially going to be passed over as pharaoh in favor of her daughter's husband Tutu (Eshan Bay), whose only qualifying feature is that he is a man, albeit on the less masculine side. While Tutu's suitability for the throne is suspect, luckily Senenmut has a solution, even if it is a diabolical one. It is with this touch of cunning, charisma and sass with which Ms. Irving lights up the stage whenever present, helping to propel the production and drawing in the audience even more.
There is a historical context for all of the characters mentioned in Fit For A Queen, but instead of staying completely historically accurate, this production is not afraid to change the details and add touches of charisma where possible. For example, genders are changed from history to add even more female power to the cast. With the insertion of music during a pause, or a modern dance move between set changes, suddenly the audience is no longer in Ancient Egypt, but on the streets of Harlem listening to the newest beat or dancing in their living rooms with friends. It shows how history may be interpreted in a variety of very unique ways, especially through the medium of theatre.
From a historical standpoint, this is not the Hatshepsut heretofore presented. But from a humanistic point of view, this version of the mighty female pharaoh transcends that. Now, she is flesh and blood, and simply a woman doing her job leading the people of Egypt. Just like everyone, she navigated numerous challenges during her life, but is still known as one of the great rulers of Egypt. Fit For A Queen further cements this image, thus ensuring Hatshepsut's name is not lost to the ages again.
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Fit for a Queen presented by the Classic Theatre of Harlem opened on October 4 and runs until October 30, 2016 at the 3LD Art & Technology Center, 80 Greenwich Street, Manhattan. Written by Betty Shamieh; directed by Tamilla Woodard; choreography by Joya Powell; costume design by Rachel Dozier-Ezell; lighting design Alan Edwards; set design by Christopher Swader and Justin Swader; sound design by Hillary Charnus; props master: William Farmer; stage manager, Chelsea Friday; production manager: Joshua Kohler; assistant director: Lelund Durond Thompson; assistant stage manager: Halle Morse. Cast: Eshan Bay (Tutu), Gilbert Cruz (Thutmose II), Kalon Hayward (Ensemble), Sheria Irving (Senenmut), Shereen Macklin (Nefereru), Sujotta Pace (Meritre), Nedra Snipes (Ensemble), John Clarence Stewart (Wanre), Portland Thomas (Ensemble), April Yvette Thompson (Hatshepsut).
Megan Wrappe, ZEALnyc Contributing Writer, writes on theater and other cultural events.
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