FROM THE PLAYWRIGHT

I was invited by Cutting Ball Theater to work on a play about Sappho in November 2019. Before “pandemic” became the a way of life, we met in crowded cafe, my squirming 11-month old in tow. I was thrilled about the idea and from then on, a journey of research and writing began. From exploring Estelle Lewis’ play Sappho: A Tragedy in Five Acts (1868) I delved into Sappho’s poetic fragments, learning about papyrology, how the fragments were found on shards of pottery and Egyptian sarcophagi — the myths and fictions invented about and around Sappho since her time of 610-570BCE to now.

I asked myself, “who would Sappho be, now?” and re-envisioned her instead of praying to Aphrodite, honoring Oshun; instead of the community of Lesbos, I wrote “Oak-Island.” Over the 2.5 years, the story and their characters emerged, haunting me in dreams and from the sea in Cuba. Sappho, calling through the ages, became The Real Sappho, an Afro-Cuban-Pinay, queer, mother, teacher. As it is a new work, I sat in many rehearsals, revising, allowing into the text not only the director’s and dramaturg’s, but actors’ lively comments, remaining permeable to their embodiments of their characters so that they, now, are a part of its fabric. Set pieces were built, costumes made, music sent from Cuba, songs sung, choreography set and all were in movement and sound, filling the small theater with songs for Oshun, spoken word, laughter, sensuality and dance.

Then – COVID came crashing in, interrupting everything – at the last moment, shutting the live production completely down. In a brief time, the work had to be adapted for a Zoom format.

What you’ll experience are the most essential elements of what on stage would be expansive. Imagine rivers, seas and cliffs; picture dancers in white skirts billowing at a Rumba class. Stage directions will guide your mind’s eye. Zoom cannot replace the stage, but storytelling at its core is intimate: dancing from the throat, expressed through facial expressions and eyes.

Once you've got your ticket, arrive right at 8pm to view the slideshow that will offer visual context, from the sets to locations that inspired Oak-Island. Witness these characters that have been living in the actors’ bodies, not able to fully express as they would on stage, but still, a part of them. And be prepared to participate – grab pen and paper to write to a prompt while you are a student in one of Sappho’s classes. You can start now: “I see a world where…”

The World Premiere has been cancelled … for now. I am honored you’ll join this powerful group of collaborators to witness an indelible phase of the play’s journey, sending it towards the next one, when it lives on stage. As Sappho says: “someone / in some future time / will think of us.”

- Aimee Suzara, playwright