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We Were There: Underground Railroad Game

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When I took my seat at the Ars Nova performance of Underground Railroad Game, I expected to sit back and simply watch a night of spotlighted social and political taboos that seem to plague our past and present society. That was until Teacher Stuart (Scott Sheppard), who is White, and Teacher Caroline (Jennifer Kidwell), who is Black, included us (the audience) in their  fifth-grade history project.

When the teachers instructed us to reach under our seats, rip the taped envelope of either a blue or gray soldier, and forewarned us about discomforting subjects, I speculated that we’d partake in the reconciliation of whatever truth was uncovered upon attending the performance.

Then the unfathomable, even to a person like me who can handle a large deal of discomfort, American education system was blazed before our eyes in a combination of horrifying images, over sexualized content, and cutting dialogue. Yet I lived for the moments onstage where we could see that each truth, of the Black American experience and the White American experience, were indeed valid, but different in their own right. This happens to be one of our deepest battles to date in America. We are not exploring both sides of the education, meanwhile, we are in fact living in a different America than our white fellows.

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Caroline and Stuart explore this nuance for viewers to, at the very least, walk away knowing that slavery to each party, means, resembles, and reflects a complicated dichotomy. I hate to bring up the Black Lives Matter movement once again here, well, actually, no, I take that back because it is the effort of the BLM vs All Lives Matter movement to prove that color blindness is indeed a form of racism. That’s as far as I’ll go…For now…

And in recognition of the very conversations that will probably always make us uncomfortable, I gathered that it was needed to propel the interracial romance, albeit via a subplot, of Stuart and Caroline. The ambiguous ending may not have provided the closure we long for in watching a relationship played out on stage, but it did alert us to the only virtue that can heal our present condition: honesty.

This play contains sexually explicit material, strong language and mature themes. Recommended for adventurous audiences ages 18 and up. Now running through Nov. 11th get your tickets HERE

Underground Railroad Game:

GOOD MORNING, AMERICA! WELCOME TO HANOVER MIDDLE SCHOOL, WHERE A PAIR OF TEACHERS ARE GETTING DOWN AND DIRTY WITH TODAY’S LESSON. THE NIMBLE DUO GOES ROUND AFTER ROUND ON THE MAT OF OUR NATION’S HISTORY, TACKLING RACE, SEX AND POWER IN THIS R-RATED, KALEIDOSCOPIC AND FEARLESS COMEDY.

Andrew Shade
Andrew Shade
Drew Shade is a visionary creative force at the intersection of Black theatre, media, and culture. As the Founder and Creative Director of Broadway Black, Off-Book: The Podcast, and The Antonyo Awards, he champions artistic excellence and amplifies the voices of Black theatre artists with intention, heart, and unapologetic pride. His work has been featured in The New York Times, Playbill, Deadline, The Observer, and Apple TV’s Dear…, and he's collaborated with brands and institutions such as NBC, BET, Audible, Universal Pictures, SheaMoisture, The Public Theater, Signature Theatre, National Black Theatre, and more. He has also served as a cultural consultant and curator for countless Broadway productions for over a decade — establishing himself as a trusted voice and tastemaker in theatre and media. In addition to his work behind the scenes, Shade is a performer and creative artist in his own right, with credits including Classical Theatre of Harlem’s The First Noel at The Apollo, The Preacher’s Wife musical at The Alliance Theatre, and a Sondheim tribute concert at Carnegie Hall led by Tituss Burgess. He’s also lent his voice to campaigns for Google and continues to explore visual storytelling through photography — from red carpets to press coverage. Rooted in joy, justice, and the belief that Black theatre is both legacy and revolution, Shade continues to build platforms and shine light where it’s long been overdue — so Black artists are seen, heard, and celebrated on their own terms. “Have a belief in yourself that is bigger than anyone’s disbelief.” – August Wilson
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