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★★★☆☆ New Federal Theatre delivers a drama concerning the 1881 Atlanta washerwomen’s strike
A exceptional occasion in American labor historical past, little recognized immediately, is the Atlanta washerwomen’s strike of 1881. The profitable motion was organized by underpaid, overworked Black ladies who washed all people’s soiled garments by hand again within the day earlier than houses had laundry machines. Their summertime strike actually stunk up Atlanta for weeks simply as the town was about to host a world cotton exposition supposed to have a good time the revitalized New South.
This episode in historical past is an uplifting saga about a whole lot of poor Southern Black ladies, a few of them previously enslaved folks, many illiterate, who joined forces to demand one greenback for laundry, folding and delivering twelve kilos of laundry. A hostile metropolis authorities and offended clients balked. Police brutality and unjust licensing charges resulted, however the ladies remained staunch and their numbers grew.
The Wash is Kelundra Smith’s new drama concerning these instances. Smith’s two-act play gives eye-opening particulars about post-Reconstruction circumstances resulting in the strike, the backbreaking labor of washing laundry circa 1881, and what these hardy working ladies confronted as people and moms.
The Wash is just not a documentary. It’s as an alternative a slice of historical past rendered not so compellingly as a fictionalized human drama. Composed by Smith in a snug, semi-realistic type, the work’s larger worth is discovered among the many historic and social data filtered via the voices of its six fictional characters, moderately than within the play’s standard motion and so-so dialogue. Thankfully, the precise battle that galvanizes and unites these ladies generates a dramatic impetus that retains The Wash chugging alongside.
Eunice Woods quietly and fervently anchors the drama as Anna, a kindly older soul whose home-run laundry is jeopardized by block-busting taxes and people, white and Black, who pay their payments with beans, leftovers or in no way. A spirited Bianca LaVerne Jones is Anna’s feisty bestie who doubts the strike’s prospects. Margaret Odette, Alicia Pilgrim, Kerry Warren and Rebecca Haden depict different washerwomen. These figures, whose lives characterize points like home abuse, toddler mortality, same-sex attraction {and professional} aspirations, in any other case are usually indistinctly written beings. Observing the present at a preview final week, it appeared the artists had not been allowed ample rehearsal to flesh out their characters totally. By now their performances doubtless are extra realized.
Opening on Thursday in its New York premiere on the 99-seat WP Theater, The Wash is produced by the New Federal Theatre, now in its sixth decade presenting works created by artists of shade. Awoye Timpo, the director, phases the play upon a modest, rustic indoor/out of doors setting flexibly designed by Jason Ardizzone-West to accommodate projections by Abhita Austin that at instances recommend sheets flapping within the breeze or show typographic excerpts from press experiences on the strike. A wise choice of interval and instrumental music lends a way of authenticity and smooths transitions between scenes. (Maybe the combo might need used John Philip Sousa’s “King Cotton March” commissioned for the expo.)
Timpo’s manufacturing gives a wordless opening scene choreographed by Adesola Osakalumi and Jill M. Vallery that presents the ladies rhythmically scrubbing laundry with washboards in steel tubs, hanging objects alongside clotheslines, ironing and folding clothes and altogether offering a lyrical visible sense of their each day drudgery. It’s a hanging sequence not like the rest of the play, which plainly relates the panoramic story from the washerwomen’s perspective. It’s shocking this real American saga has not but been filmed in a serious manner.
The Wash opened June 5, 2025, at WP Theater and runs via June 29. Tickets and data: newfederaltheatre.com
