Theatre Legend Ron OJ Parson Directs “Stick Fly”
A Legendary Director in Chicago
Let's Play had a casual conversation with one of Chicago's finest directors and a theater legend, Ron OJ Parson. Ron is currently directing Playwright Lydia R. Diamond's play, 'Stick Fly' at Writers Theatre. We discussed this play, Ron's life as an actor and director, his love for August Wilson's plays, and advice for upcoming actors and directors.
IN CONVERSATION WITH RON OJ PARSON
LP: Tell us about this exciting new play at Writers Theatre called Stick Fly?
RON: Stick Fly is about an affluent black family who has a home in Martha's Vineyard. This story is about upper-class African-Americans who, even though they have a home in a very exclusive area, still have to deal with the issues of their ethnicity.
Blacks have had property at Martha's Vineyard for hundreds of years, but few know the story of blacks living at the Vineyard. Many playwrights have written about it, but only a few of those plays have been produced. There isn't much media coverage regarding these amazing stories.
The LeVay's are a fictional black family living in Martha's Vineyard that comes together for a weekend vacation. During the play, you learn about the different skeletons within the family. You get a behind-the-scenes look at old and new relationships. You also get to witness that they have the same issues that we all have.
LP: Why did you want to direct this play?
RON: Stick Fly originated here in Chicago at Congo Square Theater, the first production at Congo Square, a relatively new theater in 1999. Lydia Diamond and I were founding members of the Onyx Theater Ensemble's theater company. Alfred Wilson, Lydia, myself, and several others formed together, and we did some great things at Onyx. Lydia was an actress back in those days, but she displayed her talents as a playwright even then. Fast forward to today, I've always wanted to direct plays that Lydia wrote, but we never connected until now with Stick Fly.
The opportunity to work with her came through her relationship with Writers Theater when they brought her in as a playwright for Smart People, one of her successful New York plays. So, with Stick Fly, it just clicked that I would be the director since I also have a relationship with Writers. I'm excited to direct this play because Lydia's spaces are very intelligent, thought-provoking, which get interesting, but at the same time, they are also funny. Plus, it's a play about African-American culture that we don't see much on stage.
LP: You have known Lydia for years, and both of you have equal admiration for each other; however, this is your first collaboration. Why is that?
RON: Yes, we have known and respected each other for years, but ironically, we've never worked together. I directed her as an actress when we first started in Chicago, which was just some readings we did, but I've known her all these years, and I never had the opportunity to direct one of her plays. I've read most, if not all, of her plays, and we talked several times about me directing one of them, but it just never happened.
Then she blew up with plays on Broadway. Alicia Keys produced 'Stick Fly' with Broadway Director Kenny Leon, who is currently directing a Broadway production called A Soldier Play. Stick Fly. It's a play that has been universally seen by many, so hopefully, some of the things I bring will provide a newer look to a fantastic story.
LP: Stick Fly is coming off a successful run on Broadway, and now, it's here at Writers under your direction. What personal touches have you added to this play?
RON: You always want to put your touch in when directing a play. Five directors can direct the same play, and all five adaptations will come out with something different. Lydia mentioned this to me, and I appreciated her saying that when she sees a play and then sees my version of that same play, I bring a different perspective that she enjoys. I directed Mountain Top at Court Theatre, which was produced in New York, and many people told me that they wanted the different spin I included.
I try to put my personality into my work, so hopefully, that comes through with the spiritual aspect of what I do. I like to incorporate magic into my plays as well. I'm a big fan of magic. There is a place here in Chicago called the Magic Lounge that I frequently visit, and the woman who runs it is a former stage manager. The first time I went there, she recognized me. I also like to start with the aspect of love. In Stick Fly, there's love within the family, and like any family, things happen that you have to resolve. This family symbolizes what a typical family has to endure. So those are the personal things I try to add, and I'm hoping Lydia will like it because tonight will be her first night seeing the play.
LP: Ron, do you still get 'director's fear' during opening nights?
Ron: No, I wouldn't call it fear, more like a bit of an anxious feeling. As an actor, I still get nervous fear, which is good to get my adrenaline going. However, with this play, I do feel a little nervous because Lydia is a friend. When I did The Piano Lesson at Congo Square by August Wilson, I can remember he was there. August was very involved with theater at Congo, which was their first production, but I wasn't nervous. I was sitting two sits away from him, and he saw a few things that I incorporated into his play, and I was able to watch his reaction.
LP: Were you able to develop a relationship with August Wilson?
Ron: I wouldn't say I developed a relationship, but I did know him, and I was around him during some of his plays. When Jitney (An August Wilson Play, eighth in his "Pittsburgh Cycle") was at the Goodman Theatre, I understudied for three of the roles. I and some of my buddies, Paul Butler, Steven Anderson, Russell Hornsby, a big TV guy now, and Anthony Chisholm. I was understudying, and August was writing, so I was around him, watching and learning from him. Then I spent time in Pittsburgh, where August produced plays.
I also came up with Steve Henderson and a friend of August named Clyde Purdy. Purdy saw one of my plays and said, "yeah, you got something," and I appreciated that. So it is with guys like Lou Bellamy in others in Minnesota where August spent a lot of time. So it's a kind of synergy with those guys who do many August Wilson plays and carry that spirit that brings his plays to life.
The first play I did at Court Theatre was "Fences," another August Wilson play, but unfortunately, he was ill and unable to attend. However, when I directed The Piano Lesson, he saw it and recommended I direct the play in Baltimore. At that time, I was in a play going to Broadway (Ron still acts but mostly television and film), so I had to decide whether to perform on Broadway or direct center stage at August Wilson's recommendation. I decided to go to Broadway; however, I think I should have done the play upon reflection. Maybe then, I would have developed a closer relationship with him because he saw my work and trusted me with his plays.
LP: Do you like to work with familiar actors or new actors?
Ron: That's a good question, both. Some people say I like to use the same people, and that's true to a certain extent. There are certain plays in that I use familiar actors because they know me, and I know them. We work well together as a team, which occurs with some of the August Wilson plays. However, in this play, all of them are new actors. Four of the hottest young actors in town will probably go to New York or LA because they are that good. Two of the young ladies (Ayanna Bria Bakari & Jennifer Latimore) I worked with at Timeline Theatre, "Too Heavy For My Pocket." I also work with Eric Gerard in "To Catch A Fish, which was also at Timeline, based on actual events in Milwaukee regarding policemen railroading him into selling drugs. So I can work with both.
LP: Ron, can you give a new actor and director some wisdom on some of the things they need to know to succeed?
Ron: Well, it's a new day for actors and directors because when I first got to Chicago, there were only about two or three black actors. Ernest Perry, Jacqueline Williams, and Sherlyn Bruce, but now it's more open because more theaters like Writers are doing plays with more diversity.
One thing I would say is that you have to persevere. You have to prepare for rejection, be ready for that stone wall, and persevere. The fact that I've been doing this for fifty years is due to my ability to persevere. There were many low times, and a lot of young people think it's easy. They get out of college thinking you can go right into acting or directing, and it's not that easy.
Another thing is to know the history. The audience needs to know the history of the theaters like the Negro Ensemble Company. Learn about Kuumba Workshop and places like Chicago Theatre Company. They need to do the research. Negro Ensemble Company, if it weren't for them, there wouldn't be a lot of us acting or directing. I recently saw The Soldier play on Broadway and met with Douglas Turner Ward, founder of the Negro Ensemble Company, now 90 years old. I told him that coming to my junior high school with the Day of Absence inspired me to continue.
So, I think they need to study, learn about those that came before them and have the work ethics to persevere.
LP: Going back to Stick Fly, were there any challenging moments bringing this play together?
Ron: Yes, there were a lot of challenges. It's a challenging play in terms of being able to complete some of the ideals written within the play. However, those kinds of problems can bring out your creative juices. That's another thing about directing; you collaborate with everybody to bring ideas together. Still, yes, some production aspects were challenging.
LP: Ron Parson, who studied at the University of Michigan, is a name you will hear mentioned highly around Chicagoland Theaters. Ron also paid homage to Jackie Taylor, founder of Black Ensemble, and Chuck Smith, a member of Goodman Theatre's Board of Trustees and as Goodman Theatre's Resident Director, mpaact, and Johnny Lee Davenport, who took Ron under his wings. Davenport was known for his role, The Fugitive. Unfortunately, Davenport passed away on February 2, 2020.
Lastly, with regards to Lydia Diamond liking the play, she loved it just like the entire audience, who gave Stick Fly a standing ovation.
Stick Fly is now playing at Writers Theatre until March 15. Contact https://www.writerstheatre.org/ for tickets. The title Stick Fly comes from one of the main characters being, an entomologist who studies insects through the analogy of trapping insects on a stick, limiting their freedom.
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