Robert O'Hara

A headshot of Robert O'Hara with a beard and glasses. Photo courtesy of Playwright's Horizons.
Photo Courtesy of Playwrights Horizons

Playwright Biography

  • Education: MFA in Directing from Columbia University where he wrote and directed Insurrection: Holding History as his graduate thesis and staged the world-premiere production of Insurrection: Holding History at the Joseph Papp Public Theatre/New York Shakespeare Festival in November 1996.

  • Artist in Residence: Prior to his world-premiere, he served as a 1995-1996 Artists in Residence at the Public Theater. He served as Assistant to the Director of Bring in ‘da Noise/Bring in ‘da Funk and Blade to the Heat, both directed by George C. Wolfe.

  • Workshop of Note: His play Antebellum was workshopped at the O'Neill Theater Conference.

  • Screenwriting: He worked on films for Martin Scorsese/Universal Pictures (Live, a biopic of Richard Pryor); Spike Lee/HBO (Micheaux, biopic of Oscar Micheaux); Avnet/Kerner/ABC (Parting the Waters); Sony Pictures (The Journey is the Destination); New Line/Fine Line Cinema (Boorda); and Artisan Entertainment (White Folks).

  • Film Directing: He debuted with the Horror/Thriller The Inheritance.

  • Fellowships and Residencies: He was 1995 Van Lier Fellow at New Dramatists, NEA/TCG Theatre Residency Program for Playwrights with American Conservatory Theater, the American Conservatory Theater, New York Shakespeare Festival, and Theater Emory, as well as a visiting Professor at DePaul University School of the Arts.

  • Development: His plays have been developed at Seattle Rep., Playwrights Horizons, New York Theatre Workshop, NYSF, ACT, and CTG.

  • Commissions: He has been commissioned through the Mark Taper Forum, National Endowment of the Arts, McCarter Theatre, Theatres de Nimes, Le Theatre l'Odeon, Theaterworks/USA, and Theater Emory.

  • Awards: The Mark Taper Forum’s Sherwood Award, the John Golden Award, Newsday’s 1997 Oppenheimer Award for Best New American Play, 2006 Obie Award for his Direction of the World Premiere production of In the Continuum, 2010 Helen Hayes Award for Outstanding New Play Antebellum, 2010 NAACP Award for Best Director Eclipsed, 2014 Lambda Literary Award for LGBT Drama for Bootycandy.

A production photo from Insurrection: Holding History. An ensemble picture with several members of the cast grouped together in an excited pose. Photo Courtesy of The Theater Alliance

Insurrection: Holding History

Photo Courtesy of The Theater Alliance

Synopsis

A gay, Black doctoral student, Ronnie, returns to his childhood home to celebrate his great-great grandfather, TJ’s, 189th birthday. However, when he is about to head back to New York, TJ convinces Ronnie to take him back home to Virginia. When they arrive at a motel, they are thrown back in time to the insurrection lead by Nat Turner, where Ronnie is forced to confront the realities of slavery. A relationship blossoms between Ronnie and Hammet, a member of the insurrection, which is painfully severed when Ronnie is forced to go back to his own time realizing he cannot change the past. On the way back, TJ dies. While Ronnie is holding TJ’s dead body in his arms, he says, “holding history i’m holding history in my arms”.

Applications

This play has wonderful scenes that evoke many interesting questions. Topics include enslaved peoples, LGBTQ representation in the past, and satire used for a distancing effect. This play would be great to use in high schools in English/Humanities/Drama classes to read and probably not for performance. Additionally, this play could be used to study historiography. In Insurrection, there is a scene when Nat Turner takes Ronnie's evidence that Turner confessed to his crimes and reveals how unlikely it would be that he actually said the words in the confession. A history classroom could study this scene and the confession from Nat Turner and discuss how history is skewed by those in power to suit their narratives. Colleges should use this play for performance and scene work. Scenes such as Ronnie and TJ before they cross over to the past and Ronnie, Nat, and Hammett's scene toward the end of the play would be useful for this work. Nat also has a powerful monologue that begins with "Hush up".

Sample Activity

  • (Before students read play) Students should be broken up into groups and each group assigned A, B, etc. then ask, "What does it mean to hold history?" "What history do you hold onto?" Give 10 minutes for discussion.

  • Have the groups return and get a student from each group to share out what their group discussed.

  • Next assign A to use the B group's answer, B to use C, C to use A, etc. Then taking the answer they heard from their assigned group they are to make a scene that reflects what they heard.

  • Students will have 20 minutes to make their scene.

  • The following ingredients should be in the scene:

      • 1 main character and everyone else plays multiple characters

      • Scene should jump between present and past for main character

      • A moment of abstraction

      • The scene should end with something unresolved for the main character

      • Scene should be titled

  • All groups perform and reflect on the following with all students: "What did you see in terms of holding history? " "How were the multiple characters used?" "What would the character do differently if they could go back ?" "How does regret affect the choices we make?"

Discussion Questions

  1. Why does Robert O’Hara end the play with Ronnie saying, “holding history i’m holding history in my arms”. Following this quote, O'Hara types the words, “the BEGINNING”. What does this signify?

  2. How does time travel and/or non-linear storytelling affect audience participation with a play?

  3. Robert O'Hara directed the original production of his play. How does directing one’s own play affect the production?

  4. Why use the theatrical device of having one actor play multiple characters?

  5. What do you think Robert O’Hara means when he says about his work, "Everyone is welcome, and no one is safe?"

Picture from the production of Bootycandy. Three characters all dressed in white for a wedding. Two are Black women who are holding hands in front of a white man playing the wedding officiant. Photo by Joan Marcus

Bootycandy

Photo by Joan Marcus

Bootycandy follows the journey of Sutter, a gay man of the South. Through a series of vignettes, this satire dances between the absurd as Sutter grows up throughout the play. Each scene can be experienced as its own play, from a gay pastor coming out to his congregation with lipstick and a dress, to a pseudo marriage scene that is actually a divorce between a lesbian couple. It is funny, it is vivid, and it is painful. Bootycandy was originally commissioned by Woolly Mammoth in Washington D.C. According to O'Hara, “They said, 'Y’know, some of those short plays are interesting, and the characters are, too. Do you want to explore them more?' And I said 'That’s crazy, you guys are crazy, these plays have nothing to do with one another. They were written all crazy times for other reasons.' But then I looked back at them and I thought 'Oh, but they were written by the same crazy person. Maybe that’s the link.'” (SpeakEasy, para 10).

Application in Educational Setting:

Bootycandy would be a useful and entertaining educational tool for LGBTQ+ organizations like Project R.E.A.L., which is a safe-space to support young adults socially and mentally without risk of judgement, and a college's GSA. As the participants read the play, they can engage with questions about representation of Black men in LGBTQ spaces, and examine how to better serve and support gay Black men in their organization and in their literature.

Picture from the production of Barbecue. Four members of the Black version of the cast are featured. One of the female characters is downstage while the other three are looking at her. Photo by Jeff Lorch.

Barbecue

Photo by Jeff Lorch

At rise we meet the O’Mallerys, a White family that has met in a public park and has invited their sister, Barbara, there under the guise of a party, but are really there to stage Barbara’s intervention. There’s a blackout and when the lights come back up the characters are still there and they are now played by Black actors. Act 1 continues in this manner going back and forth between the two casts. Barbara shows up with the White cast and before she can say a word we switch to the Black cast who has her tied up and gagged. The family places a high stakes bet on whether or not Barbara will agree to go to rehab. Act 1 ends with “cut” being called and you realize this has been a film shoot. Act 2 takes you to the same park where we meet White Barbara and Black Movie Star Barbara in a scene from the past where Black Movie Star Barbara is there to decide if she wants to play White Barbara in the movie version of White Barbara’s memoirs. They end scene discovering that their lives are lies and smoke crack in the park. We visit the White version of the family one more time as White Barbara convinces them that they all have to go to rehab to match the story in her memoirs so the movie can be a hit. The play ends at the Oscars with the movie winning best picture.

Application in Educational Setting

Scenes from the first act could be used in work about playing the Other. It could be used in conversations around addiction as well as family dynamic commonalities and differences between White families and Black families. Lots of great scene study possibilities in Act 2 for two women. There are lots of great comparisons in the second act to contrast and compare with The Colored Museum and the scene the “Photo Session.” This would be a great piece for colleges and communities. Additionally, you could use this for scene work in high schools.

Comprehensive List of Plays

As Playwright:

Insurrection: Holding History (1996)

Brave Brood (1999)

Dreamin' in Church and Genitalia (2000)

Antebellum (2009)

The Etiquette of Vigilance (2010)

Bootycandy (2011)

Zombie: The American (2015)

Barbecue (2015)

Mankind (2018)

-14: An American Maul/ An American Ma(u)l (2018)

Leigh

Raw Pearl

As Director (NYC):

Insurrection: Holding History (1996)

In the Continuum (2005)

Bootycandy (2014)

Bella: An American Tall Tale (2017)

The Bubbly Black Girl Sheds Her Chameleon Skin (2017)

Slave Play (Broadway, 2019, Off-Broadway, 2018)

Mankind (2018)

BLKS (2019)

A Streetcar Named Desire (2020)

Booty Candy promotional photo with a Black hand holding a bomb for a lollipop as an O.

An interview with Robert O'Hara about his production of Bootycandy

A collage of images of Black people throughout history and a title card for Insurrection: Holding History produced by Stage Left Theater.

A brief video promotion for Stage Left Theatre's production of Insurrection: Holding History

Bibliography:

Als, H. (2015, October 19). Robert O'Hara's Black-and-White Family Satire. Retrieved from https://www.newyorker.com/magazine/2015/10/26/talking-trash-the-theatre-hilton-als

Als, H. (2019, July 9). History Lessons. Retrieved from https://www.newyorker.com/magazine/2014/08/25/history-lessons-4

Balon, R. (2015). Kinless or Queer: The Unthinkable Queer Slave in Toni Morrison's "Beloved" and Robert O'Hara's "Insurrection: Holding History". African American Review, 48(1/2), 141-155. Retrieved June 13, 2020, from www.jstor.org/stable/24589733

Dvorak, P. (2018, April 12). Perspective | We scorned addicts when they were black. It is different now that they are white. Retrieved from https://www.washingtonpost.com/local/we-hated-addicts-when-they-were-black-it-is-different-now-that-they-are-white/2018/04/12/cd845f20-3e5b-11e8-974f-aacd97698cef_story.html

Evans, G. (1996, December 22). Insurrection: Holding History. Retrieved from https://variety.com/1996/legit/reviews/insurrection-holding-history-1117436732/

Marks, P. (1996, December 13). Of Slavery and Sex in a Time Warp. Retrieved from https://www.nytimes.com/1996/12/13/theater/of-slavery-and-sex-in-a-time-warp.html

McGough, W., & O'Hara, R. (2016, March 12). "Everyone is welcome, and no one is safe.". Retrieved from http://www.speakeasystage.com/everyone-is-welcome-and-no-one-is-safe/

Mitchell, A. (2001). Not Enough of the Past: Feminist Revisions of Slavery in Octavia E. Butler's "Kindred". MELUS, 26(3), 51–75. Retrieved from http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:bsc:&rft_dat=xri:bsc:ft:iibp:00057602

Nelson, E. S. (2004). African American dramatists: An A-to-Z guide. Westport (Conn.): Greenwood Press.

O'Hara, R., & Ronee, P. (2014, October 12). Making the Residency Work for You. Retrieved from https://howlround.com/making-residency-work-you

Rose, S. (2018, July 7). 'Not black enough': the identity crisis that haunted Whitney Houston. Retrieved from https://www.theguardian.com/music/2018/jul/07/not-black-enough-the-identity-crisis-that-haunted-whitney-houston

Rothstein, M. (2018, December 30). Stage Directions: How Writer-Director Robert O'Hara Decides Which Plays to Direct and Which to Hand Over. Retrieved from https://www.playbill.com/article/stage-directions-how-writer-director-robert-ohara-decides-which-plays-to-direct-and-which-to-hand-over

Styron, W. (2000). The Confessions of Nat Turner. Litigation,26(2), 72-69. Retrieved June 13, 2020, from www.jstor.org/stable/29760129

WOODEN, I. (2012). Theatre Journal, 64(2), 281-283. Retrieved June 13, 2020, from www.jstor.org/stable/41679593

Information for this web page compiled by Genevieve Hoeler and Stephen Wrobleski (2020).