PLAYWRIGHTING REVIEWS

The Tragedy at HOOD: 14542 (Hoodsical)

by Claire Moodey · August 11, 2014

Deaon Griffin-Pressley's The Tragedy at HOOD: 14542, (Hoodiscal) offers a moving and intelligent look at the early stages of gentrification in Hood 14542. The play opens with a prologue: a beautifully choreographed dance to African drumming by the entire ensemble which is interrupted by the elder truth-sayer who recalls the transformation of the black man from kings and queens in African homelands to the oppression of peoples enslaved in America. From there, the action proper transports us to an urban black neighborhood where we meet an array of characters speaking in Griffin-Pressley's ingenious reinvention of Shakespearean verse. The language is lewd, lustful and lyrically flowers with all the beauty and surprising directness of the Bard. 

The inhabitants of Hood 14542 are living their lives, full of new love, infidelity, drug money and sibling rivalry. But with the arrival of a couple real estate investors seeking twenty signatures of consent to gentrify the neighborhood, the heat is on. As the realtors (one black, one white) canvas the neighborhood, we learn that Yellow Man, the black real estate investor (played by the playwright), grew up in the neighborhood. I found the storytelling compelling and was excited to see such a complex topic handled in rough and raw terms: no one's perspective was ultimately providing the saving. Everyone's tragic complicity in oppressions is laid bare.

While not specifically located in an NYC neighborhood, The Tragedy at HOOD: 14542 is recognizable around the city in Bed-Stuy, Harlem, Crown Heights. (In reality, the zip code 14542 refers to Rose, NY, a rural town between Rochester and Schenectady.) Hood 14542 is all too familiar a place; we glimpse it in the underbelly of Baz Lurhman's adaptation of Romeo + Juliet, in West Side Story, and of course in Spike Lee's Do the Right Thing. 

Tiffany Nichole Greene's direction is clean and classical; her staging and Steven Martin's fight choreography scream The Globe. The actors were very strong and carried the language beautifully. I highly recommend seeing this piece. It is the type of theatre that stimulates conversation about and reflects our own community in NYC. The conversations this type of work make available are precisely what drives me to the theater. If you're looking for a way into a conversation, or for a good Shakespearean tragedy with lots of sex humor on the way don't miss The Tragedy at Hood: 14542.

-NEW YORK THEATER NOW

‘The Tragedy at HOOD 14542 (Hoodsical)’ at Flamboyan Theatre at the Clemente

By: Gisella Batistaon: August 26, 2014

When legendary actress, Uta Hagen said that “theatre should contribute to the spiritual life of a nation” I truly believe that she was referring to productions such as The Tragedy at HOOD 14542 (Hoodsical), by Deaon Griffin-Pressley.  This production is a sterling example of what theatre should encompass.  The Tragedy brings into focus the growing social issue of gentrification by focusing in on the details of the many stories of the people most affected by this issue.  In this case, the people happen to be the residents of Hood 14542.  Through clever and attention grabbing story lines written and performed in urban street slang using Shakespeare’s notable iambic pentameter and prose, The Tragedy, seamlessly weaves current social affairs with classical theatre making it a most extraordinarily entertaining production.

…this production is a prime example of how theatre should not only entertain but shed light on societal issues that require attention. 

The Tragedy is the story of a neighborhood on the verge of being bought out by two real estate investors in need of twenty residents to sign a petition approving all the upgrades the investors are offering.  While as a whole all the residents appear to be against these investors taking over their neighborhood, a closer look at the residents’ individual stories demonstrates why some of them eventually cave into the real estate investors.  Stories of young love, cheating spouses, drug dealers and racial tension culminate into a heart wrenching but encouraging finale.

The already strong story line is accentuated with its phenomenal cast.  The entire cast puts forth their very best in each of their roles.  Along with being the playwright, Deaon Griffin-Pressley plays Yellow Man, one of the real estate investors.  Pressley’s character experiences an unexpected and emotional transformation which I believe translates into one of the most pivotal scenes of The Tragedy.  Cherish Monique Duke who plays Lady Night, is authentic in her role as a domineering woman whose weakness in men ends up getting the best of her.  Brian Anthony Simmons plays the character Drugs so well that I could feel his anger and his intimidation by his mere presence on the stage.  Nevertheless I must stress the sheer talent that the entire cast portrays in this production.  The immense talent and chemistry amongst all the cast members certainly helps in bolstering The Tragedy’s socially geared themes.

Directed by Tiffany Nichole Greene, The Tragedy exemplifies how a well written and directed production should flow.  Every scene beautifully weaves into the next and the significance of each scene is witnessed during the climax of this production.

The Tragedy kept me captivated and entertained from the very beginning to the very end where I began to tear up at how powerfully it ended.  For me, this production is a prime example of how theatre should not only entertain but shed light on societal issues that require attention.  As the underlying theme of The Tragedy is that everyone must experience something to change, I believe this production offers such an experience that can spur a change in one way or another.  All in all, this play is a must see.  Trust me, you will not be disappointed!

-NEW YORK THEATRE GUIDE

​

​

​

​

​

​

​

​

​

​

FALSE BROTHERHOOD

(included as a Semi-Finalist at the Playwrights Realm 2017/18)

“Your play opens up a world that we rarely see onstage, with characters who are surprising and complex, and seduces us into a compelling, urgent world and story”. 

​

-Katherine Kovner

Artistic Director

The Playwrights Realm

​

​

​

​