A Line in the Sand
at Annandale High School

Reviewed on November 15, 2014

Gillian Wright
McLean High School
Submitted for publication to Washington Post - Fairfax

The NFL. The Washington Post. Annandale High School. What do these three unrelated institutions have in common? All are currently drawing attention to discussions about race, a momentous topic that is gaining more attention as modern racial issues come into the light. Annandale High School's production of "A Line in the Sand" explores the integration of Virginia schools in the 1950's while making pointed comparisons to present-day race relations.

Though slavery was abolished almost 150 years ago and the Civil Rights movement occurred 50 years ago, racism still exists today. An original introduction featured in Annandale's production briefly describes different reactions to racial diversity and racism today before the show embarks. Chris Hanna's ensemble play, written in 2009, follows several different lives in Norfolk, Virginia, after the government is demands school integration. The mayor and judge strive to prevent this action while the mayor's assistant and several influential townspeople firmly support it; and yet other groups, including particularly students and their parents, remain divided on the controversial idea.

Courageously pursuing integration is Vivian Mason (Gabrielle Lewis), an African-American woman leading a women's social rights group. Through her assertive diction and controlled physicality, Lewis proves her influence despite her under-respected position in society. Coreen Wade (Ramata Sesay), Mason's prodigy, is the African-American student chosen to enroll in the traditionally white Maury High School. At times nervous and diminutively positioned, and at other times bold and open, Sesay consistently epitomizes the physicality of a teenager sustaining mixed feelings over a crucial responsibility.

Supporting Mason is Jean Leighton (Saha Cameron), a white woman influential in the social scene, who valiantly decides to fight for integration. The majority of her friends are vehemently against her decision. Leighton proves capable of expressing emotional involvement and passion for her position, making her role truly moving.

Initially submissive, Beckman Hollis as William Prieur, assistant to the mayor, changes his stance throughout the show, finally unleashing explosive passion for the absolute necessity of racial integration toward his boss in the last act. Hollis's character contrasts to the quietly dissident individual he plays in the first act. The Wade parents, Lloyd (Billal Kamar) and Bernice (Daniet Girmay), carry an authentic chemistry that is emotionally moving, and at times contributes greatly needed comicality.

Conveying the story from another perspective are Sue and Sally (Sarah Woodward and Jessica Smith), two white girls who have long been friends but hold opposing opinions regarding integration. Their friendship is endearing and their arguments earnest, demonstrating the divide race could bring into their relationship. They clearly portray the thoughts of young white women on racial integration.

A simple set and subtly detailed props allow the story to take center stage, while historical accuracy in both the costumes and props contribute to the validity of the show. Extensive thought and effort is clearly evident in the costumes that are individually suited to each character, and in some cases entirely student-sewn.

Though at times distracting, TV monitors on the sides of the stage flash pictures of Civil Rights protests and play clips of race-based movies, providing accurate historical context.

Should the N-word be permitted in the modern world? Should only specific groups be allowed to utter it? What constitutes racial abuse? These are questions society struggles with today. Annandale High School bravely dives into a controversial topic in an effort to encourage discussion over the ubiquitous issue. Though integration is neither easy nor universally desirable, Annandale makes clear the success of the movement and its pertinence to modern youth.

Zoe Le Menestrel
McLean High School
Submitted for publication to Washington Post - Fairfax

From the systemic brutality of the Native American genocide to the unspeakable horrors of slavery, America's past record is not exactly squeaky clean. Our history is tainted by racial prejudices that run exceedingly deep, and although many like to shrug racism off as a thing of the past, the phenomenon irrefutably lingers. Whether social stratification or stereotypes, communities of color continue to feel discrimination permeate every facet of their lives. Annandale High School asserted this truth by combining modern media and history in their hard-hitting rendition of Chris Hanna's A Line in the Sand.

Hanna decided to write this play in 2009 when he first heard of "Massive Resistance". This little-spoken of policy was implemented by Virginia Senator Harry F. Byrd more than four years after Brown v. Board of Education. Byrd sought to avert court-mandated public school integration, and was willing to go to whatever lengths necessary. So willing, in fact, he effectively shut down an entire school system from 1958 to 1959. The town of Norfolk had six schools shuttered during this period, and this is what A Line in the Sand focuses in on.

The production was solidly anchored by actresses Gabrielle Lewis (Vivian Carter Mason) and Sacha Cameron (Jean Leighton). Lewis depicted the part of the National Council of Negro Women president with sophistication and subtlety. Her poised façade was betrayed only by the boundless passion she held inside, which was revealed in the rousing speeches she gave to all who doubted the strength of the civil rights movement. Cameron, meanwhile, was beautifully honest and endearingly hopeful in her portrayal of Mason's colleague Leighton.

Annandale's cast boasted an outstanding supporting ensemble, and there are too many standout actors to list. However, there were several especially striking performances that cannot go unmentioned. Beckman Hollis as political mover and shaker William Prieur held down one of the hardest roles of the night. With his clearly defined motivations, impeccable Virginian accent, and effortlessly aged physicality, he gave insight into the racist beliefs of the time. Another performance highlight was that of actress Ramata Sesay (Coreen Wade). She embodied the struggles and pressures faced by the 17 African American students who were chosen for assimilation through her genuine anger and ardor. The roles of Coreen's parents, Lloyd and Bernice, were admirably filled by actors Billal Kamar and Daniet Girmay. Kamar brought much-needed moments of levity with his light-hearted banter and sincere support for his daughter, while Girmay epitomized an anxious, loving mother.

Several technical elements aided in establishing the time period and atmosphere of the show. Props were remarkably well done, as everything from vintage golf bags to lace tablecloths perfectly fit the era. The scope of props was also impressive, as seen through the realistically cluttered office desks and detailed dinner table layout. The student-sewn costumes were well-suited to each actor and the colors chosen united the pieces into a cohesive whole. Special effects were manifested in the dozen screens affixed to the rusted fences on either side of the stage. They intermittently displayed snippets of media coverage and famous films that dealt with issues of civil rights to bring relevance to the dated plot of the play. This concept was commendable, but proved to distract at times from the action onstage.

Although the stakes were not quite as high as they could have been in a play of such serious subject matter, the cast's sincerity made up for them. The players maturely handled difficult material and gave a performance of A Line in the Sand that left the audience thinking long after that final blackout.

Megan Griggs
Oakton High School
Submitted for publication to Patch.com - Fairfax

As Anna Quindlen said, "Look back, to slavery, to suffrage, to integration and one thing is clear. Fashions in bigotry come and go. The right thing lasts." And that is certainly what Annandale Theatre Company presented in A Line In the Sand. This powerful play about hope, integration, and integrity follows a group of black and white citizens living in Norfolk, Virginia during the 1950s and Massive Resistance. These passionate characters who were either fighting for or against integration in publics schools, brought the play to life in a beautiful web of events, almost in the style of experimental theatre with a historical touch.

Written in 2009 by Chris Hanna, A Line In the Sand accurately tells of historical events and people of Norfolk in the 50s and also reflects the biases and bigotry still seen today. When A Line In the Sand was first performed it was controversial for both African American and white audiences. Annandale Theatre Company's diverse and talented cast took this highly argumentative piece and made it enjoyable and intriguing for all audiences.

Presenting this play seemed like quite a daunting task, but Annandale Theatre Company's cast and crew most certainly did it justice. Gabrielle Lewis played Vivian Carter Mason, an African American activist for integration in schools. Lewis' portrayal of her character was one of the most natural and real in the show, making it seem like she had done extensive research on the role and also of the time period. After the performance, the whole audience felt as though they knew Vivian Carter Mason personally.

Another notable performance was from Beckman Hollis in the role of William Prieur, the mayor's assistant. Hollis was a distinguishable voice among the sea of actors with a strong hold on his character's story and the plot of the show. Some of the most powerful and thought-provoking scenes in A Line In the Sand were between Hollis and Michael McLean, who played Mayor Duckworth. While the play was not written to be a comedy, Billal Kamar as Lloyd Wade, brought a sense of comic relief to an otherwise serious production.

Ramata Sesay, as Coreen Wade, beautifully presented the view of a teenager during the time of segregation in the 1950s. A very impressive aspect of the production was that the cast did not use microphones. Even without amplification, the cast's projection and diction was superb and the audience could hear every word said on the stage.

The technical aspects of A Line In the Sand were highly ambitious for a high school production. There were a total of twelve televisions on either side of the stage, often showing movie clips or slides depicting the setting of a specific scene. Although these videos or music interludes were often distracting, the idea was brilliant and well executed.

It was incredibly impressive that most of the costumes were made by Annandale's crew. An especially notable outfit was the stunning green dress that the character Sue, played by Sarah Woodward, wore on the first day of school. While the set pieces, makeup, and creative lighting were minimal, they helped the audience focus on the importance of the plot, not the extravagance of tech.

Overall, Annandale Theatre Company's production of A Line In the Sand was thought–provoking and powerful. It helped the audience see that just by looking at the wonderfully diverse cast, the right thing truly does last.

Sarah Santoro
Stone Bridge High School
Submitted for publication to Connection

The fight for freedom and equality isn't an easy one; sometimes it falters and requires the work of brave, singular people to set it back on track. In their powerful and thought-provoking production of A Line in the Sand, the cast and crew of Annandale High School told the story of some of these impactful people.

Written by Chris Hanna, the artistic director of the Virginia Stage Company, the play is a dramaticized retelling of true events that occurred in Norfolk, Virginia four years after Brown v Board of Education. As a part of the policy known as Massive Resistance, white politicians closed down public schools to avoid the integration of the African American students who became known as the "Norfolk 17." Hanna rewrote the play after a workshop revealed that neither side felt that it accurately represented them. His changes helped to better reflect the true nature of the issue.

The play follows a variety of town members and their different roles in and reactions to the controversy over integration. Vivian Carter Mason, an African American woman who made a name for herself as an activist, returns to her hometown after many years. Although finding her hesitant at first, Vivian is able to enlist Jean Leighton, a wealthy, respected member of the white community, to join the fight for integration. NAACP leader Robert Robertson encourages the Wade family to have their daughter Coreen apply to be one of the first students to integrate. Meanwhile, conflict brews as Mayor Duckworth and other politicians try to halt integration.

Sacha Cameron skillfully brought Jean to life with a believability and vulnerability that portrayed the evolution of the character from a demure woman hesitant to rock the boat to a confident and impassioned force for change.

Solemn and deliberate, Ramata Sesay infused the character of Coreen with a sense of purpose and gravity beyond her years. With a voice that belied power even when showing deference to those who thought the color of their skin made them superior to her, Sesay's stoic yet emotive performance brought weight to the production.

Nathaniel Weldegioris's Robertson was motivated and passionate, lending an air of authority and authenticity to the performance.

At times some actors didn't seem to fully convey the weight of their lines or the intensity of their situations. And while many actors were strong on their own, some had difficulty building relationships. However, through consistent characterization, the actors created a cast of distinctive, unique, and memorable characters.

The costumes served to effectively place the performance in the past and differentiate between the different social classes represented in the show. From Duckworth's imposing suits, to Jean's full-skirted dresses, to the oxfords and lacy white socks of the schoolgirls, the costumes provided a convincing backdrop for the show.

On either side of the stage, walls of newspaper clippings and TVs playing news reels and relevant movie clips helped to keep the audience engaged even during scene changes. The media also broadened the scope of the performance by showing just how far the experiences such as those depicted in the play pervade American society.

With authenticity and sincerity, the cast of A Line in the Sand brought new significance to the powerful story. Realistic and effective tech added to the believability of the production. The evident talent and heart of the cast and crew of Annandale High School came together to create a compelling portrait of a pivotal stage in American history.

Melissa Pampel
Lake Braddock Secondary School
Submitted for publication to Fairfax County Times

With a show that is set in our home state, Annandale High School's production of A Line in the Sand brought us into the lives of high school students who were impacted by Brown v. Board of Education and the controversy of the integration of schools. A Line in the Sand, written by Chris Hanna, is about race relations in the 1950s, specifically the tide water area's Massive Resistance to the integration of the Norfolk 17. The Norfolk 17 were seventeen African American high schoolers who were to integrate into public schools under the orders of Judge Hoffman. Massive resistance was the stance that Virginia chose to prevent them from entering the schools. In 1958-59 they closed all public schools, so that neither whites or blacks were allowed to go to school.

Gabrielle Lewis who played Vivian Mason Carter did a wonderful job portraying a strong confident woman, but as they play progressed you could see that this character was not one dimensional, but had worries and doubts. Sacha Cameron who played Jean Leighton had a beautiful transformation from a quiet and reserved woman to one that is passionate for a cause. Michael McLean who played mayor Duckworth and Beckman Hollis who played William Prieur had powerful scenes together and played off each other well. The ensemble did a good job of bringing in the audience in to the show at the beginning and had some comic relief in the end. Sarah Woodward who played Sue and Jessica Smith who played Sally turned from merely superficial teenagers who were just living their lives to those locked out of school because of the massive resistance. The seriousness of the issue strained their relationship as friends because one chose to keep the prejudices of her mother, while the other just wanted to finish her senior year, not caring about the integration of the African American students.

The props and set pieces were really impressive throughout the show. The furniture and the set dressings had a lot of attention. There was 1950s diner styled chairs and tables. The living room of the Leighton family was really well done with a yellow and blue flowered couch, a side chair and a table lamp. Also the dining room table with a lacy table cloth. The mayor's desk and bar were covered in things such as picture frames, an antique radio, and a rotary phone. The costumes portrayed the differences in social standing between the whites and the blacks. Lights featured sepia warm colored lights and contrasting cool lights. The lamp lights in the living room scene and in the bedroom scene added a realistic touch to the show. The media throughout this show aided the setting of the show such as the beach front of Norfolk or historical dates of major happenings involving the Norfolk 17.

Overall this was a powerful show that demanded us to remember that discrimination happened everywhere, including our own state. It pointed out that it does not help anyone to simply forget about it because it is apart of our history, and we need to examine not only race relations from back then, but today's as well.