Says Smith, “Where there’s hidden hate, there’s hidden love.” Read more here.
IN THE PRESS
Senator John McCain recounts how he and his fellow prisoners of war tapped poems between their cells for comfort and distraction during their years of captivity in Vietnam. Learn about his relationship to poetry as Poetry in America interprets Gwendolyn Brooks’ “To Prisoners” with Anna Deavere Smith, Reginald Dwayne Betts, Li-Young Lee, and Innocence Project exonerees. Watch at poetryinamerica.org.
February 24, 2018
Entertainment Weekly reports that Notes from the Field has been adapted into a film by HBO. It is scheduled to release in February 2018.
Anna Deavere Smith interviewed composer, pianist, and director Samora Pinderhughes for Lincoln Center Magazine.
Read the interview here and check out The Transformations Suite below.
On September 8th, 2017, Anna Deavere Smith joins Samuel L. Jackson, Tom Hanks, Mahershala Ali, Common, and many other artists participating in “EIF Presents: XQ Super School Live,” a special one-hour telecast which will invite the public to help rethink the future of American high
They all-star telecast will air live from Los Angeles on all four major U.S. networks – ABC, CBS, FOX and NBC – on Friday, Sept. 8 at 8:00-9:00 PM ET.
May 6, 2017
Click below to read Anna Deavere Smith’s full speech at Loyola Marymount University’s Commencement on May 6, 2017.
April 21, 2017
“I wanted to write a new play,” explains the playwright at the center of Paula Vogel’s Indecent, “that posed contemporary moral questions, that forced us to face some uncomfortable truths.” Vogel’s inventive portrayal of a 20th-century Yiddish theater troupe struggling with controversial material does just that, as do Anna Deavere Smith’s Notes from the Field and Lynn Nottage’s Sweat, for which Nottage received the Pulitzer Prize in Drama.
Smith, who famously crafted a new genre out of the one-woman show, seeks to personalize the headlines by making us reflect on our propensity to pathologize. In Notes from the Field, she becomes a young black man from Baltimore who dismantles a police car; the girl who took video footage of her classmate being tossed out of her chair by a security officer in South Carolina; Sherrilyn Ifill, the president of the N.A.A.C.P. Legal Defense Fund; and so many more.
By Olivia Clement
April 14, 2017
Last November, I returned to the same theater to see Anna Deavere Smith’s Notes From the Field. Based on hundreds of interviews, Anna’s powerful monologue play depicts the personal accounts of students, parents, prisoners, teachers, and administrators caught in America’s school-to-prison pipeline. The show shines a crucial light on the inequities of poverty, lack of opportunity, and over-aggressive policing that leads youth into the prison system. Like a lot of her work, the play is life-changing and necessary.
Anna is someone who makes me want to be smarter. She’s written and performed almost 20 acclaimed one-person shows based on interviews, and her work is always urgent and inspiring. Even President Obama recognizes her transcendence — he presented her with the National Humanities Medal in 2013. We talked on the phone for half an hour about mass incarceration — but given the state of the world, we had a few other things to also mull over.
By Lisa Fung
April 13, 2017
Fifty years ago, Los Angeles welcomed the Ahmanson Theatre and the Mark Taper Forum with a weeklong celebration marking the newest addition to the city’s cultural center. Without a doubt, the Ahmanson and Taper have introduced, nurtured and hosted some of the finest actors and actresses, directors and playwrights in the world. We reached out to a few of them by phone and email, asking them to share their favorite memories, which have been condensed and edited for space.
Anna Deavere Smith, writer, actress and director
“Twilight: Los Angeles, 1992” (1992-93), “House Arrest: An Introgression” (1998-99)
While I was writing “Twilight Los Angeles 1992,” my play about the L.A. riots, the Taper hired a variety of consultants, each representing a different ethnic group and perspective about the riot. Their jobs entailed introducing me to folks all over L.A.
After performing each preview, I went home and revised the play. Before doing so, I met with the consultants and the creative team. The city was still on edge, and so were these “dramaturges,” as we called them. We should have sold tickets to those discussions. All over town people were anxious that there might be another riot, depending on the outcome of the second trial — the federal trial of the four police officers who beat Rodney King.
April 7, 2017
Thank you, John Darnton. Thank you, Charlayne. There are many people I could thank – theaters, philanthropists, other artists – regrettably they are not here. I will thank Stephanie Schneider from the Institute on the Arts and Civic Dialogue at NYU, who helped us wrangle audiences of 500 people into small groups, so we could have discussions during my last play – a form of civic engagement. And thank you to Allyson Green, Dean of the Tisch School of the Arts, because I am given enough flexibility to do my work, but to still be in the rich intellectual community of my colleagues and students.
By Don Aucoin
March 24, 2017
For the hosts and writers of late-night TV comedy shows as well as the anchors and producers of hyperkinetic cable-news programs, President Trump is the gift that keeps on giving.
But what about theater? What is the role of playwrights when confronted with an unprecedented figure like Trump and the overheated political environment he has generated?
“Right now, satire and comedy are having a ball, but there are people who are going to suffer,’’ playwright-performer Anna Deavere Smith said in a telephone interview. “No matter how many things are done on ‘Saturday Night Live,’ no matter how many op-ed pieces are written, not many of us feel that we understand this. A play has a chance to bring more sense to us, and to help us in a deeper way.’’
Smith said that theater can play a vital role in the present-tense conversation about Trump, but she maintained that there is also “some value to hindsight,’’ adding that dramas fully explaining this political-cultural moment “could be 10 years out, 20 years out.’’
June 4, 1992
Anna Deavere Smith appears on The Flo Kennedy Show to discuss her play Fires in the Mirror.
College Track students traveled to Montgomery, Alabama to learn from Bryan Stevenson and Equal Justice Initiative about our history of racial violence, and how we can all bring new resolve to honoring the truth.
That’s what makes Anna Deavere Smith’s Notes From the Field, a production about “a justice system that pushes minors from poor communities out of the classroom and into incarceration,” so striking. As a journalist who’s written, read, and edited countless stories about the school-to-prison pipeline, I entered the theater anticipating an intensely artistic experience but not necessarily a dramatically educational one. Largely because of its language—the words uttered or not uttered, the movements made or suppressed, the way they those expressions were expressed—it turned out to be an intoxicating combination of both.
I recently spoke with Smith about her experience researching for and performing the play, which recently ended its off-Broadway stint at Second Stage Theatre. A lightly edited and condensed version of our interview follows.
By Shanley Chien
January 18, 2017
The Baylor College of Medicine Center for Medical Ethics and Health Policy hosted Tuesday evening its annual community outreach event to present an abbreviated version of “Let Me Down Easy,” a play performed and written by actress and playwright Anna Deavere Smith that explores the vulnerability of the body and the resilience of the human spirit.
In a series of real-life character portrayals, Smith reenacted nine vignettes of people’s experiences with health care in very personal terms, using their words, expressions, mannerisms, sputters and pauses exactly as they were delivered in her interviews with various doctors, administrators and patients.
Smith is known for the range of characters she plays onstage and on television, in roles like the national-security adviser Nancy McNally, on “The West Wing,” and Gloria Akalitus, on “Nurse Jackie.” Still, she said, she does not “do” other people, nor is she an impersonator. In discussing some of the characters she plays in her latest production—Niya Kenny, a teen-age girl (fidgety feet, a nervous biting of her cheek) who stood up to a police officer after he violently handcuffed her for refusing her teacher’s order to put away her cell phone; a female prison inmate whose only object of affection is the dog she trains (slumped over, speaking almost in a whisper)—Smith also objected to the idea that she “gives voice” to people who might not otherwise be heard. “If anything, they give me a voice,” she said, when we were downstairs in the airy museum café. “Anybody can speak for themselves, and they always could.”
Anna Deavere Smith is coming home.
The protean actress and playwright has spent her career interviewing and then embodying people of different races and divergent points of view — “chasing that which is not me,” as she put it in a recent interview. But her new play, “Notes From the Field,” a prolonged meditation on education and criminal justice, is different.
“This piece,” she said, “is about me.”
By Eliza Berman
October 27, 2016
‘I’ve been interested in people who see the dignity in struggle’
“How did coming from a family of educators shape your perspective on education?”
I grew up in Baltimore, a town that was just coming out of segregated schools. Education was about progress and community and love. My mother taught really poor kids. Even though we were all, at the time, Negroes, there was a clarity for me about my situation and the situation of the children she taught.
“In “Notes From the Field”, you tackle the so-called school-to-prison pipeline, through which many poor kids end up in the criminal-justice system instead of in school.”
By Jeff Potter
October 24, 2016
Inside Anna Deavere Smith’s latest solo show.
Leonard Foglia has directed theatrical events of all scales, including an epic production of the opera Moby Dick that included a sprawling ensemble and eye-popping sets and projections. Yet the versatile director/librettist/novelist contends that the antithesis of such a production – the solo show – can be equally challenging.
“You don’t have a scene where, all of a sudden, ‘Oh! The young people run on stage now to change the rhythm,'” he laughs. “One person has to change it.”
Foglia proved his acumen for shaping solo pieces with Thurgood, which featured Laurence Fishburne as Supreme Court justice Thurgood Marshall and bowed on Broadway in 2008. Now he’s returning to the form as the director of Notes From the Field, the latest solo showcase for writer-performer Anna Deavere Smith. (The play is currently in previews at Second Stage.)
July 22, 2016
Anna Deavere Smith presents her speech Ringside: Get Real as part of the Opening Plenary at the 2016 TCG National Conference: Theatre Nation presented by the Theatre Communications Group on June 23, 2016. Video coverage is presented by the global, commons-based peer-produced HowlRound TV network at howlround.tv. ASL interpretations are presented by Miako Rankin.
October 17, 2016
By Linda Winer
She hadn’t intended to be back here and doing this, at least not now.
Anna Deavere Smith — who arguably invented or changed forever the concept of first-person, multicharacter theater — did not set out to be in previews of her solo show about the school-to-prison pipeline called “Notes From the Field.” It took her five years — and some painful cultural shifts — to change her mind.
January 6, 2016
Join us for an intimate conversation with Tony-Award winning actress and playwright Anna Deavere Smith.
She’ll sit down with author and producer Susan Fales-Hill for an exploration of the creative process and what happens when theater and activism intersect.
They will discuss her signature form of documentary theater and her ground-breaking stage career — from her powerful one-woman piece “Twilight: Los Angeles,” to her newest work, “Pipeline Project,” an examination of the systemic cycle of school suspension to incarceration that is prevalent in low-income, minority communities.
September 29, 2015
For Anna Deavere Smith, actress and path-breaking performance artist, Baltimore is home. After the arrest and death of Freddie Gray, the city became a sadly appropriate setting for Smith to tackle her latest project: a one-woman show about the “school to prison pipeline,” which funnels children who get into trouble at school into the criminal justice system. Jeffrey Brown reports.
April 17, 2017
ESSENCE magazine has chosen Anna Deavere Smith as one of 100 women on their inaugural #WOKE100 list, which honors Black women activists, artists, politicians, educators, organizers, journalists and creators who are working to achieve equality for people of color.
April 11, 2017
The American Repertory Theatre production of Notes From the Field received two Eliot Norton Award nominations, which celebrate the best theater in the Boston Area. The play received nominations for Outstanding New Script and Outstanding Solo Performance. Winners will be revealed at the 35th Annual Elliot Norton Awards on Monday, May 15, 2017 at 7 PM.
April 4, 2017
Anna Deavere Smith’s newest play, Notes From the Field, was nominated for Outstanding Solo Show at the Lucille Lortel Awards. The play also received a nomination for its projection design. Winners will be announced when the Lucille Lortel Awards are handed out in a May 7 ceremony at New York University’s Skirball Center.
April 4, 2017
Dartmouth will recognize nine accomplished men and women with honorary degrees at the College’s 2017 Commencement on Sunday, June 11, on the Green, including Anna Deavere Smith. President Phil Hanlon ’77 will deliver the valedictory address to graduates. Dartmouth typically awards about 1,000 bachelor’s degrees and 600 master’s and doctoral degrees in the arts and sciences and from the College’s three professional schools: the Geisel School of Medicine, Thayer School of Engineering, and the Tuck School of Business.The academic procession to the Green will begin at 9 a.m., and visitors are advised to be in their seats by 8:45 a.m. Commencement ceremonies will begin at 9:30 a.m.
February 20, 2017
This morning, Long Island University (LIU) has announced the winners of the 68th annual George Polk Awards in Journalism, continuing the University’s longstanding tradition of honoring and celebrating the impact of courageous and authentic journalism on our national and global discourse.
Anna Deavere Smith, the educator, playwright and actress who has brought journalism to the stage in acclaimed interview-based dramatic depictions exploring urban conflict in Brooklyn and Los Angeles and, most recently, connecting incarceration of minority youth to lack of educational access and economic opportunity, will be the 35th recipient of the George Polk Career Award.
The George Polk Awards are conferred annually to honor special achievement in journalism. The awards place a premium on investigative and enterprising reporting that gains attention and achieves results. They were established in 1949 by Long Island University to commemorate George Polk, a CBS correspondent murdered in 1948 while covering the Greek civil war.
February 2, 2017
[Swarthmore College] President Valerie Smith will award honorary degrees to film producer and journalist David Gelber ’63, philanthropist John Goldman ’71, and actor and playwright Anna Deavere Smith at the 145th commencement on May 21, 2017. In addition, approximately 350 undergraduates will receive degrees at the ceremony in Scott Amphitheater.