By Tearrance Arvelle Chisholm
Directed by Serge Seiden with Vaughn Ryan Midder
Playing January 25—February 19, 2017
Timely World Premiere
Attention Season 3 Patrons!
This is an Archival Page for the original Season 2 production of Hooded, Or Being Black for Dummies back in 2017. If you are looking for information about the 2018 remount, please CLICK HERE!
Hooded, Or Being Black for Dummies
By Tearrance Arvelle Chisholm | Directed by Serge Seiden with Vaughn Ryan Midder
At the Atlas Performing Arts Center, Sprenger Theatre
January 25—February 19, 2017
A timely, irreverent examination of growing up black in America by rising-star local playwright Tearrance Arvelle Chisholm. Marquis, a book smart prep-schooler from suburban Maryland, meets Tru, a street savvy Baltimorean, in a holding cell. Tru thinks Marquis has lost his “blackness” and pens a manual entitled Being Black for Dummies, as they navigate a world of cheerleaders, Black Lives Matter, 2Pac, Nietzsche, Apollo, and Dionysus—each vying for Marquis’ future.
Staged by Serge Seiden (When January Feels Like Summer, Bad Jews) with associate director Vaughn Ryan Midder.
Hooded runs approximately 100 minutes.
The Washington Post RAVES over
Hooded, Or Being Black for Dummies
"The edgy script seems like it might be all over the place, but playwright Tearrance Arvelle Chisholm has a firm hand on the steering wheel as he careens full speed into stereotypes and race-based crises. Even with its fusillade of the n-word, the bracingly timely show is as user-friendly as its sarcastic title promises...
Hooded has a couple things in common with Joshua Harmon’s Bad Jews, the runaway Studio Theatre hit of recent seasons. Bad Jews likewise probed fraught history and modern identity with knowing irreverence, and it was directed by Serge Seiden, then with Studio and now with Mosaic. Chisholm’s impressive script has a wild fantastical streak, but mostly it’s loaded with barbed observations, and Seiden’s production at the Atlas Performing Arts Center is so consistently assured that it has you leaning in for the full hour and 40 minutes. Like Bad Jews, the show startles you with its confrontational sense of humor and shakes you up at the end with dread. As the title promises, it’s a Black Lives Matter play...
Only in its second season, Mosaic is living up to its name, and Chisholm makes his own mark powerfully."
"A PERFECT SHOW . . . 'BRILLIANT' IS BARELY ADEQUATE"
Calendar & Tickets
Atlas Performing Arts Center
1333 H Street NE
Washington, DC 20002
202-399-7993 ext 2
Box Office Hours
Box office does NOT take calls two hours prior to a show's curtain, but will return all voice messages left during that time.
Will Call opens one hour prior to curtain.
Patrons who arrive late will be seated at the discretion of management.
ALL PERFORMANCES will include open captions projected on set.
Opening Night: Monday, January 30 at 7:30PM
FIRST 8 PERFORMANCES
Wed Jan 25 at 8:15PM | Post show discussion with artistic staff
Thur Jan 26 at 8:15PM | Post show discussion with artistic staff
Fri Jan 27 at 8:15PM | Happy Hour at 7pm
Sat Jan 28 at 8:15PM
Sun Jan 29 at 4PM
Mon Jan 30 at 7:30PM | Opening Night, SOLD OUT
Thur Feb 2 at 11AM | Cast talkback
Fri Feb 3 at 8PM | Happy Hour at 7pm
Sat Feb 4 at 3PM | Post show discussion
Sat Feb 4 at 8PM | Post show discussion
Sun Feb 5 at 3PM | Post show discussion
Thur Feb 9 at 8PM | Cast talkback
Fri Feb 10 at 8PM | Post show discussion
Sat Feb 11 at 3PM | Peace Café
Sat Feb 11 at 8PM | Post show discussion
Sun Feb 12 at 3PM | Cast talkback
Sun Feb 12 at 7:30PM
Wed Feb 15 at 8PM | Post show discussion
Thur Feb 16 at 8PM
Fri Feb 17 at 8PM | Post show discussion
Sat Feb 18 at 7PM | Happy Hour at 6pm
Sat Feb 18 at 10PM
Sun Feb 19 at 7:30PM
Reva & David Logan Foundation
Community Engagement Series:
Compelling Dilemmas: Race in America
All discussions are free and open to the public,
and begin immediately after scheduled show time.
Meet the Artists
Tearrance Arvelle Chisholm is a playwright. That title is an indelible part of his character. Theatre is the filter through which he sees and interprets the world. As a playwright, Tearrance is interested in exploring the many facets of the African American experience. He feels that race is double edged sword, equipped with its advantages and shortcomings. It is the exploration of this theme that permeates all of his work. His works includes Burning Books (MU New Play Series), Liddy’s Samiches Potions & Baths (Arkansas Rep; Voices on the River), Vulpicide (MU New Play Series), Month of Sundays (Midwinter Madness Short Play Festival; NYC) and In Sweet Remembrance (Endstation Theatre Company and Sweet Briar College). Tearrance has also been published in interJACtions: 75 Monologues by some of America’s Finest Playwrights and Arcadia Magazine. He has worked closely with Endstation Theatre Company (Lynchburg, VA), Theatre Alliance (Washington DC), The Kennedy Center American College Theatre Festival and has held residencies at The Virginia Center for Creative Arts and The Eugene O’Neill National Playwrights Conference (Playwright Observer). Tearrance is currently an MFA Playwriting candidate at The Catholic University of America.
Serge Seiden (Director) joined Mosaic Theater Company as Managing Director & Producer to help found a company committed to social justice, and most recently directed Mosaic Theater Company's When January Feels Like Summer. In 2013 Seiden received the Helen Hayes Award for Outstanding Director/Resident Musical for Jacques Brel is Alive and Well and Living in Paris... at MetroStage. His production of Bad Jews at Studio Theatre was nominated for four 2015 Helen Hayes Awards including Outstanding Director, and was remounted this season. Seiden also directed Studio’s acclaimed Apple Family cycle. From 1990 to 2015, Seiden held many positions at Studio including stage manager, Literary Manager, and Producing Director. Seiden was a key player in Studio’s 1996 and 2004 expansions—developments crucial to the re-emergence of 14th Street NW as a DC cultural hub. For 20 years Seiden has been a member of the faculty of the Studio Theatre Acting Conservatory, where he trained as an actor and director. More recent directing credits include When January Feels Like Summer at Mosaic Theater, Everett Quinton’s A Tale of Two Cities at Synetic Theater, Freud’s Last Session at Theater J, and Clifford Odets’ Awake and Sing! at Olney Theatre Center. Other Studio Theatre credits include The Motherfucker with the Hat, The Golden Dragon, Superior Donuts, In the Red and Brown Water, Grey Gardens, My Children! My Africa!, and Souvenir: A Fantasia on the Life of Florence Foster Jenkins, and Old Wicked Songs. His productions at Adventure Theatre MTC—A Little House Christmas and Charlotte’s Web—were both nominated for Helen Hayes Awards for Outstanding Production/ Theatre for Young Audiences.