We Shall Someday - World Premiere at Theater Latte Da

Article by Becky Fillinger, photos provided

A Discussion with Harrison David Rivers, Book and Lyrics Writer

Harrison David RiversThe world premiere of We Shall Someday is in rehearsals now at Theater Latte Da. We spoke to Harrison David Rivers about his creative process, finding an inspired home in the Twin Cities and taking individual actions against injustice.

Performances run April 19 through May 14 at the Ritz Theater. Tickets are on sale now at Latteda.org or by calling 612-339-3003. 

Q: Your artistic statement includes this passage:

I write
[in my own words]
In hopes of ushering in a kinder,
gentler,
more equitable,
more accepting,
more courageous,
more compassionate,
more loving,
world. 

Your latest play, We Shall Someday, covers three generations of inequality, violence and oppression. Do you give us advice or guidance in the play about how to usher in a more equitable and loving world? Or how we might commit to creating real change?

A:  One of my favorite things about We Shall Someday is how each of the characters - Julius in 1961, Ruby in 1988 and Ben in 1992 - has a moment of realization about the significance of their role in the betterment of the world. Julius realizes that the most revolutionary thing he can do to “usher in a more equitable and loving world” is to be the best father to his daughters that he can be. Ruby realizes that she must be honest with her son about the realities of being Black and male. And Jay realizes that fear, both of physical harm and of distressing his mother, shouldn’t keep him from doing what he believes to be right - protesting injustice.

We Shall Someday cast members Roland Hawkins II, Ronnie Allen, and Erin Nicole Farsté. Photo by Lucas Wells.

The musical posits that real change starts on an individual level - it starts as a personal choice - and that the actions undertaken once one has made that choice, no matter the size or scale, are meaningful, significant, vital.

Q:  Your resume is impressive – we could spend an entire interview focusing on any one of the many aspects of your career, which includes teaching, publishing, honors, awards, residencies, fellowships, playwriting and more. You could live anywhere. Why are the Twin Cities home to you?  

A:  First, thank you. So often it feels like you’re running in place, that you’re working super hard, but nothing’s really happening. It’s nice to be reminded that that’s not true; nice to be reminded to be kinder to myself.

I moved to the Twin Cities in 2014 for a fellowship at the Playwrights’ Center and fell in love with the community here. I found artistic homes at Theater Latté Da, Penumbra and History Theatre, and incredible collaborators.

I’d been living in New York City for nine years and had gotten used to the frenzy – I’d sort of internalized it. I thought I needed the hustle and bustle and the pressure and the constant noise and motion, but it turned out that I was wrong. I realized very quickly upon arriving in the Twin Cities that I could have a robust creative life and do it on my terms — a little slower, a little quieter and less expensively.

Q:  We Shall Someday pays homage to the civil rights anthem, We Shall Overcome. Although I haven’t seen your play yet, I feel that the title reflects the sentiments expressed by Cheryl Bistani who wrote this for MLK Day 2023:  

There is a dance step called the tripudium. It is three steps forward and one step back. It matches the words, the rhythm, and the meaning of the song we sang as we touched the spot of spilled blood and marched across the Edmund Pettus Bridge in Selma, Alabama, on the anniversary of Bloody Sunday. 

“We shall overcome, we shall overcome.
We shall overcome someday.
Oh, deep in my heart, I do believe,
We shall overcome someday.” 

Will we see your characters experiencing progress through a tripudium of three steps forward and one step back? 

A:  I’m not sure that We Shall Someday adheres to that exact math, but I do think that inherent in the idea of progress is failure — are setbacks and opposition — and, on the flip-side, reassessment and reactivation and perseverance.

I believe that all of these elements are present in the musical.

Q:  Music is very important to your creative process – you’ve said in earlier interviews that many lyrics and tunes of popular music are in our DNA. Did you structure We Shall Someday as a multimedia production, including music, as shortcuts to the audience to trigger a certain time and place?   

A:  Ted Shen (composer) was actually the first artist on the project. He had already created what was then called “Just One ‘Q’” with another writer. I was brought in later to write a follow up to Part 1, and then later to re-write the existing Part 1 and to add Part 3.

The piece was conceived as a musical so it has “sung” since the beginning. Any multi-media component at Theater Latte Da is owed to our brilliant director and design team.

Q:  Will you give talks or lectures in conjunction with We Shall Someday? Are there other ancillary events planned to accompany the play? 

A:  I imagine so! Honestly, we’re early days with the production so a lot of scheduling things are still being worked out. I’ll have to get back to you!

Q:  Please do keep us posted on events. How may we follow your news? 

A:  I’m on Instagram and my website is harrisondavidrivers.com – of course, now I’ll need to update it.