Back by POPULAR DEMAND - Initials Entertainment & Productions presents a powerful and much needed stage production for the whole community!
"AT THE END OF THE DAY"
In the wake of continual tragic and untimely deaths of unimaginable pain & grief there is still a cry ALL LIVES MATTER! What happens when we turn our heads to the drugs & violence that plagues our communities? What happens when it seems that social injustice rules? When will we become a community & neighborhood that care about saving our youth TODAY, NOT TOMORROW?
As controversial as it may appear, a greater injustice continues to plague the African American Community and people of Color – the greater crime against OUR OWN! “At The End of The Day” (ATEOTD) we are cognizant of the injustice against our own but we MUST NOT lose focus of the crime within our own and against our own at the hands of our own!
Time is NOW! We must bring a greater awareness to aid in stopping the violence one family, neighborhood and one community at a time. Senseless violence has no boundaries! As a people, many obstacles we face must NOW transcend beyond the cultural, political, and religious barriers that continues to separate us rather than bring us together. Transformation MUST take place in our inner cities and urban communities into better places to live, not places to fear. Violence does not have a specific address, drugs do not plague only the African American community, bullets have no color, and crime has no culture.
ATEOTD SYNOPSIS:
The play unfolds as an anecdotal epic that is propelled by a mundane theme; it evokes a banal portrayal of a single mother named Shennea – a 40 year-old African American with an illicit appetite, and her attempt to satisfy it through radical means, who auctions herself to stabilize her mounting debt to Big Roc, a disreputable vagabond who forged tyrannical possession of Big Town city and rendered its cross-section as headquarters to his drug enterprise. She even sells her thirteen year-old son’s belongings to generate drug money, including his used Xbox. By mid-play, and the introduction of other characters leading substantive roles, especially Mark, Shennea’s son, whose role at this juncture extends far beyond his attending school and playing video games, the play proves but anecdotal; it becomes a theatrical collage of social inequity plaguing a segment of society, and the outside force needed to reverse such inequity that has long gone uncontested. The play masterfully culminates in a dramatic delivery of a pledge to address a vexing problem of single motherhood and addiction, children prematurely forced to assume adulthood, and the dire need for communal intervention to restore hope for self-reliance and dignity to long-forgotten members of society.
By Simo Boto
