Kathryn Seabron’s solo show “Angry Black Woman 101” was inspired by her time working at a nonprofit.
It stemmed from a situation in which a white coworker who had been passively aggressive toward her made a micro-aggressive complaint against her that led to a human resources meeting. Instead of addressing the way the coworker was subtly trying to bully her, the issue was framed as a simple “problem” with Seabron.
“This was both frustrating and telling as it reflected a wider pattern of undermining Black women in the workplace, often leading to the devaluation of our contributions,” says Seabron, describing the through line for “Angry Black Woman 101,” onstage March 15 through April 13 at The Marsh in Berkeley.
Directed by Lynn Vidal, the show, which won Best Performance at the 2024 Atlanta Black Theater Festival, was presented last year in The Marsh’s In Front of Your Eyes Performance Festival.
With prose, poetry and multimedia, “Angry Black Woman” details the proverbial “walk through the minefield” experiences Black women face daily, ranging from archaic “mammy” stereotypes to contemporary “yaas, queen!” minimizing.
There was no shortage of examples of public animosity toward Black women from which Seabron could take inspiration. The nonprofit incident was hardly the only event in her own life that fit the bill.
“I wrote it while working at a different place where I was underutilized and not trusted to do the job I was hired for. I was certain they doubted my competence simply because I am a Black woman, and it seemed like they feared letting me go because I was one of only two women hired—and the only Black person. Sitting idle, waiting for work, I began writing the show,” she says, calling the experience something so many Black women can relate to: “Our intelligence is constantly questioned, and there is a system in place designed to limit our success.”
The idea that diversity, equity and inclusion would work both for and against people of color takes on renewed relevance, given the White House’s recent stance. Although many theaters haven’t made significant, noticeable changes to inclusion efforts (many initiated after George Floyd-related protests in 2020), the possibility of a rollback doesn’t alarm Seabron.
While Seabron sees challenges, especially with institutions not previously proactively promoting diversity, she says Berkeley Repertory Theatre, Oakland Theater Project, Shotgun Players, Aurora Theatre and The Marsh have been inclusive for years, “well before ‘DEI’ became a buzzword,” adding, “These spaces have proven their commitment to diversity, and I trust they’ll continue to lead by example.”
Seabron has worked on Bay Area stages not only under her legal name, but also through the burlesque persona Juicy D. Light, whose raunchy performances have become a staple at showcases like the Hubba Hubba Revue at DNA Lounge. With Juicy, Seabron is trying to rewrite common misconceptions about Black women, especially bodily autonomy.
“My work as Juicy is about breaking taboos. … I reclaim control over the negative stereotypes that have been projected onto Black bodies; particularly fat Black women’s bodies,” she explains. “Through humor, sensuality and raw authenticity, I aim to show the complexity and beauty of Black sexuality, removing shame and instead embracing it as an essential part of our full humanity. But I also do it with a message. While I have your attention for three to four minutes, I am going to show you how I feel about things.”
She lost an ally in spreading that message with last year’s passing of fellow burlesque performer Grace Bones. The two frequently performed on the same lineup and had personal and professional plans that won’t be realized.
Such strong relationships are the reason why Seabron values support of friends and family members who don’t live nearby. But she adds, “My nephew came to see me emcee a burlesque show and had a blast. It was so fulfilling to hear his laughter and know he had a great time. My sister also came to see ‘Angry Black Woman 101’ at the SF Fringe Festival, and it was a powerful experience for both of us. She had her own stories to share, which made the experience even more meaningful.”
For Seabron, white people in need of enlightenment are the ideal audience for “Angry Black Woman.”
Considering the possibility of a full house full of angry, blond “Karens,” Seabron says, “I’d be delighted. I would, also, be intrigued! If a ‘Karen’ buys a ticket and attends my show, it might indicate that they’re open to learning or at least curious. Maybe they’ll walk away seeing Black women as multifaceted human beings, rather than the stereotypes they might have clung to. I’d welcome the opportunity to inspire growth, even if it starts with uncomfortable conversations.”
“Angry Black Woman 101” runs March 15 through April 13 at The Marsh-Berkeley, 2120 Allston Way, Berkeley. Tickets are $25 to $100 at themarsh.org.
Charles Lewis III is a San Francisco-born journalist and performing artist. He has written for the San Francisco Chronicle, KQED and more. Dodgy evidence of this can be found at The Thinking Man’s Idiot.wordpress.com.
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