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All Of It with Alison Stewart
The Black Wolfe Tone: a One-Man Play About a Black Irishmen
00:20:00
The one man show "The Black Wolfe Tone" looks at the identity of a Black Irishman.
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- [00:00]
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Alison
This is all of it on wnyc. I'm Alison. Happy Friday. Thanks for joining us. I wanted to preview some of the conversations we're gonna be having on the show next week. We will speak with artist Lorna Simpson. She first came to prominence as a photographer. Now the Metropolitan Museum of Art is exhibiting her paintings. She'll join us in studio on Tuesday to discuss. We'll recap Eurovision 2025 and we will preview the exhibit at the New York Botanical Garden that brings to life some of the flowers painted by Vincent van Gogh that is in the future. But now let's get this hour started with the Irish Repertory Company. A new one man show at the Irish Rep is called the Black Wolf Tone. Wolf tone was an 18th century Irish rebel. In this play, the main character is named Kevin. He's a modern day mixed race guy who likes rap music and smokes. He's also in a psychiatric hospital. He wonders should he be there? So talking about his feelings to strange doctors getting dosed with Clozapin, written and performed by Kwaku Fortune. He plays Kevin, his doctors, his parents and various people who have made up the world he lives in or is escaping from. The New York Times describes the show, quote, the son of a West African mother and Irish father, Kevin speaks Irish, sings Irish rebel songs when he's feeling boisterous, channels Irish heroes in the midst of a manic episode. I'm Finn McCool. I'm Michael Collins. I'm Theobald Wolf Tone. He tells himself this is a play about mental illness and profoundly about identity. The Black Wolf Tone is playing at the Irish rep on West 22nd street in Chelsea until June 1. And Kwaku Fortune joins us. It is nice to meet you.
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Kwaku Fortune
Nice to meet you too. Thanks so much for having me.
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Alison
Where is Kevin?
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Kwaku Fortune
When we meet him, he's right outside mental hospital in Wicklow and he's about to go in and talk to his doctors and he thinks he's getting out. And the whole question, the whole play is is he well enough and where did it come from? What are the origins? So yeah, he's just about to go in and kind of plead his case as it will and try to convince them that he's well, even though I think deep down he knows he isn't.
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Alison
I was gonna say, does Kevin think he should be in the hospital?
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Kwaku Fortune
No, he doesn't. He's like, I'm ready, I've done my time, I'm fine, let me out. But throughout the thing, it kind of, it oscillates back and forward with whether he is. Well, I think hopefully at times the audience are going, ah, look, it's not that bad, let him out. But like, yeah, you know, I probably gave away the whole play there. But.
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Alison
Well, the show isn't linear. It's told back and forth throughout time. At one point, Kevin talks about breaking out of the hospital. Why does he think that's a good idea when he breaks out?
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Kwaku Fortune
Yeah, I think he just got so fed up. I mean, you're in this place where there's not a lot to do, like in terms of therapy or healing. You're just sitting around watching tv, smoking cigarettes. He wasn't even allowed, like there's a little gym. He's not even allowed to be a part of that because of his behavior and stuff. So he just has had enough of seeing these kind of ghosts, like roam the halls at night, heavily medicated, they're on sleeping tablets, they. But they can't even sleep. They're that like in a pretty dark place. So he's just like, I need to get out of here. And he like breaks out. So that again is told backwards. That has happened before we meet him, where we meet him. But yeah, it's. Yeah, I don't know, it's kind of like a fever dream at times.
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Alison
But yeah, it's interesting in writing it, did you ever choose to go. To use the linear way this happened, this happened, this happened. Or did it all just come like a collage?
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Kwaku Fortune
Yeah, it's funny in terms of. I don't know if I was ever fully in control of it. Like we had to put shape on it because it went in mad places. Like it was never. Yeah, Chance, your point was never linear. It was always like, like, he's here, he's here. It's like it was actually quicker and more frantic, the original kind of version. And we kind of had to make it a bit more accessible and not so like just heavy handed and kind of manic. It had to, you had to believe at points that he was well or better or sane. And you had to see his seduction as well, how he can kind of manipulate his doctors into thinking as well. So if you have just everything be like, it just wouldn't Work. Yeah. Ra is a great word to use. So. Yeah, so it was never really linear to answer that question.
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Unknown Interviewer
Yeah, he's smart, he's charming, but sometimes he doesn't realize that his behavior might be manic. I was curious, what kind of research did you do into people who have this sort of mental illness?
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Kwaku Fortune
I suppose. Well, I. I suffered from manic depression myself, so there's that. But I've. Yeah, I read Sarah Kane's play 48 Psychosis. I think that's the name of it. There's like a book called Electro Boy that I read that deals with, like, kind of diaries of specifically someone with bipolar disorder. And two other books. One I got of a gift years ago, and I can't remember the name, but actually, sorry, apologies. But, yeah, so I did a lot of research into kind of. And more the medical side of it as well, because I think most of it I could kind of pull from my own experience. But. Yeah, I don't know if that answer the question.
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Alison
Yeah, it did.
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Kwaku Fortune
Yeah. Yeah.
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Unknown Interviewer
I mean, how autobiographical is this?
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Kwaku Fortune
It's pretty. Pretty Autobot. Like, pretty. Pretty bang on. I mean, again, autobiography sometimes can be very. I tend to steer away from that, especially as an actor. Like, when you see that on stage, sometimes it can be, I don't know, indulgent or self indulgent or whatever. So I wanted to make it a theatrical piece. So it is definitely dramatized like. Like my dad, for instance, is the most lovable, like, kind man. So his kind of role is definitely heightened. We did have a lot of clashes when I was a young man, but it's definitely heightened. And he kind of plays the kind. The stereotypical Irish father rather than, like, I never speak in my dad's voice. It's like. It's a different voice that is put on because I find it hard to even get in there. But. So, yeah, it's. It's my story, but it's also Kevin's story. And it's also dramatized to make it accessible on stage and make it kind of hopefully fun and like an event that you're entertained because, I don't know, sometimes I feel with some of these pieces that are all about, like, a certain issue where it becomes the issue becomes the story. And for me, I feel like I'm getting hit in the head with a hammer. I'm like, I can't engage anymore. I don't want to be. I don't. I haven't come to the theater to be educated or I've come to feel something and to leave with questions and explore my own humanity and what I'm going through and what the world is going through and share that with people breathing the same air. So, yeah, I don't know. So I loathe to say it's autobiographical, but it is.
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Alison
We're joined by actor and playwright Kwaku Fortune. His show the Black Wolf Tone is a piece about identity. It's playing at the Irish rep until June 1st. So his mom's West African, his dad is Irish. There may be some bits of generational trauma thrown in there. What are some of the issues that Kevin has had to deal with?
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Kwaku Fortune
Yeah, and I think, like, definitely the mixed race element, I think, is a big one, because me and my brothers and I can actually only speak for myself, actually, because, I don't know, it's funny how it changes. Even three years, people can have a different experience than what you've experienced. But for me, anyway, I was in Ireland. I never felt fully Irish. I was always told I wasn't Irish, or you're too black, or you're not black enough, or there was this kind of thing. I was always. My identity was kind of foisted upon me. And then going to Ghana for the first time when I was 12, I was like, oh, my God, this is it. I'm going back to the motherland. This is amazing. Can't wait to get off the plane, meet everyone. And me and my brother, I was 12, he was 10. We get to the villa and the gardener starts going, hey, obronicoko, Obroni Coco. And I'm like, oh, yeah, no, no, my name's Kwaku. And he goes, you know, Kwaku, you're a Brony. And I went into my granny, and I was like, granny, like, what does O Brony mean? And she just starts laughing like, ah, it means white boy. You are white.
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Alison
You are white.
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Kwaku Fortune
So I was like, I'd like that Christmas. I'd been, like, racially abused at McDonald's by a blonde lady and called all sorts. And then I go to Ghana and it's, you're white. So I was just like, what is going on? We can't fit in anywhere. And I don't know. I've said this story too many times. I repeat myself. But so I just said to my brother, I was like, look, we are the race of Huikyu. You're joining my race. That's it. We're gonna be our own race. And he goes, no, I want my own race. I want to be Phelan. No, we can't we have to keep just one. Okay. It'll be too much. So. Yeah, so that's. Yeah, that's how it came about.
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Alison
So Kevin is dealing with all of this.
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Kwaku Fortune
Yeah. 100. And. And I mean, he's. He. Yeah, he'd taken a lot of drugs to kind of get away from that as well. So it's. I suppose the play kind of asks the question of like, where does it come from? Is it simply genetics? And, I mean, that's the medical model. But I don't know if it can be just that. It's. Society shapes us as well. We don't like to admit that we have a society that lets. Especially here in New York, that lets so many people, mental health just fall through the cracks. So, yeah, I think it just, it's. It. It explores the origins and why. Like, he always asks why me? Like, what did I do? Like, and me as well. I. Yeah, I explored the drugs at a very young age. But like, a lot of my friends did too, and they're fine. So it's just, why was it. Why did it affect me that way? So I think. And I don't know if that question gets answered, but it's. It's asked and explored vigorously. Yeah.
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Alison
The director for this play is Nicola Murphy.
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Kwaku Fortune
And Nicola Murphy. Dube, thank you.
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Alison
Thank you. She's also the director of the play Uptown Irishtown was playing upstairs. What was something that she did in your direction, which I know was only two weeks or so. What was something she did with the direction or she explored in the writing that you really hadn't noticed before, or it started to look a little different to you?
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Kwaku Fortune
I mean, to be honest, there's actually just so many things, and especially because this was a like a three year process. So we'd been working on this. She was like, she was with me through its inception. So I don't know. Kind of the one main thing is like, I'm an actor mainly by trade. I've only recently got into playwriting of. I find it hard to even call myself a player. I never found it hard to call myself an actor actually, but I found it. I'm finding hard to kind of wear that jacket or whatever, but she would just be like going through the plane, be like, okay, this beat relates to this and this means that. And that's so well structured. And this is a callback to that. And I was like, I mean, wow, I didn't do it on purpose, but great. Yeah. It just obviously was innately in there. And I think as well she just had such a light touch. And the most important thing I think she did, we did in our mad two weeks, was to find some kind of separation. Because obviously it's my story, it's heightened. There's the things you think are real may not be real, and the things you think are not real are probably real. You know, it's that kind of thing. But she was like, you're doing this for two months, so you need some separation. You need to substitute Kevin's story not with yours and to protect yourself, just even from all the emotional stuff he goes through. So, yeah, I think that was so important. And I mean, as an actor, you always know these things. But coming from someone who's written my own piece, I was kind of. It maybe it was good to be reminded of that. That substitution, I think. And protection.
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Unknown Interviewer
Yeah, there's some really raw parts of the. It's very funny, but it's also. There's some really raw parts of the show. How do you prepare yourself for those moments?
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Kwaku Fortune
Yeah, I mean, I just do a vigorous warm up. I mean, my partner is probably listening now is like, God, were you going in this early? It's like, you know, I have to go to the sauna. I have to like, stretch or like, I keep pulling things. I'm like an old man. I have scoliosis and my body, I've like surgery on my left kn. My right ankle from football. Loads of injuries from motorbikes and stuff as well. So it's just have to do a lot to get there physically. And actually, it's usually when I take care of the physical that everything comes out. Because if you're open in the body, actually, you don't need to be focused in the mind. Like, I don't have to think. I want to cry now. It's like it's already there. You think about the thought, the situation, and the body just expresses. So, yeah, to get in the body right, is the main thing.
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Unknown Interviewer
We're joined by actor I'll say it and playwright Kwaku Fortune. His new show, the Black Wolf Tone, is a piece about identity. It's paying the Irish rep until June 1st. So the. The night I went, it was so interesting because half the audience was black and the other half were people who look Irish. Don't know if they are, but I'm guessing. So I'm curious what the response has been. Like.
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Kwaku Fortune
It's been really good, actually. I think. I mean, I'm probably the wrong person to ask. I was like, oh, you having a good time? You excited? I'm just like, I think now I am starting to appreciate how, like, what a great opportunity and, like, being in New York, it's amazing. And. And the actual response from people. Because sometimes when I'm up there, like, oh, God. There's been times, like, in the theater where people have had, like, really intense responses and they're right up the front and it's a small space, so I can feel that I'm like, oh, what did I do wrong? Or did I mess up a line? And like. And Nicholas, like, no, look, relax. It means they were. They connected with the piece. Like, just let that go. This. Just keep going. You're doing it for everyone else. Oh, sorry, I hit the mic. You're doing it for everyone else. You know, so I think most part it's been really, really good responses. And you talk about black audiences. Alana Raquel Bowers is our associate producer. She's incredible. Or just a producer if I got the title wrong. She's amazing. Anyway, she's been getting a lot more black people in, which I actually think is most important because I would like to see as many black people see it. Not that, like, everyone should see it, but you know what I mean? Just. Because I think as well to. To see the lived experience of a half black person in Ireland because some of them are like, oh, my God, I didn't even know there were black people in Ireland, even though, like, Frederick Douglass was there years ago and, you know, just, you know, years ago, centuries ago. So, yeah, I'm rambling, but I think. I hope I answered your question.
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Unknown Interviewer
What have you. What have you noticed about New York audiences? Because you. It's like you sort of break the fourth wall, kind of. But I think New York audiences think, oh, you're breaking the fourth wall.
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Kwaku Fortune
It's brilliant.
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Unknown Interviewer
I'm here.
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Kwaku Fortune
It's so good. It's so good because, yeah, I ask a lot of questions and sometimes I actually respond to nights where it's even. It's more alive. I love that, actually. And yeah, because that. That kind of etiquette, that kind of like, we are in a space together. Yeah, I've. I've asked you, so answer. And it's magic. So I actually love that. Yeah.
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Unknown Interviewer
So this production was with Fishamble.
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Kwaku Fortune
Yeah.
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Unknown Interviewer
Is that right? Would you explain to people what Fishamble is?
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Kwaku Fortune
Yeah. So Fish Amble is the new play company in Dublin. They're an incredible company that support new work and have for since the get go. Yeah. With Jim Colton is the head and Gavin Costic is his partner in crime. And they're just. Gavin's a dramaturg and Jim's a. And artistic director, and the whole crew, like, they're. They're an amazing company. And I. So I studied in the Lear Academy, and they used to teach a lot out of there, and I was just always enamored by Gavin and his mind and everything, and could never dream of, kind of. I'd love to work with them, but I never could dream of, like, I would write something that they would support. So, yeah, they're amazing.
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Alison
And how do they work with the Irish Rep?
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Kwaku Fortune
Yeah. So that. I'm probably the wrong person to ask about that. This. This came about with Nicola and Jim and Kieran. Charlotte, I think, and they were trying to get more black voices in Irish theater, so they came up with the Transatlantic commission. So Jim called me when I was moving house. I've said this. It was the wrong time to call. I was like, no, I don't have a plan. I want to write a play. And he's like, come on, please. And I said, okay. But, yeah, so it was me, C.N. smith, Felicia Olusanja and Jay Jordan were the playwrights and actors, and we kind of did like, four short pieces, and we had a residency over here and stuff. So I. They probably have, like, a longer relationship and history, but for me, that was what I came in on. Board is the kind of joint effort between Fishamble and the Irish Rep for this.
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Alison
When you think about this show, why do you think theater is a good vehicle to explore issues around mental health?
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Kwaku Fortune
That's a good question. I think. I don't know. A good vehicle? No, I think it is a good vehicle. I think it's, again, like, the. We're in the room together, we're breathing together. There's something like, film is incredible. It can take you to many places. You're alone in the dark. There's no one there, no one watching you. But on stage or in a theater, there's someone living in front of you, sweating, hopefully. I've tried not to sweat, but I've been sweating a lot. But sweating in front of you, like, giving their all and, like, that kind of shared experience or community, I think can't be replicated. So sometimes to feel that with a whole audience, even if you don't have mental health or any problems, I don't know, it's that that shared kind of consciousness is very palpable and special and hopefully will raise awareness and lead people to kind of heal is the wrong word. But kind of, I don't know, see the world in a different light and come together and just. I got him talking in really airy, airy terms, but like breathe together, you know, I just think it's. There's nothing like it, you know, And I think for any issue. And again, I don't like issue plays, but like, I've seen physically what people are going through when I'm doing this. And at the start it was really off putting and I was like, oh God, what am I doing wrong? Kind of thing. But actually it's not about me. It's about our shared experience and our shared humanity and like, come to the theater to feel. Yes, that's what you should be doing, you know, so. Yeah, sorry.
- [18:39]
Unknown Interviewer
So I walked by the theater, I.
- [18:41]
Alison
Saw the Black Wolf Tone. I said, okay, I'll go see the show.
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Unknown Interviewer
I'll see what it's about.
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Alison
This is really interesting. So tell me, what is the Black Wolf Tone? What does the title mean?
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Kwaku Fortune
Yeah, it's funny. It's. It's so Theobald Wolf Tone was an Irish rebel, I suppose he was. He was Protestant and he was very. What's the word? He was very empathetic to the Catholic cause. So him and Robert Emmett, well, he formed the United Irishmen and they rebelled. The first rising in God, I hope get this date wrong, right. 1749, I think is the first rising. Trying to get rid of British rule. He was then killed in, in France and stuff. So I did a whole. It doesn't sound like it, but I did a whole project on him in school. I was just enamored. I don't know, I just. I was just drawn. Especially the fact that he's Protestant kind of really rung a bell with me. And it's weird because then the ruling class was the Brits, so the, the Catholics were the outsiders. But the fact that he was Protestant and he tried to liberate Ireland, it was a thin line. But if I felt that he was an outsider and not Irish, even though he was completely Irish, he's born in Dublin, he's just Protestant. But like, I don't know, they were in power at the time. So this for me was like, God, I just latched onto that. I was like, I feel like a kinship with that of being an outsider but wanting to be Irish, wanting a better Ireland, wanting to fight for a better Ireland. So, yeah, I mean, it's pretty thin, but that's. It worked and it sounded nice.
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Alison
The Black Wolf Tone is playing at.
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Unknown Interviewer
The Irish rep until June 1st. My guest has been Kwaku Fortune.
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Alison
Thank you so much for coming to the studio.
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Kwaku Fortune
So good you to have me. Thank you.
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