“The Naked House Painting Society”
“Easily the festival’s best. Riveting drama with genuine humor and intense relationships. Mystical in nature, the play turns on incisive philosophical dialogue.” — Winifred Walsh, The Baltimore Sun
“Slavery,” a play in one act
Ownership is the issue as two associates draft a patent at a huge law firm in Robert Bowie, Jr’s one‑act play “Slavery.”
“Crash & Burn PA”
“It’s pretty damned refreshing. Tightly woven, with comic prowess and a nicely fast pace. If you want a carefree night of fun and laughs, this is your ticket.” — Pandora Locks
“Witchcraft,” a play in one act
“‘Witchcraft’ offers the suspenseful flavor of Alfred Hitchcock show. The drama unfolds with many unanticipated twists and turns…” — Janet Stidman Evleth
Plays by Robert Bowie, Jr…
Sold-Out Shows, Rave Reviews!
Our FringeNYC premiere could not have gone better…
ONAJE sold out all five shows, the performances were riveting, and both audiences and critics were exceedingly positive. Check out these great reviews from onstageblog.com and Theatre is Easy (theasy.com) .
Thanks again to our incredible cast, crew, and creative team — and to everyone whose generous support helped bring ONAJE to life!
Apologies in advance. I am going to use the “N word.”
On August 16, 1845, 27-year-old Frederick Douglass, a runaway slave at the risk of recapture, left the United States for a speaking tour of Ireland and the British Isles to promote his antislavery mission. When he reached Dublin, Douglas first saw Daniel O’Connell the famous Irish patriot and, that afternoon, went to hear him speak on Catholic emancipation, self-government for Ireland and his hatred of slavery in America. After O’Connell spoke, he was introduced to Douglass. O’Connell had just turned 70 and was more than twice Douglass’ age. They shared their mutual hatred of slavery, and then unexpectedly, O’Connell introduced Douglass to the remaining crowd as “the Black O’Connell.”
Hats off to Robert Manson, who introduced me to this subject.
IN FREEDOM’S NAME
“…I was born in exile from my native land,
Schooled with whips, and shackled by my fellow man,
Raised as chattel, alone, a slave and bastard,
As the property of my mother’s master
But not until I was free to come and go
Did I find the family I didn’t know
And not until the courthouse in County Cork
Did I discover O’Connell in my heart:
The two of us, as one, exiled from our faith
Our people and safety, by a nation state
“…Before I landed, after my weeks at sea,
(Free in a white country would be new for me)
The kind captain of our ship, the Cambria,
Asked that I speak upon my wild idea:
The granting of my country’s slaves their freedom.
The Americans on board came undone ‘n
Violent: ‘Down with the nigger! He shall not speak!’
Captain Judkins confronted them when they reached
Out to throw ‘the god damn nigger overboard’ —
Were there no boundaries to bondage and discord?…
“…Not until, in Dublin, near Sackville Street Bridge
When I saw him down by Trinity College
And heard him speak at Conciliation Hall:
Hating slavery, but nonviolence for all,
The temperance pledge, the failing potato crop
And the Irish servitude he’d try to stop:
Freed now, this Catholic beneath the English heel,
Of Peel, the P.M. he’d called ‘that Orange Peel’:
Freed now, fresh from prison for his English sins
I heard O’Connell turn Irish words to hymns…
“…Not ‘til County Cork, with the crowd before me,
When I said his name, they, as one, rose for me,
And from within, I heard my master curse him
And wondered what if O’Connell were my twin?
…Not until my heart asked me: ‘Why hesitate?
Trust him, he’s Irish. He’s born to agitate.
Weren’t you both born with bondage your argument?
And both born to harmonize as dissidents?’
…Only then, I was surprised to discover
In freedom’s name, I’d found my Irish brother…”
Until we realize that our individual freedoms are dependent on each other, we will repeat this servitude without end.
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About Robert Bowie, Jr.
“Without the arts, we are a rudderless boat.”
— Robert Bowie, Jr.