Peggy Kirkpatrick

Steely Brown, a young boy living in Harlem, wanders the streets of the city one night, reflecting on what led to the disappearance of his father. Meeting the denizens of his neighborhood, he engages in conversations that begin to sketch the outlines of the enigma, invoking Vietnam, marital discord, paternal relationships, substance abuse, schooling and unemployment—in short, the life of an American family.

HARLEM, USA: in the aftermath of Martin Luther King’s murder, German filmmaker Klaus Wildenhahn turned his 16mm camera on the New Lafayette Theatre as its players rehearsed scenes, ran public workshops and conducted exercises in uptown Manhattan. New Lafayette (or NLT) had been founded by actor-director Robert Macbeth the previous year, with the aim of producing theater for black people, by black people, to reflect the experiences and vernacular of the Harlem community. Within the Black Arts Movement, NLT would become a significant institution: it published the journal Black Theatre, and employed a host of talents – including the Black Panthers’ Minister of Culture, Ed Bullins, and the great pianist Junior Mance, both of whom appear in Wildenhahn’s film as resident collaborators.

Five mothers sit anxiously in a hospital waiting room to reunite with their children, who have been participating in an experimental procedure for two months. Tension drives the action in Marsha Sheiness's play, which takes its title from an obscure nursery rhyme and never reveals the true nature of the experiment.