NEW YORK– Underground is an award-winning play starring Bali (Travis Pratt), an enslaved black man on his journey to save his daughter from Maynard (Mattie Parker), a horrid slave owner, and light the way to freedom. The story is beautifully told, deeply looking into Bali as a character, and what he stands for. We learn the meaning of purpose and what it means to have to keep fighting for freedom. We also learn how a father’s love for his daughter will drive a man’s purpose.
The story is told through the eyes of Bali’s daughter, Emala (Aubrey Rose and Mariah Rae) and explores themes of heartbreak, bravery, heartbreak, and most importantly, hope.
Underground folds and diverts into Dembi’s (Stephanie Adumatioge) eyes occasionally, where Bali brings her along to find freedom. Heavy conflict is in her character, shaping a deeper and more complex storyline than originally thought. The story also gives us Dembi’s point of view as a content enslaved house woman who is reluctantly thrust on their journey to freedom. Learn more about the cast and awards at https://www.dupontproductions.net/theatre
Akil DuPont is a film professor at Pace University and the writer of Underground. Originally, the story was on the big screen, as a 2010 short thesis film. Today, it’s an award-winning play production.
What exactly goes into a play production? It’s not as simple as acting on a stage. Behind the scenes, there is plenty of work you don’t see.
Lili Forbes works alongside DuPont as the play’s composer. Forbes talked about experience and how it all ties in together to create the sound for Underground.
“My experience composing music and vocal arrangements for the underground musical play was an exhilarating and challenging creative journey. It all began with the lyrics from Akil, which sparked the creative flame within me. I drew inspiration from my personal experiences, observations, historical events, myths, and folk tales.”
Forbes and DuPont wanted Underground to have a specific sound, explaining, “I made it a point to incorporate and respect different musical genres from the African Diaspora, including the European influences on our music, which I explored and incorporated into three of the songs. As I developed the concept vocally, I started by brainstorming with Akil [DuPont], asking questions about the story, characters, setting, and themes. I also conducted extensive research on African, American, and Caribbean music to create an authentic sound. To bring my vision to life, I recorded each individual vocal idea, mixed them together, and then sent them to be transcribed and musically arranged.”
Emala is portrayed by two talented performers: Aubrey Rose, a CT native who’s performed in A Christmas Carol: A Ghost Story of Christmas (Hartford Stage) and Joseph and The Amazing Technicolor Dreamcoat (The Warner Theatre), and Mariah Rae, making her theater debut with Underground at 10 years old. Rae has performed for New York Fashion Week events, the African American Day Parade, and sang for former NYPD Police Commissioner Keechant Sewell. She is also a member of two prestigious choirs: The Mama Foundation for the Arts and the Harlem School of Arts’ “Natalie Cole Choir.” An ‘A’ student, Rae won first place in the “Alex Trebek Spelling Bee.” You can see her play piano @mariahraestarr.
Rae was ready for the production. She says, “I felt extremely excited because I’ve never been in a play before, so being in one made me realize that acting is also a talent of mine.” Balancing school and work is difficult, especially for someone so young, but she says, “I was able to rehearse while being a full-time student by going to practices after school or on the weekends. I got my work done immediately after I got home, or I would do my work on breaks from rehearsal.”
Monet Dunham, a theater actress from New York City plays Grandmother in Underground. “Working in theater is a lot of fun and a lot of work! Theater requires you to be present and commit to the character and the piece. It’s also all about the ensemble. There are no CUT BACK TO ONE moments. Once that curtain opens …WE ARE ON!!! I enjoy it! It’s not for everyone, but you can learn a lot and have a truly rewarding Experience!” she said.
Practice is key. Underground has re-run almost daily in January for six shows at Stony Brook University (Thursday, Jan. 29-Sunday, Feb. 2). In June 2024, the play ran its course at the New York Theater Festival in Hudson Yards, NYC. There was constant running around. The storage unit being used closed at 7, the time the show ended. We had to run down 3 blocks to be able to drop off equipment. We use black magic cameras, well-known in the MCVA Department.
After each premiere, the group gathers and discusses. The directors lean into things as broad as singing and pausing in lines, to small,subtle reactions to certain moments. Everyone is respectful and friendly tone when talking about what to change in each other’s performance. It’s so interesting to hear little tidbits when, as a camerawoman, I barely notice the things that were mentioned. This proves how each important minuscule detail goes into the show.
On camera, things are more complicated than just “pressing record”. Siddhesh (NYFA) and I had to ensure our camera settings matched perfectly, having cameras on ProRes, and ensuring we were recording on the hard drives. With the hard drives, we had to format in exFAT, if not, the footage would take a long time to process. Once done filming, we return the hard drives for download.
For filming, cameras were focused on the action using the tracker that comes with the BlackMagic camera. Sure, it makes the whole picture red, but the color is highlighting what’s in focus so the more you see, the better. Panning to follow the action is challenging, but after the second time watching the play, I got the hang of knowing what moves the performers on stage were making next. I videographed the play back in June 2024, so it was not as challenging this time.
In essence, sound production in theater is about immersion—making the audience feel like they’re part of the world on stage. It subtly guides emotions, enhances storytelling, and ensures that every word and note reaches the audience just as intended. As a sound mixer myself, I alread know how much nuance goes into balancing
When it comes down to audio, things get more exact. Each performer is equipped with a mini microphone set. These sets are fragile and could snap very easily, so its care is important.
Jenil Mehta is one of the sound managers for Underground, he says that in a stage production, “…sound production plays a crucial role in shaping the audience’s experience, even though it’s often more subtle compared to the visual elements. It encompasses everything from dialogue clarity to atmospheric sounds, enhancing the storytelling and emotional impact.” He talks more about his aim in sound design: “In essence, sound production in theater is about immersion—making the audience feel like they’re part of the world on stage. It subtly guides emotions, enhances storytelling, and ensures that every word and note reaches the audience just as intended. As a sound mixer myself, I already know how much nuance goes into balancing everything seamlessly!”
Overall, Underground is worth your time and support! Keep checking the website for new showings coming in a few months.