Parable of the Sower Concert Review/Gush

Terry Marshall of Intelligent Mischief recently articulated this moment we’re in as a Black Renaissance. I concur – we are transforming pain into gold at an impossible speed. I keep turning around and finding something black, brilliant, fantastic, collective, wonderful – I feel in the midst of an artistic explosion, of a people cultivating creativity and joy in the face of genocide and mass produced misery. And Octavia Butler is one of the seed mothers of this moment.

There are some of us who read the Parable of the Sower (and it’s sequel the Parable of the Talents), as sacred text. Butler, the author of these two near-future novels, was a black sci fi writer hermit who died in 2006 after giving us 12 novels, a collection of short stories, and winning the Hugo, Nebula and MacArthur genius grant.

Everything she wrote is provocative and interesting, but in the Parables she cuts in right next to her own story, and many of ours, a black girl creator, surviving. Lauren Olamina is growing up in a gated community in dry, divided California as the government swerves violently to right.

I heard a few years ago that Bernice Johnson-Reagon and Toshi Reagon, mother daughter movement folk singers, were going to make an opera of the Parables. At that time, I fell out with possibility. Then I wished I had lived my life differently, seriously pursued my vocal practice, tightening up my pitch issues, because clearly this was the best thing that could ever happen in life.

As the Opera/concert piece has moved along its iterative process, I’ve been awestruck by the caliber of talent in and around it, while also landing in my own Octavia/sci fi work (I’m in NY because Octavia’s Brood is reading at the Schomberg open house on Wednesday!).

In January there was a first set of Parables concerts. I was out of the country and seriously priced out what it would cost to fly to NYC for one night. Out of my economic capacity.

Then it was in Abu Dhabi, because…of course. Octavia in Abu Dhabi. But again, tickets were researched and too expensive and I was left bereft, so distant from the experience of my dreams.

All of this context is just so you understand a little bit about how ecstatic I was when it was announced that the concert would be in at the Annenberg Center in Philly when I was scheduled to be in NYC, when I priced the trip, when I realized it was possible. I got tears in my eyes buying the tickets. That’s the level of anticipation I took with me on the bus, to Philly, and into the concert.

Because this was a predestined perfect night, I got to eat at White Dog Cafe, which I’ve been hearing about for years – I have tons of respect for its founder Judy Wicks, who is one of the sparks in local living economies work. I shared a meal with my dear friends Sofia Santana, who bussed down with me from NYC, Jennifer Kidwell, and Sham-e-ali. Jennifer, an incredible singer and performer now based in Philly, was part of one of the earlier iterations of the opera. Sham, a poet, had seen the concert the night before and said she’d wept the entire time.

Rasheedah Phillips of Afrofuturist Affair was in the lobby with her sweetheart, we’d all been together at Ferguson is the Future just a couple of weeks ago.

Sofia and I got to the theatre right as the show was starting – I dashed to the bathroom and switched from my bus outfit into something more appropriate for a historic event. It had a belt, pink lipstick, the basics.

The musicians were tuning up in the black box of the theatre. There were twelve chairs in a circle, microphones, a full house audience, and the singers were standing at the edges of the theatre. I recognized vocalists Tamar-Kali and Karma Mayet Johnson, Marcelle Davis Lashley, violinist Juliette Jones. Many of the others were new to me.

Then Toshi came out from the back with a gorgeous smile on her face. I love watching her perform – she sits down surrounded by instruments and immediately makes it feel like we’re just watching her jam out in private, extending ease and intimacy to everyone.

Then the music came. It came up through Toshi, and from the edges of the room. I had to take off my belt right away. The context was set in songs that walked the line between chant, lamentation and praise. We learned that the water was gone, that some were seeking solace in God, and the gifted and gorgeous singer Shayna Small, who sang Lauren Olamina, was feeling a change, feeling everything.

After the second song I turned to Sofia and said “this is a best-experience-of-my-life”. There was a fearlessness about the songs, they were precise and subtle and then deep and full, the pace was just right – the pace respected the way Octavia told this story.

Toshi gave us some context after a few songs. I’m not sure it was needed, it all felt so spiritually correct…but how could I know, I’ve read the text twenty something times.

Toshi spoke at various points throughout, her words always spare and heart opening. As the journey north began, she said, ‘if you don’t know where you are going, you can just make something up and walk on that.’

The main thing I will say about the songs is that as I was hearing them I was deeply satisfied, and when each song passed I wanted to rewind and stay in it, even the songs that covered the hardest moments. Hyper empathy in an apocalypse is painful, the terrifying world changing behind them as Lauren and her crew made their way north, the ideological battles between systems of belief that give and take away responsibility – the Reagons have written songs that allow us to feel all up in this text.

I didn’t know I needed these songs till I was flooded in them.

One of my favorite moments was Toshi inserting a folk singer into the story. She said it was Octavia’s mistake, that when things are going so badly, people need the singers to tell the story, to give them back to themselves. Yes, exactly.

Towards the end of the concert, the songs were straight up Earthseed verses. I kept catching tears all over my face and then getting caught up in wonder, needing to undulate and tap my foot and dance and sing along.

Helga Davis was a sitting closest to us, and her moves were so funky and distinct, Sofia and I couldn’t take our eyes off her.

I walked out after and ran into several magical people, including radical dance artist Althea Baird, both of us wide open and teary eyed. Annie Danger later posted that those of us who’d experienced the show might need a support group to live into the change. Sonia Sanchez was in the audience.

Now I’m glowing from the experience, wanting everything I suffer through, everything I learn, to be sung in chorus by the Reagons. And even as I wonder how I can hear the songs again, I recognize that in this time of instant gratification it is a gift to be given something so rare, so visceral, so about being bodies and hopes and grief in a room together.

Thank you Toshi and Bernice for the vision and the execution. Thank you Eric Ting for the direction – the presentation felt so organic, centering the songs and voices. Thank you Bertilla, Helga, Karma, Tamar-Kali, Morley, Marcelle, Josette, Shayna and Jason for the gift of your voices and the way you became conduits for this crucial story. Thank you Juliette, Robert, Fred and Adam for the music which swelled up the room.

Looking forward to the next iteration.

2 Responses to “Parable of the Sower Concert Review/Gush”


  1. 1 Kristin

    Hi Adrienne,

    Been trying to reach you at adriennemaree@gmail.com, but have not received a reply. The server that this site is hosted on is being shut down Oct. 23rd, and you will need to secure new hosting. Please email me with questions!

  2. 2 Adrienne

    Oh thank you.

Leave a Reply