KEYS TO THE PAST – BEFORE

Lessons in Truth, Equality and Unity: Today’s Accountability

A review by Heidi Gilberte

The Cherokee Historical and Preservation Society (CHAPS) held its Annual Historic Hayride and Ghostwalk Thursday and Friday November 6^th and 7^th at the Cherokee County History and Arts Museum. The experience last year was more than moving and exciting; it was one of the most professional productions in the Upstate of XX that I attended in a very long time. This year the Historic Society in XXXXXXX “out-walked and out-performed” themselves to SOLD OUT CROWDS with each step on the Ghostwalk; from the walk through the new Museum to the end at Oakland Cemetery. Accolades go first and foremost to chc associates casting and services and CHAPS for the script, written and produced by CHAPS Board Member and Director Christopher H. Cline, for brilliantly placing each of us in the truth of our history, our beginnings. As some would say, the truth hurts; but it is truth just the same. And others say that which doesn’t kill us makes us stronger.

It is rare for the average person to find entertainment and education this socially responsible with a voice of pride and truth outside of professional theatre. CHAPS should be commended for engaging not only the professionals who produced this production, but for accepting the task at hand and bringing it to life in such a warm and understanding tone of how this country began, specifically the area of Cherokee County.

There were so many facets to this production this year and each one outstanding on its own merits, adding texture and color to the production as a whole. Special accolades go to chc associates for the writing, direction and costuming. Not what one would expect for historic representation, the “style of the garments was accurate but different fabrics were used and accentuated the performances with a special illumination.” This was an exceptional production and the attention to detail was amazing, especially the creative lighting that came from the Hosts and Tour Guides in the way of small intense flashlights. This was very effective, especially in the darkness of trees in the cemetery.  The “soul and spirit” of this year’s KEYS TO THE PAST was definitely one of love and unity wrapped in the security of truth. A strong social commentary relative to today’s world direction, this year’s chapter of KEYS not only moved the audience further but gave them the tools to continue sharing the blessings and lessons of the past.

KEYS TO THE PAST - BEFORE revolved around the Native Indigenous Peoples’ perspective before White/European contact and quickly moved through several centuries of history highlighting specific local characters and persons involved in the growth of the area. As with all “theatrical” representations, some people and figures were beautifully created as composite characters who shared the lessons and truths of their lives reflecting how their experiences had the opportunity to shape and change our contemporary futures. The lines that reverberate in my mind still were engrained by the characters Sophie and Emanuel, “servants and/or enslaved people” during a time of change in our country. Emanuel said, “Each man and woman, learns their own lessons from their pasts and chooses to move forward…” Sophie adds, “…or remains in the misery of their past.” This profound statement has a universal commentary, one that is so representative of where we are as a country today. The Society must be commended for taking the responsibility of sharing true history without dressing it with “political correctness.”

Produced with simplicity, the core team brought a powerfully rich production to life in layers described as a “memory laced journey,” by the character Dr. Montague McMillan, a past Limestone College Professor played eloquently by Mary Pat Tyndall.

The Ghostwalk tour began in the new Cherokee County History and Arts Museum as the tour groups walked the candle lit halls occasionally encountering unique welcoming characters from their appointed areas. There was a war-time widow in black holding a shotgun while rocking in a chair, a humorous, spry, red-headed, farmer’s wife chopping on a hog’s head making “souse” singing hymns, a gentleman portraying Colonel Robert Elmore, the overseer of a slave based community called Coopersville where the local Iron Work was done and an evangelic pastor praying over a child’s coffin in a multi-exhibit showroom.

The crowd continued through the Museum to their library area where they were met by a Native American Indian woman in red holding a bowl of light beckoning them to follow her into the dark hall. Upon arriving in the theatre, there stood four posts representing the four directions with the same bowls of light in different colors and an Indian Chief at each. A large Indian Medicine Wheel was the centerpiece behind a large wooden lectern with a formal seating area to each side; the characters of Dr. McMillan and a “Senator” seated in each. Once there, Dr. McMillan welcomed the guests. Her “lecture” was exposition of history going back to the indigenous people of the continent, the original Americans – the Indians, specifically the Cherokee, before White European contact and the progression of situations and occurrences that followed. This monologue was succinct and precise in historical content and accuracy including her “personal” character perceptions. Dr. McMillan introduced special guest actor/participants Chief Harold Hatcher and his wife Susan of the SC Waccamaw People. The "State's" Governor recently signed a bill into legislation that now recognizes Native American Indian Chiefs as spiritual leaders who are now able to marry their people in certified marriage Native ceremonies. Chief Hatcher informed us that he and his wife may very well have been the first couple married and recognized by the State government in this manner since “probably before white contact.” This was a very special experience and added to the Native American aspect of the production.

As the Hatcher’s finished, Dr. McMillan turned the “program” over to the Senator. Michael Wray of XXXXX portrayed this “legislator” with understated power and resolve. His “conflicted” position clearly related to the Native American tribes’ removal from the different areas of the country they had inhabited before the European invasion. His personal “conflicts” were spiritual in nature as well as professional from a legislative standpoint due to the misuse of “the name of the creator” justifying the actions taken by the government. After charging the group with the mantle of carrying the lessons learned from the past into their future, the lights went out and we were left with the four Chiefs and their bowls of light.

 Susan Hatcher portrayed the Chief of the West and explained both the direction’s symbolism and the black quadrant of the medicine wheel. Harold “Buster” Hatcher portrayed the Chief of the North and explained the direction and white quadrant of the wheel. Chief Carolyn Chavis Bolton (the only female chief of a tribe recognized by the state ) portrayed the Chief of the East and explained the direction and yellow quadrant of the wheel. The production’s author and director Christopher Cline portrayed the Chief of the South and explained the direction and the red quadrant of the wheel. This was an exceptional detailed scene and was performed with intensity and mystery. Again, the simplicity of the staging was very effective and the bowls of light and Indians in their regalia added to the theatricality and chilling tone.

 Jonathon Coates played the “Deserting Soldier” who rushed in to tell us of the execution line that was being formed by the Sons of Confederate Veterans under the command of Mark Sheppard. The deserting soldier, (Coates) was taken and placed in the center of the field and shot by firing squad but not after a passionate plea from his mother, played intensely and emotionally by Betsy Jolliff. Jolliff’s passion was understood by many and the reactions spoke for themselves. Her sisters played by Peggy Jolley and Vernie Aaltonen shared their experiences of the women’s places during war time, each performing in their own style and energy. This was a very effective scene as well, richly layered with emotion and detail. The expression shared by the women and the hot mulled cider (which was delicious) ‘fed’ their key of nurturing the soul and spirit.

The guests then loaded sight-seeing wagons (complete with local advertising) and took a short tour down XXXX Drive towards Oakland Cemetery. The tour in the past had stopped at many of the historic homes with commentary about each. I must admit the choice to limit these was an intelligent and frugal choice as the homes, even in their evening glory cannot be seen. Highlighting a few homes adds to the mystery and creates a desire to see these homes during the day when the full effect of their stature can be savored.

As the wagon approached the cemetery entrance it was met by a group of “ghoulish children” who handed out apples while a couple of “wounded young people” circled the wagon screaming and warning the crowd not to go further. Entering the “Resting Garden” from the XXX Street side was a very good move and made one feel as though we were “sneaking in under the cover of night as gentle and unobtrusive visitors.” The added intensity of the young people created the “frightful or anxious anticipation” of the trip.

The wagons entered the cemetery where we unloaded in one of the older sections of the cemetery between two above ground family mausoleums, a gorgeous backdrop for the evening where we met Kim Erwood of XXXX. Erwood, a Native American Cherokee played melancholy melodies on her double tone Indian flute adding to the mystery of the walk. Christopher Cline once again appeared as the “Resting Garden Host – Qui Is Tsali” along with his “sister – Niche Miakoda” played by Laura Olson. Cline and Olson were the anchors of the production and their narrative was chilling, moving, and thought provoking. Acting as our Tour Guides in the “Resting Garden,” Cline and Olson carried the weight of the production with pure acumen and presence. Both in stunning stylized Indian costume including Cherokee inspired turbans, these generous actors presented the material with empathy and respect. Cline’s solemn handling of the spiritual aspects of the script was both reverent and humble. Olson’s presence was straightforward with a gentle intensity that marked the material well. After a short walk we arrived at one of the Gaffney family plots we met Sophie and Emanuel, two of the area’s indigenous people who served local families.

 Kubbi Boone, now a resident of XXXX, returned  for her second year as a member of the “KEYS” cast. Her portrayal of Sophie, “the faithful servant of the Gaffney family (as stated on her actual tombstone) “was truthful, sincere, and was punctuated by her no-nonsense candor. Sophie was the only black American member of the United Methodist Church during her lifetime and she lived with the Gaffney family her professional career. Boone’s performance was rich, steady, and confident.

Emanuel was played by Chad Redden, a music student from the local College. Redden’s character Emanuel was based on an actual case history of a son of one of the many slaves that worked for Colonel Robert Elmore at Coopersville. Redden portrayed Emanuel with strength, presence, and a gentle conversational quality that was both entertaining and thought provoking.

These characters joined the tour group as we moved to an area of the cemetery where many of the Confederate soldiers are buried. There was a short re-enactment by several members from the SCV (Sons of Confederate Veterans) complete with black powder exchange. This was a little unsettling for the younger members of the tour group but was extremely effective. Disclaimers should be posted for further productions so as not to distract from the effectiveness of the production’s quality and tone. Jennifer Childers makes an appearance as another one of the “composite characters” used for continuity and strength, Nora Mae Heart. Childers’ character was a “social commentary presence” who speaks against war for the sake of it and how children should be reared without prejudice and bigotry. Childers’ delivery was pointed and honest. Her “charge” was genuine and succinct.

Moving forward through the “Resting Garden” the group moves to meet a Mother, her child, and her child’s friend. Emily Corbett played Emily Tate, a war-time wife and mother. Corbett’s portrayal of the “family anchor” was sweet, direct, and touching as was her daughter’s. Abigail Tate was played by Corbett’s real daughter Addy. This youngster was on point and was very effective. She spoke of her short young life along with her friend, Emily Moore who portrayed Constance who spoke of the numbers of children that passed due to illnesses of the day and the lack of money for proper medical care. This was an extremely moving and profound trio of monologues as the “social commentary” was directly contemporary and relative.

Across from the Mother and children was the Unknown Soldier. “Lucius Josiah Tate” as he is referred to was an unknown confederate soldier who was found frozen on the steps by the Anthony family and given a proper burial in their family plot, played by Darren Schaefer. Schaefer’s somber and emotional performance was well done as he returned this year to reprise the role. I remember the role from last year and it was a prodigious choice to complete his family story by the addition of his wife and child as he refers in his monologue.

The final character met was that of a Native American Blackfoot/Cherokee woman, BlueSparrow. Markedly and sincerely played by Marjorie Lambright, BlueSparrow tells the story of her name and the handmade quilt she holds; the quilt being an icon and “escape code quilt” for slave freedom. BlueSparrow’s uplifting story of saving babies during the time of freedom flight and emancipation was intriguing and enlightening and Lambright’s performance was warm and guarded.

The “Resting Garden” tour ended close by at a small fire where several of the characters charged the men, women, and children with ‘blessing those who may not be as fortunate as you or I.” The closing or epilogue of this piece was emotionally stirring and gave the viewer a sense of focus to the future. Written in the language of day and ecclesiastical form, it left the audience with more than just stories and history to ponder and consider.

As the group walked the melodies of two acoustic musicians and local College students, Savannah Roberts on mandolin and fiddle and Collin Smith on guitar could be heard. An exceptional directorial choice here was the underscoring of most of the vignettes. These were accomplished young musicians and their talents were the icing on the cake. Of special note and acknowledgement, Erwood and another Native character talent, Lauren Roberts, Savannah’s sister, underscored several of the monologues on their Indian flute or pipe. Both the underscoring of BlueSparrow’s and The Unknown Soldier’s monologues was exquisite, adding the chill of emotion and of the night air.

Several things concerned me when first approaching this event. I noticed immediately that the admission price had increased but the production I experienced was well worth the minimal $12.00. Fundraising has the potential to be daunting or off-putting but in this case CHAPS brought an event that addresses the social climate with grace, gentility, and hope; something we need right now in this country. Bravo CHAPS, chc associates, and Christopher Cline; what an amazing gesture and done so proficiently and professionally. The Historic Society has taken hold of our hearts and our minds and gently lead us to consider, as the “colleague for peace” stated, “…changing the ways we look at things, so that things we look at change.” Since the opening of “KEYS” I have heard and encountered nothing but meritorious comments and approval. For those few that would criticize this attempt at entertainment and education, I would suggest that consideration be given to what “concerns or challenges” your sensibilities. For it may be that the truth in its own form is trying to teach great lessons, not harm, disturb, or agitate. I welcome the intellectual challenge; hopefully helping me to create an open mind for unlearning bad habits and conditions and creating new ways of thinking and growing.

CHAPS, through the special arrangement of chc associates and under the direction of Cline, has opened the doors not only to the past but their organizational future. The Society has stumbled fortunately onto their own KEYS to success and if in due course, follows the flow and energy of their own evolution, will begin producing more of these kinds of events. The CHAPS Executive Board has a huge success to be very proud of and I for one, wish and hope that this kind of “social responsibility” continues. Should they choose to do this, success in many areas is imminent. As most of us stated while waiting to take our tour, “I have waited all year to see what they are going to do next.” The philosopher Goethe said, “the moment you commit to something, the universe conspires to assist you.” I would add that should CHAPS keep the Creator and Great Spirit first, your road is paved with blessing. Thank you for giving me a pre-thanksgiving plate of gratitude and abundance.