In what ways does Cleage’s portrayal of Sam contribute to the dramatic impact of the play?
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Exam code: 0475 & 0992
In what ways does Cleage’s portrayal of Sam contribute to the dramatic impact of the play?
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Read this passage, and then answer the question that follows it:
ANGEL: I’ve been all over Harlem and nobody will even give me the time of day. There aren’t any jobs doing anything, especially singing for your supper. Whole families sitting on the sidewalk with their stuff set out beside them. No place to sleep. No place to wash. Walking all day. GUY: Listen, Sweetie ... I saw Nick. ANGEL: You spoke to him? GUY: He asked me where you were working and I had to confess you were between engagements. ANGEL: It’s all his fault, the sorry bastard. GUY: He said he felt bad about what had happened and he gave me a number for you to call about an audition. A club downtown. ANGEL: Really? Which one? GUY: Here. [GUY pulls a piece of paper from his pocket and hands it to ANGEL. She reads it, face falls for a minute, then she regroups and looks on the bright side.] ANGEL: I know this guy. He’s a friend of Nick’s. You know Tony T. GUY: I’ve seen him around ... ANGEL: Why’d you say it like that? GUY: I just don’t think he’s looking for a singer. [A beat. She looks stunned.] ANGEL: Nick wouldn’t do that. [GUY is silent.] ANGEL: He said an audition, right? [A beat] GUY: You can’t make it real just because you want it to be. ANGEL: Are you really going to Paris? GUY: It’s not the same thing. ANGEL: Why isn’t it? Because you’re some kind of genius with a dream and I’m just a colored woman out of a job? GUY: Is that your dream? Singing for gangsters? And then what? ANGEL: Then I’ll have to figure out something else. Isn’t that what you always tell me? ‘One step at a time.’ GUY: Okay. One step at a time. Audition. Sing your heart out and if he acts a fool, me and Sam will cut his heart out for him. ANGEL: It’s a deal. GUY: Just don’t ask me to make you anything to wear. I don’t have time and I can’t make time. You’re on your own. ANGEL: You can make twelve outfits for those Hole in the Wall floozies and not one little dress for me? GUY: They’re not floozies and their boss is paying enough to get me halfway to Paris. ANGEL: How long can it take to run up one little dress? GUY: Wear your suit. It still looks great on you. ANGEL: Everybody’s already seen it! GUY: You’re not going to let me say no, are you? ANGEL: Not if I can help it. GUY: I’ll alter the suit ... slightly! And I’ll make you a hat. That’s my final offer. ANGEL: I swear I will never ask you for anything again! GUY: Let’s have a drink before you make any more promises you can’t possibly keep. ANGEL: [Innocently] Do we have anything? I thought we drank the last of that. [He goes to the bottle ANGEL has recently restashed. He squints at the level of the alcohol.] GUY: Well, we didn’t, but we’re working on it. [He pours two drinks and hands one to ANGEL.] (from Act 1, Scene 3) |
How does Cleage make this moment in the play so revealing?
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Explore the ways Cleage presents friendship and chosen family in the play.
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Read this passage, and then answer the question that follows it:
DELIA: What’s the most romantic thing you ever saw? GUY: I thought you’d never ask! It was just the other night so it’s fresh in my mind. Angel was there. ANGEL: Where? GUY: Langston’s party at Bruce’s place. ANGEL: (Nervously.) That’s too new to qualify as a memory. GUY: The question was what is the most romantic thing you every saw. Is there a statute of limitations? SAM: Not that I know of. Fire when ready. GUY: There were a million people there. Young and not so young. Rich and poor. Well, not that poor. You know Bruce is a snob. But everyone was acting very sophisticated and unimpressed with the stars who were floating around. The beautiful young men in their own tuxedos were arranged at strategic points throughout the room, as usual, but their attention was focused on a tall, slender young man with a poetic mouth and the body of a sepia Adonis. They couldn’t hardly welcome Langston home for eyeballing this handsome stranger, when in walks ... LELAND: Excuse me. The men were looking at another man? ANGEL: Maybe you should save this story for another time. You tell one, Deal. LELAND: I just don’t think I understood you right. Did you say these men at your party were making ... GUY: It wasn’t my party. I was a guest. Just like Angel. LELAND: (To Angel.) Did you see those men looking at that other man? ANGEL: It was just a party, Leland. Nothing happened. LELAND: What did you mean when you said eyeballing? SAM: Maybe I can ... GUY: Eyeballing. Admiring. Sizing up. Flirting. LELAND: Men flirting with men? GUY: They were homosexuals, for God’s sake. What’s wrong with you? LELAND: Don’t put God’s name in the stuff you’re talking about! I don’t know how sophisticated New York people feel about it, but in Alabama, there’s still such a thing as abomination! GUY: (Standing.) Get out. ANGEL: Guy! Don’t! GUY: Then I think you better. ANGEL: (Looking at Leland helplessly.) Will you wait for me downstairs for just a minute, honey? (Leland hesitates.) I’ll be right down. I promise. Please? LELAND: (Stiffly.) Good afternoon, Miss Patterson. Dr. Thomas. (Leland exits.) (from Act 2, Scene 1) |
How does Cleage build tension and shock in this moment to expose clashing values?
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