Out of Town
The Interview: Cedric Lamar Travels Down Arena’s Mother Road
Arriving on the Arena Stage shore is Mother Road, the much anticipated sequel to John Steinbeck’s “The Grapes of Wrath”, written by the esteemed playwright Octavio Solis (Quixote Nuevo, Se Llama Cristina). The ambitious new play tackles the intersection of family, immigration and the American dream, drenched in the brutality of the past and race relations. Mother Road, after premiered at the Oregon Shakespeare Festival last year, will run solidly down the road at Arena Stage at the Mead Center for American Theater February 7-March 8, 2020 at the iconic in-the-round Fichandler Stage.
The play dives into the familial quest of the terminally ill William Joad (Mark Murphey), as he attempts to pass down his Oklahoma family farm to a descendant among the Joads who migrated West. He is forced to confront legacy and family when he discovers that the only living heir is a Mexican-American named Martin Jodes, played here by the Oregon Shakespeare Festival acting member, Tony Sancho (Mark Taper’s Lydia). The men travel down the complicated and injust Mother Road from California back to Oklahoma forging an unlikely bond as they come to terms with their troubled past.
“I have been a fan of Octavio Solis for many years,” stated Artistic Director Molly Smith. “Mother Road is a wonderfully original sequel to “The Grapes of Wrath” told from a contemporary point of view. This is a powerful story about land, family and survival which rocks the characters’ world – and ours.“
Cedric Lamar, an acting company member of the Oregon Shakespeare Festival for the past six seasons, who has played roles in a diverse spectrum of theatre including Oklahoma!, Love’s Labour’s Lost, The Wiz, and Hamlet joins Frontmezzjunkies to discuss Mother Road and what that particular road trip from Oregon to Arena has been like for the actor, as he reprises the role as James, the friend of Martin.
What was your first response to this play and your role? Did you have a lot of connection to Steinbeck’s “The Grapes of Wrath”? And how did it layer up for you in theme and style?
CL: My first contact with Mother Road was being a part of a staged reading of it for the Latinx Play Project at the Oregon Shakespeare Festival in 2017, and I was immediately floored by its relevance, its gorgeous, sharp poetry, and the hum of both knowing pain and unthinkable hope that was vibrating throughout the room as we read and performed it. After working on it for 3 wonderful days and feeling how moved both audience and performers were as we presented our work, I knew that if there was ever a chance to be a part of a full production that I would drop anything and everything to speak those words again.
Not having a deep relationship with “The Grapes of Wrath” until reading it and doing research for this play, I was struck by how Octavio Solis, our playwright, was able to capture and mirror so much of Steinbecks’s aura, while also creating this entirely new piece that doesn’t mimic, but tells its own story with its own style, and dances to its own rhythm.
What was it like for you taking on the role of James at the Oregon Shakespeare Festival? Particularly in comparison to the other roles you played there, or want to play in your future?
CL: I’ve been fortunate to play a wide range of roles during my six seasons at OSF, but playing the role of James was the first time that I truly had the opportunity to deliver long poetic passages, helping the language to sing and soar. James has a particular way with language in that there’s an effortless joy in the way he can turn a phrase. He is also one of the largest engines of love, acceptance, and fortitude in the play, so to fill the space with his positive energy each night was a wonderful task to take on for an 8 month run. I think that James’ inclination to tell things in the most poetic way has been the perfect preparation for my next role at OSF this summer as Ulysses in Black Odyssey, where I will again have to balance the intimate and the epic, with challenging text that has the ability to both entertain and inspire.
Director Bill Rauch (Broadway’s All The Way) describes Mother Road as a play “born out of a remarkable road trip that Octavio Solis undertook in 2013 with the Steinbeck National Center.” “In traveling the exact same route that the Joads took from Sallisaw, Oklahoma to the migrant farmworker camp in Weedpatch, California, Solis opened his eyes and ears and heart to how things have and haven’t changed in the 80 years since John Steinbeck captured our nation’s class-rooted divisions in his celebrated novel. Solis’s work is rooted in the same moral outrage about economic injustice that makes “The Grapes of Wrath” a beloved American classic. The play proposed the inevitability of the diverse new American family that draws parallels between who we have been and who we are becoming.”
How has Mother Road opened your eyes? What do you think are the important themes that leap out for you from playing your role in this play? And the play in general? How does this story reflect those ideas for you?
CL: I feel that one of the most important themes in the play is forgiveness. Forgiving one’s self is the first part of the process of forgiving others, and it’s very difficult to separate the two. James, like others in the play, gets to look at the sum total of the good and bad decisions he’s made in his life, and has the chance to make a new and more sustainable choice going forward. James is also fiercely connected to Mother Earth, and is innately aware of all the joys and pitfalls of humanity’s constant effort to control her. While we all know that climate change is real, he takes it very personally in a way that’s both sobering and refreshing. So another important theme that arises out of the combination of those two is asking Mother Earth to forgive us and what we’ve done to her, and beginning to make our amends by taking care of the land that we inherit, and tending our own gardens as best we can.
How has the experience of taking this play from Oregon to Arena fed your experience of the play and your role?
CL: We’re very excited to share our story with audiences here at Arena Stage. It feels right that a play that ultimately celebrates diversity, brings attention to the plight of underrepresented farming communities, migrant workers, and asks if citizenship is really what makes us American, is coming to the nation’s capital during an election year. And while the effects of climate change are different in DC than in Oregon (fire/smoke season is a very real and scary thing on the west coast), we’re all dealing with it in some way or another (or will be soon), so what James has to say about the consequences of our actions still resonates, but now he gets to be heard in the town that has the power to do something about it on a global scale.
Tell me about James? And what does he mean to you and to America especially during these particular times we live in?
CL: One of the things that I love about James is that without being an evangelist, he holds his own unique faith system and offers it to those who he feels may be in need of healing. He is still on the path of his own reformation, so he doesn’t speak in absolutes or with an all-knowing tone, and is still constantly amazed how the universe can speak for itself if we’re willing enough to listen. I think that his ability to listen is lesson that all Americans could learn from during these volatile and blaring times.
Tell me a little what it was like to go on this road trip with this play and with director Bill Rauch?
CL: After 12 seasons as artistic director, Mother Road was the last main stage production that Bill directed at OSF, so it’s been a very special process that we all feel very lucky that we’ve gotten the opportunity to extend it even longer. It’s always a super collaborative room working with Bill, and this is no different considering that we’re re-staging the show in the round that was originally created for a proscenium thrust, with five new actors in less than two weeks. Fun times!
What has been the most challenging part of this process for you?
CL: I must say that working on Mother Road for a full calendar year so far with more to come, has been one of the smoothest and most rewarding experiences that I’ve had in the theatre. Of course when you do a show well over a hundred times as we do out at OSF (and then we’ll tack on another 30 or so here at Arena) there’s the challenge of keeping the journey alive and fresh, but fortunately that was never a problem. I think because the language is so engaging and so much of it is shared between the entire cast as chorus members, that it naturally keeps us in the moment, not looking too far ahead or dwelling in the past. There’s a great responsibility that we collectively share to tell the story to the best of our abilities each chance we get, because it’s an important story and each audience deserves the opportunity to be deeply moved and find what resonates about it within them as we all did when we first came to it. So I think one of the most challenging aspects has been not being able to understand how each audience is impacted after the show. During the handful of talk backs that I did after the show in Ashland, there was such a wide range of experiences that people had during the show, where different audience members felt seen or had strong reactions to a particular section or character depending where they themselves land in the socioeconomic/cultural landscape. The play always generates fascinating conversation, and I wish I could’ve been a part of more of them, as it’s these conversations that remind us during show one hundred and counting, why the art we create is so important.
The most rewarding?
CL: Because the main framing device of the play is that it’s a road trip, there’s always something naturally satisfying as we start to round the corner towards the end of the journey. You can feel it in the audience, you can feel it onstage, and you can feel it in the text. I think that there will always be a “road trip” genre of art (film, novel, song, theatre, etc.), because it’s such a unique thrill to be on a moving adventure, and there’s something undeniably rewarding as you inch closer and closer toward your goal. In the final big push towards the end of our emotional trek, you can feel the solidarity of everyone in the room and it’s really wonderful.
Thank you for sharing this journey with me. Tell me how it feels to bring this story to DC, as you look into your future? What is in store for Mother Road and Cedric Lamar?
CL: I can’t wait for the audiences here in DC to experience Mother Road! I’ve been here once before (Pericles at the Folger Theatre in 2015) and really appreciated how intelligent and compassionate the theatre goers are here, ready to devour anything that speaks to what it is to be American. I think they will have quite a meal on their hands with this one! I’m not exactly sure what’s next for Mother Road, but I hope that at some point there are productions in both Oklahoma and the Central Valley of California. I’m very curious how it will be received in the regions that inspired the entire piece, and have both been going through their own unique challenges in the farming community. As for me, I’m headed back to OSF for the 2020 season to play Ulysses in Black Odyssey, and then I’ll be excitedly moving back to NYC after 6 years away. I’ve learned and grown in many different ways during that time, and it’ll be interesting to say the least to return to the city I called home for over a decade and track how I’ve changed as I pursue new and bigger goals.
Tickets for Mother Road are on sale now. For information on savings programs such as pay-your-age tickets, student discounts, Southwest Nights and hero’s discounts, visit arenastage.org/tickets/savings-programs.
Tickets may be purchased online at arenastage.org, by phone at 202-488-3300 or at the Sales Office at 1101 Sixth Street, SW, D.C.
For more, go to frontmezzjunkies.com
Out of Town
A Dancing Dolly
Hello, Dolly! is a 1964 musical with lyrics and music by Jerry Herman and a book by Michael Stewart, based on Thornton Wilder’s 1938 farce The Merchant of Yonkers, which Wilder revised and retitled The Matchmaker in 1955. The musical follows the story of Dolly Gallagher Levi, a strong-willed matchmaker, as she travels to Yonkers, New York, to find a match for the miserly “well-known unmarried half-a-millionaire” Horace Vandergelder. The show, directed and choreographed by Gower Champion and produced by David Merrick, moved to Broadway in 1964, winning 10 Tony Awards, including Best Musical. These awards set a record which the play held for 37 years. The show album Hello, Dolly! An Original Cast Recording was inducted into the Grammy Hall of Fame in 2002. There is no denying that Jerry Herman never wrote a bad song and that you will go home singing at least one if not several of these wonderfully tuneful songs.
In this neck of the woods, Stephen Casey is well-known for his high- stepping choreography and in the Act II production of Hello, Dolly!, he does not disappoint. Everyone in this show dances. The dance numbers are many and lengthy. And The Waiters Gallop number at the Harmonia Gardens Restaurant is especially applause worthy. The pared down chorus is just as proficient at singing as they are at dancing. And the small stage at Act II is ingeniously used to give an appearance of a much bigger space. Jenny Eisehower is a very lively and likeable Dolly Levi, in contrast to Scott Langdon’s delightfully cantankerous Mr. Vandergelder. Ms. Eisenhower’s statuesque height plays well off the shorter Mr. Langdon.We know she is a woman who is always in control. Elyse Langley displays a mature soprano rendering of “Ribbons Down my Back” as Irene Malloy. Lee Slobotkin is quite endearing as Barnaby Tucker and Jeremy Konopka is a young Tommy Tune with his longer than you can believe it legs.
The costumes by Millie Hiibel were bright and playful and worked in tandem with the simple set design by Dirk Durossette. The score is fully orchestrated though, unfortunately it’s in the “can” which for me takes away from the excitement you get from a live musical.
Unfortunately, I did not enjoy the show as much as I would have had the minor characters not been instructed or simply encouraged to mug to the audience. Every time this happened it brought me right out of the show. In 1812’s producton of The Play That Goes Wrong many of the actors were mugging their pants off and playing it over the top — but they were forgiven because they were supposed to be a terrible community theatre company.
And yet, if you like Jerry Herman and a lot of dancing you will enjoy this show and understand why it’s been revived so many times.
Tickets are available online at act2.org, by calling the Act II Box Office at 215-654-0200, or in-person at the Box Office at 56 E. Butler Ave., Ambler, PA. The Box Office is open Mon-Sat, 2 p.m. – 6 p.m. Student tickets are $15 and group discounts are available.
Hello, Dolly! Directed and Choreographed by Stephen Casey. Running now through June 18, 2023 at Act II Playhouse 56 E. Butler Ave., Ambler, PA 19002
Out of Town
The Sound Of Music Celebrates Opening Night at The John W. Engeman Theater
The John W. Engeman Theater’s production of The Sound Of Music opened last night, Saturday, May 20th. The final collaboration between Rodgers & Hammerstein was destined to become the world’s most beloved musical. Featuring a trove of cherished songs, including “Climb Ev’ry Mountain,” “My Favorite Things,” “Do Re Mi,” “Sixteen Going on Seventeen,” and the title number, “The Sound of Music” has won the hearts of audiences worldwide.
The cast features Caitlin Burke as Mother Abbess(National Tour: The Sound of Music; Regional: Paper Mill Playhouse, McCarter Theater Center, North Shore Music Theatre, Meadow Brook Theatre, New York City Center)
Matthew Bryan Feld as Max Detweiler (Engeman: Dirty Rotten Scoundrels; National Tours: Vocalosity; Regional: DCPA, Portland Center Stage, West VA Public Theatre, Derby Dinner Playhouse; TV/Film: “Manifest,” “Power,” “Fashionista”);
Angel Reda as Elsa Schraeder (Broadway: The Cher Show, War Paint, Chicago; National Tours: Chicago, Sweet Charity; Regional: Oriental Theatre/, Goodman Theatre, Goodspeed, Pasadena Playhouse; TV/Film: “Ghost,” “The Undoing,” “Sami,” “Isn’t It Romantic”, “Stepford Wives”)
Tim Rogan as Captain Von Trapp (Engeman: Thoroughly Modern Millie; National Tours: Camelot, Disney’s Beauty and the Beast; Regional: Alliance Theatre, The Muny, Arena Stage, Cape Playhouse; TV/Film: “Physical”, “Blue Bloods”, “The Other Two”, “The Flight Attendant”)
Kayleen Seidl as Maria Rainer (Off-Broadway: Harmony: A New Musical, Fiddler on the Roof; National Tour: Guys and Dolls; Regional: Westchester Broadway Theatre, Paper Mill Playhouse, Actors’ Playhouse at Miracle Theatre, Heartland Opera Theatre).
The Sound Of Music is directed and choreographed by Drew Humphrey (Engeman Theater: Dirty Rotten Scoundrels, Oklahoma, Mary Poppins, A Chorus Line, Singin’ in The Rain, Thoroughly Modern Millie, Guys and Dolls, 42nd Street, and Gypsy)
and choreographed by Mandy Modic (Engeman Theater: Dirty Rotten Scoundrels; National Tours: 42nd Street; Regional: The Marriott Theater, Drury Lane Theater, Chicago Shakespeare, Paramount Theater, The Wick, Mill Mountain Theater).
Tom Vendafreddo (Musical Director)
Out of Town
The Rage of Narcissus Rages On at Theatre Passe Muraille, Toronto
The music pulls us into the looking glass, just like Narcissus was drawn to the reflective image of himself that would end up being his downfall. It’s a compelling and robust formulation, layering in Greek mythology around a sex-fueled obsession, gifted into a hotel room, not by the goddess of revenge, Nemesis, an aspect of Aphrodite, but by the app called Grindr. In Greek mythology, Narcissus was a hunter, known for his beauty, and somewhere, in The Rage of Narcissus, a one-person show written by Sergio Blanco (Darwin’s Leap; Slaughter), the hunter becomes the hunted, or at least that is what we are supposed to initially find ourselves believing.
“I is an other,” we are reminded in neon, as the one-man show starts off casually, with Matthew Romantini (Ghostlight’s The Boys in the Band) entering and speaking directly to us. He’s going to tell us a tale, a narrative, that mixes reality and fiction. He isn’t the person standing before us, at least not for the majority of the monologue that isn’t one. He, the actor, is about to transform himself into Sergio, the playwright who is going to, inside his compelling and sometimes difficult text, weave an autofiction around one particular terrifying and disturbing week in Toronto. Sergio, the character who may (or most likely is not) be the same who wrote the script, has arrived at his hotel so that he can give a lecture later that week at the University, all around the idea of Narcissus and the artist. He’s quite a proud creature, rattling off his intellectual successes, well, like a narcissist treating us to a long list of his grand accomplishments. It’s somewhat distancing, yet it is a blurring of self and the other, and once Romantini finally unzips himself and slips into the reflective pool of Sergio, he digs in and meanders around a formulation that is part autobiography and some pretty forceful and harrowing fiction. It’s Greek mythology with blood stains, and a whole lot of graphic sex tales to either engage or distract. Depending on your tolerance.
It’s a somewhat compelling dynamic, and Romantini delivers an appealing and engaging presence, even when the tale falls victim to far too many banal exchanges, grand gesturing, and circular twisted reflections. Unfolding on a set designed by Renato Baldin (Caminos Festival’s Rocking Futures), alongside art director Marcelo Moura Leite with strong, sometimes overwhelming lighting choices by Brandon Gonçalves (Nightjan’s Back and Forth The Musical) and a clear sound design by Julián Henao, the textual thriller inches forward through a sex-fueled obsession, splattered with mystery and abstractionisms, cut with intellectual curiosities and fabrications.
Looking into the mythology of its namesake, the structuring starts to engage and layer in on its paralleling, just like the myth’s ideas around falling in love with his own reflection in a pool of water, staring at it until one dies. Yet in Blanco’s rendering the central figure and the other start to seem less real and more hypnotically wrapped up in one another, fantasy, and form. There’s a blending and a blurring of lines and boundaries, playing with the idea of reality and fantasy, and sometimes extreme delirious nightmares. The character of Sergio is enamored, fixated on the utterly handsome and sexy Grindr hookup that takes place that first afternoon, and even though he tries to reject the sexual advances, he can’t seem to shake the hypersexual images and urges that surround and envelop him as the week runs forward. But the blurring compromises the situation, and we are left rolling around in the eroticism and wondering if is it really just a mirroring of a need, foreseeing the obvious outcome, that starts to form like blood stains on the carpet and walls? Or is it a death sentence waiting to be delivered by oneself fulfilling prophecy.
Playing out with a teasing sense of urgency by director Marcio Beauclair (Producer, Director/Adaptation), The Rage of Narcissus finds shared terror in its dismemberment, hinting at darkness while playing with the disorder that sliced with horrific, highly sexualized poetry. It’s super smart and entangling, this formulation, playing with truth and fiction in a way that we get tricked into not seeing the autofiction as it is being played out. It’s disturbing in its rawness and overt narcissism, yet we get caught up in the unraveling and the hypertension of the moment. It digs into the mystery and makes us forget our sense of place and time. He tricks us with his vision of his own sexual sense of self, the character, and the story. It pushes us away, at points, lulling us into not caring, but then forces us back in, playing with the tale within another, and wrapping itself in shifts of light and dark that make us see the distortion rather than the true reflection. It reflects back a vision, one we might not fully enjoy seeing, but it delivers the goods dramatically, almost traumatically, sending you out into the streets wondering and thinking about Greek mythology and the narcissistic world we live in. Take that as a cautionary tale, a story dismembered of truth and packed up in a duffle bag ready to teach by counter-example.
Out of Town
The Sound Inside Captivates at Toronto’s Coal Mine Theatre
Bella slips in quietly, tasking us to keep up and give in. She paints a solid visual standing center stage and speaking directly to us, revealing layers of dynamics that are just “so good, it enrages me“ We can’t help staying tuned in, thinking and listening to The Sound Inside, as Moya O’Connell (Shaw’s Middletown) digs into her portrayal of Bella, the writer and teacher at the center of Coal Mine Theatre‘s impressively deep and profound production. Spinning the chair hypnotically, she expands our vantage point outward and inward all at the same time. Freeing up the velocity of thought inside the inevitable, this is what is on hold and delivered out within Adam Rapp’s (Nocturne, Noble Gases) delicious play, and as directed with sure-footed wisdom and expertise by Leora Morris (Coal Mine’s Knives in Hens), the piece expertly floats forward in segments, delicately ushering in the ideas of encapsulated loneliness and the acceptance of praise that resides within, ever so quietly. O’Connell gives us an intense complication that grabs hold brilliantly, even as she exists alone scribbling words of inspired wisdom when they overtake her. It makes us wonder, is this a tale manufactured under the trees late at night, or a reckoning of deep desperation, tasking us to weigh in and lay down with her in the snowy drifts.
The dynamic elegance of the ever-shifting piece, designed with an impeccable eye for distant focus by the dynamic Wes Babcock (Matchstick’s The Woodcutter), with detailed costuming by Laura Delchiaro (Shaw’s Gem of the Ocean), incredibly subtle, yet intense lighting also by Babcock, and engaging music and sound design by Chris Ross-Ewart (Stratford’s Hamlet-911), draws us in without pushing or prodding. “You can ask me something else“, states the defended and uncomfortable, as the performative nature of an intimate conversation told in a narrative structure keeps us guessing where we truly are standing and where we are going. It never gives anything away, nor holds our outreached hand as we move forward into the unknown, and it is all done with such strange intimate power by an expert cast that breathes it all in poetically.
It’s truly captivating in its desperate loneliness, and you can’t take your eyes or ears off her for a moment, that is until the diabolically designed Christopher, beautifully embodied by the devilishly talented Aidan Correia (Touchstone’s’s Yaga) makes his appearance, without an appointment. He’s blown in wildly, as if from a cold snowy field to shift the life of a professor who didn’t know she needed the jolt. They both leans in, giving us more illumination in their stance than most can give in a soliloquy. Correia dynamically rises to her unspoken challenge, giving us a character of undeniable boyishly handsome complications that unsettles and intrigues. His ‘Old Yeller’ reduction and his storytelling of a young man’s train ride journey into internal discovery stop us in our tracks, just as it does to the unexpected complicated Bella. We can’t help but want to look deeper into that painting, or sneak a quick peek at the next paragraph, desperately wanting to understand, while enjoying the unknown and the unexplained.
Basking in the hallowed spotlight, the perfect formulations slowly fill in the tense details of what lies in The Sound Inside. Is she writing her new novel, speaking it out loud to the tree gods for approval, or is she telling us her tale so we may understand or maybe even collude with her? Or is it something more obscure? It’s hard to tell. In some ways, you don’t want to know is the only possible response that one can truly give. That’s the quandary where we find ourselves. Balancing on one of the most beautiful wrought entanglements, we navigate a thin line of understanding hidden in the layers that exist most definitively in and upon more layers. Is it all just creation, or a story of truth and confession? Are there footprints in the snow leading us somewhere? Suffice to say that there is nothing clumsy about The Sound Inside, as the two come together in a way that will haunt your imagination as you try to make sense of the imagined and what’s written. “Count to 30“, and tell me. I do have my own conclusion, but it doesn’t have to be the right or only one. Which is just so much more perfect than an obvious idea told loudly or energetically…
Out of Town
The Chinese Lady on Dynamic Display at Crow’s Theatre, Toronto
She sits, silent and still, full of hope, staring out as we file in to music that doesn’t quite fit the frame. We take in the visual like a crowd observing a caged peacock, delighted and intrigued, as a man sweeps the ground around her. She is newly arrived, this Chinese young woman tells us, sold for service to be displayed like a rare creature in a gilded cage. She performs with precision for the entitled colonial crowds who gasp and gaze at the exotically crafted foreigner so unusual that they gladly pay for this kind of overt exhibition. She is Afong Moy, perfectly and dynamically portrayed by Rosie Simon (Factory Theatre/ fu-GeN’s acquiesce), playing a role within a frame, presenting an ethnicity for the sole sake of cultural curiosity, hoping it will make a difference. But the air doesn’t feel right within the square, as it becomes more disturbing with each timely rotation. The years tick by as we watch with a growing sense of discomfort The Chinese Lady diving deeper and deeper into the muck of America at its worst.
Written with an expert force by Lloyd Suh (The Far Country), The Chinese Lady, now playing at Crow’s Theatre in Toronto by Studio 180 Theatre and fu-GEN Asian Canadian Theatre Company, finds power and force in the unraveling of this distinct form of scientific racism over years of confinement. It engulfs it most delicately inside a sideshow format that emphasizes the barbaric structure that has basically imprisoned the first Chinese woman to set foot on U.S. soil. And if that doesn’t bring forth discomfort, I’m not quite sure what would. Afong Moy is just 14 years old when we first are introduced to her with the help of her irrelevant manservant and guard, Atung, played with a deep sense of purpose by John Ng 伍健琪 (fu-GEN Theatre’s CHING CHONG CHINAMAN). She is alone and basically enslaved within this artifice, delivered from her now-faraway family in Guangzhou Province in 1834, and indebted to her ’employers’, although she is never paid nor is her debt ever fulfilled. She has been put on display within these four impenetrable, yet barless walls so that crowds of European Americans (a fine and brilliant distinction from Indigenous Americans) as “The Chinese Lady” to be gawked at and exploited for twenty-five cents per adult, ten cents per child.
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