Iona Morris Jackson Directs ‘Greenwood 1964’ At The Greenway Court Theatre | VIDEO

*Iona Morris Jackson has been a staple in show business for decades. She’s been an actor, producer, dramaturg, dialogue coach, and director throughout her career.

Some of her credits include directing multiple episodes of the TV series Black-ish, receiving nominations for the Hollywood Critics Award and the NAACP Image Award. Her stage directing credits include Sassy Mamas (NAACP Theatre Award), Broadway Under the Stars, Sheba, The Vagina Monologues, and solo shows for Jenifer Lewis, Blair Underwood, Kim Wayans, Tammi Mac, Michael Colyar, Penny Johnson Jerald, and more.

Morris Jackson came by her fame honestly. Her famous father, Greg Morris, was the handsome actor on the hit ‘60s television series, Mission: Impossible, and Vega$.

Next for the multi-talented showbiz veteran is a turn as the director of the powerful play, ‘Greenwood 1964,’ set for its West Coast premiere at The Greenway Court Theatre on Saturday, June 14.

The play, written by Mohamed Ali Ojarigi, thrusts audiences into the heart of the Civil Rights Movement during the pivotal summer of 1964.

It follows cultural icons Sidney Poitier and Harry Belafonte as they risk everything to uplift grassroots voices in the fight for voting rights.

‘Greenwood 1964 is a gripping and resonant theatrical experience that draws urgent parallels between past and present.

Based on a true event, the story becomes a powerful testament to courage, solidarity, and the relentless pursuit of justice.

The cast includes Tracey Dukes (Lovesick, 4Play) as Harry Belafonte, Eltony Williams (Tyler Perry’s If Loving You Is Wrong as Sidney Poitier, and Joy DeMichelle (Grey’s Anatomy) as Fannie Lou Hamer.

A central creative force, Morris Jackson, a versatile storyteller and artistic visionary, brings to life the story of courage and resilience that defines ‘Greenwood 1964,’ a stirring reminder of the importance of unity and empathy in pursuing justice.

I recently spoke to Morris Jackson (IMJ) about directing the influential play, ‘Greenwood 1964.’

Darlene Donloe: What drew you to this project, and what’s your vision for bringing the story of the Civil Rights Movement in Greenwood, Miss, to life on stage?

Iona Morris Jackson:  What drew me there was to see these two iconic men [Harry Belafonte and Sidney Poitier] face this. These were men who had money. Kings and queens need to bow down to them. Both of them struggled when they were younger before making their fortune. Now they are hiding and are almost killed for what they believe in. They talk about what each one sees about their people, and then face the arrogance and being comfortable where they sit, even when they are so far away.

DD: The play also talks about a powerful woman.

IMJ: The genius is when the writer brought in Fannie Lou Hamer. She didn’t come to them to get the money. She is the voice of humility and reality. It forces the men to put a mirror up and say – What are you afraid of?

DD: What came to your mind when you first read the script?

IMJ: I thought we had moved so much further. I thought that we would never go back to what happened in 1964. We haven’t gotten as far as we thought.

DD:  You were alive during that time – and, I think, living in Hollywood.

IMJ: Yes, I lived in Hollywood and Beverly Hills. People are emboldened now. They know they can’t get in trouble. I’m interested in the struggle these two Black men go through. The question for them is – How do I make my million dollars several times a year and still be part of my people in a clear way, and understand what they are going through?

DD: So what did you find out about them?

 

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IMJ: There is a lot of conversation and argument about who is right about handling this movement. Sidney is about talking and creating a relationship. Harry is very much boots on the ground. He will upend and march and align himself with civil rights leaders.  He is willing to go and do whatever needs to be done.  Which way is more effective? Can both things be right at the same time? That’s what they learn. There is value in each one’s stance. There is no value in pulling down the other one’s position. They realize they have the same goal in mind.

DD: What will the audience see?

IMJ: The audience will see a multimedia piece. It’s visual with sound and music. They will see the icons and then see the men. That’s what I hope they will see. Not just the movie star and the singer. All of that is there. But as we continue in the play, they will see what the men go through. They will also see what their children go through when they are not there.

DD: What does this story mean to you personally?

IMJ: It’s about two men facing their comfort in life. Everyone does not share their comfort. It has created a comfort in their lives that belies what their people are going through. The Klan is coming after them. The Klan comes to the house. The Klan is in the play. It’s about what they represent.

DD: Which is what?

IMJ: It’s about what Harry sees and what Sidney sees. Sidney sees that those men would still be alive if we hadn’t come down here. Now they are in a small attic that is filthy and spider-web infested. Things are broken. These men have not been in situations like this since they were kids.

DD:  Which man’s philosophy do you lean toward?

IMJ: Both can be true. I agree with both of them. My father was a culmination of Harry and Sidney in many ways. He spoke to kids from grade school to college. My father grew up with fewer means. I can see what Sidney’s point is. You need powerful forces. I’m not in the trenches that way, but I believe what Harry does needs to be done. Martin and Malcolm both have value. It’s when we argue that it gets mixed up.

 

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DD:  How do you plan to balance historical accuracy with artistic expression in the production?

IMJ: I don’t want to get in the way of the script of history. I hope it embellishes it. That’s my intention. I thrive on my instinct. I’m open to experimentation to see what works. I hope you will be in Mississippi with these men and be reminded of who they are.  We run footage of Fannie Lou Hamer, the people’s struggle, and the governor of Mississippi. All of that is historical, so you can go back and see it. It will be right there on the screen. I’m hoping to touch everyone’s emotions.

DD: How did you and your team research and prepare for the production to ensure historical accuracy and authenticity?

IMJ: I directed a one-man show about Harry Belafonte, so I knew about the Greenwood incident. Still looking at videos of Harry and Sidney and their documentaries and interviews with them. I have leafed through the books. I’m finding out what I don’t know. I’m looking into SNCC (Student Nonviolent Coordinating Committee).

DD: In your research, what did you discover that you didn’t know?

IMJ: How powerful Fannie Lou Hamer was. I didn’t know how much Sidney was involved in civil rights. I didn’t know the depth of their relationship. Sidney and Harry were brothers. They are like a reconnection of a past life. They fight and love like brothers. Those two ‘larger than ego’ men have to put their differences aside. I also didn’t realize how many SNCC (Student Nonviolent Coordinating Committee) kids were white.

DD: How can the play help audiences understand the complexities and challenges of the Civil Rights Movement?

IMJ: A lot of people are coming to understand that. We are in the struggle right now. More than understanding the Civil Rights Movement, they will look at what is happening right now. What are they willing to do to help us not go backward?

DD: Why do you think this story is important to tell now, and how can it resonate with contemporary audiences?

 IMJ: This is perfect timing. He wrote this 11 years ago. Now he’s doing a full production. It’s ideal for this time because it’s about understanding the civil rights movement. It’s happening right now. What’s beautiful is what the men know about each other. Now, neither one of them is wrong. Neither Harry nor Sidney is doing it wrong.  They both want change and confront it head-on because they are stuck in this attic together.

DD: Is seeing this show more critical for Black or white people?

IMJ: Black people or white people? Can’t both be true? We take the audience on a journey. I hope the audience gets engaged emotionally, not just sits back and watches. I’m not interested in hearing, ‘Wow, these white people,’ but what?

DD: You were brought up in a showbiz family. Did you ever meet Harry Belafonte or Sidney Poitier?

IMJ: I never met Harry. I knew Sidney.  My dad (Greg Morris) knew them. Yes, I grew up in Hollywood in the entertainment business. I know that world. I was around in 1964.  I saw my dad go through racial profiling.

DD: What have you learned about yourself while directing this show?

IMJ: I believe in the creative gods that are with us. I become a better director each time. I can see what works and what doesn’t work. My toolbox gets stronger. There is always a message in everything I direct – whether it’s a comedy, drama, or a view my audience needs to have.  It might give them an ‘aha moment’.  Mirroring society is what our art form is about. Shit is going to happen in your life, no matter how much money you have.

‘Greenwood 1964,’ Greenway Court Theatre, 544 N. Fairfax Ave., Los Angeles, CA 90036, opens on Saturday, June 14 at 7 p.m., Sun., June 15 at 7 p.m., Thurs., June 19 at 7 p.m., Saturday, June 21 at 8 p.m., Saturday, June 28 at 8 p.m., and Sun., June 29 at 7 p.m., $30, online ticketing: http://greenwaycourttheatre.org. Estimated Running Time: 75 minutes, no intermission.

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