There are hundreds of little-known heroes and “sheroes” who have made considerable contributions and influenced history, particularly Black history. One such example is Alonzo Fields. Fields, the grandson of a freed slave, was forced by the Depression to give up his life’s dream of becoming an opera singer and ended up serving 21 years in the White House as a butler. Before Lee Daniels’ The Butler, there was a real figure in the White House, Alonzo Fields. Now, Emmy Award winning writer James Still’s work Looking Over the President’s Shoulder comes to the Greenhouse Theater, produced by American Blues Theater. The play tells the unique perspective of serving four U.S. presidents and their families: Herbert Hoover, Franklin Roosevelt, Harry Truman, and Dwight Eisenhower. Cast in the one-man show is Chicago’s own Immanuel “Manny” Buckley.
What would you say would be Mr. Fields’ contribution to Black history?
I recently found out, as of only about a week ago, Alonzo Fields’ niece described him as being a trailblazer. He was the first Black Chief Butler of the White House. There’s a great deal of dignity in that distinction, I believe. To hold such a prestigious title and position while coming into contact with some of history’s greatest leaders is rather impressive. How many Black men during that time (1931-1953) could say they were frequently in contact with the POTUS, royalty and world leaders? Not many, if any at all.
What was the biggest challenge you faced preparing for the one-man show?
Someone asked me “What was the easiest part of doing a solo show?” Nothing. There was not a single thing that was easy about doing this show. In most plays, you have an ensemble of actors you work with in the rehearsal room, and onstage. You get to be social with the others in the cast, rest when you’re not in a scene, run lines with scene partners to get the dialogue on your memory and compare notes about what’s happening during the process. There isn’t any of that during a solo show. I was just as alone as I am onstage performing the show. It has helped me build a sort of fortitude that I will carry into each new acting job. I feel like I could do just about anything now.
What has been your favorite stage role thus far?
Doing this solo show has equipped me with a skill I couldn’t boast of before. I come out of this role as a hyphenate actor/solo artist. I will do more solo shows. I’ve been quietly kicking around the idea of writing, and maybe performing, in a solo show about Robert Johnson, the blues artist. He was a Mississippian like myself, and we resemble each other so much that it’s scary. Nothing may come of it, but it can’t hurt to think about it. Still, this has been my favorite stage role, though.
What other roles would you like to play?
Chicago casting agencies, directors and audiences sometimes don’t remember, or know at all, that I’m funny. I’m a funny actor, but somehow I get cast in a lot of dramas. I’d love to get more comic roles. Also, I’m quite interested in Athol Fugard plays. Fugard wrote a lot about South Africa, and the racial tensions that were there as a result of apartheid. I’d love to perform in one of his plays.
Looking Over The President’s Shoulder runs Thursday, Feb, 11 – Sunday, March 6, 2016 at Greenhouse Theater Center, 2257 N. Lincoln Ave, Chicago. Visit: www.americanbluestheater.com/season-30/looking-over-the-presidents-shoulder
