The rhythmic build is still too fast. Sitting in rehearsal with the concentrated look of a music producer, director Jo Bonney asks her actors to go through the scene one more time. Steve Sapp and Gamal Chasten, two writer-perform ers with long dreads, pick up their microphones and launch into their spoken-word dialogue about macho survival in the hood. In the back ground, Flaco Navaja and Lemon—two Puerto Rican poets in their twenties—provide percussive underscoring, clapping their hands and stomping their feet. Midway through, Mildred Ruiz-Sapp comes in with her lush bluesy voice singing about the beat, beat, beat of a passing train—a riff on one of Sapp's lines. On the fourth take Bonney nods her head: The execution needs more work, but the new tempo is obviously... More >>>