Maria Arozamena, Illustrations Editor

On Jan. 16, Yale Repertory Theater is set to open its first show of the new year with Steve Carter’s “Eden.” 

Set in San Juan Hill, Manhattan, during the 1920s, “Eden” follows the tumultuous and forbidden love story between Eustace and Annetta. Carter’s provoking romance occurs in the backdrop of political and cultural differences between Black American and Caribbean communities. 

“It absolutely is a classic play,” said director Brandon J. Dirden, “because I think the writing is rich enough that it should be a part of our ethos as an American theater.” 

The play was brought to the Yale Rep by dramaturg Tia Smith DRA ’26. Smith was introduced to “Eden” by her sister, who deemed it as a “Black ‘Romeo and Juliet.’” When it was time for Smith to write her undergraduate thesis in theater studies, she decided to look further into “Eden.” 

What Smith found was a complex tale of culture that reflected her own experiences as the daughter of a Black-American father and a Nigerian mother. Smith soon encountered the rich history of Carter and the Negro Ensemble Company — NEC.

Carter was a proud member of the NEC, working as the director of the ‘Playwright’s Workshop’ from 1968 to 1981. In addition to his role as director, Carter took on any odd job that needed to be done around the theater: taking tickets, designing set designs and operating the elevator. 

While not all of his works made it to the stage before his 2020 death, he still remains a revered playwright. His talent was recognized in 2001 when he won the Living Legend Award at the National Black Theater Festival.

Written in the 1970s and premiering at the NEC, “Eden” is considered one of Carter’s most celebrated works. In particular, Carter’s characters embody the complicated and dynamic ideas amongst Black Americans and Caribbean immigrants during this time period. 

Central to the story is Garveyism, a racial and political ideology founded by Marcus Garvey, which advocates for the emigration of Black people and the formation of independent Black nations in Africa. 

While some characters strongly believe in Garveyism, Carter does not necessarily assign the principle as good or bad; rather, the play emphasizes that human universality can be found even amidst dogmatic clashes. 

“We’re not grappling with ideas as much as we are grappling with being a human being in relationship to other human beings and wanting to have a particular identity be valued,” said actor Russell G. Jones, who plays the Garveyite character Mr. Joseph Barton. “Rather than it being didactic or preachy, it’s really universal.”

While the play takes place nearly a hundred years ago, society is still grappling with the issues presented in “Eden” today, said Jones. 

While the social intricacies of the 20th century are integral parts of the story, dramaturg Smith does not want audiences to fixate on the extent of their historical knowledge. Rather, she encourages audiences to “maintain [their] curiosity” and “trust the play.”

Director Dirden’s own belief in and reverence for Carter’s work is demonstrated in his directorial method. 

Dirden draws on his experiences acting in this show as a college student. He uses Carter’s script as a map to guide the live presentation. He encourages actors to care about the future of their characters, despite knowing that ultimately they might not attain what they desire. 

Dirden explained his interpretation of the title’s relevance. He said that the characters are in pursuit of their own paradise, their own Eden. 

As the characters go on their individual journey to find paradise, Dirden hopes audiences will be inspired by the bravery found in the story and integrate it into their own life.

“I hope audiences walk out feeling just a little bit bigger, standing bigger in their capacity to see something that they would have taken for granted before,” said Dirden. “That’s the goal when I do theater — how can we stretch you? How can we expand this idea of what it is to be a human?”

The theater will also host a special affinity night performance on Jan. 24, followed by a discussion afterward. 

Steve Carter passed away in 2020 at the age of 87.