Guess how many black professors work in the Theater Department? The answer is none.

This week is about introducing the public to ongoing questions that never seem to be answered-mostly dealing with racial issues. But most importantly, it is about talented black actors who have never been given the opportunity to perform a play that expresses views and opinions shared between them and the playwright.

Even though "Joe Turner's Come and Gone" has already 'come and gone,' Carbondale still has the opportunity to see the final production of "Bee-luther-hatchee" tonight at 7:30 p.m. in the Moe Lab Theater in the Communications Building.

The two plays, "Joe Turner's Come and Gone" by August Wilson and "Bee-luther-hatchee" by Thomas Gibbons, are about hearing the literature and not concentrating on the visuals of a fully-produced production. But just because the actors have a script in front of them doesn't mean it's an easy way out. Actors strive on being able to enhance the generalities of a character and interact with other characters in the cast, so shadowing behind a script is aggravating for an actor.

Rebecca Fishel Bright, the developer of the Diversity Project, said that it's been a frustrating process for the cast. They are constantly holding a black book in their hands, making it difficult to interact with other actors and difficult to use other props.

With very limited technical support and space, the cast and director have had to amplify the production to its full potential in only four rehearsals.

Bright first thought of the idea about two years ago while talking with a friend, a professor from a college in Atlanta, about the unfairness of the Theater Department in regards to the lack of opportunity in screenplays for people of color. After about 12 sessions, Bright said, the two decided to do something about this problem.

Due to budget concerns and an already full theater schedule, another full production would have been next to impossible to accomplish. But with staged readings, the literature of the script is pressed into the audience, and at the same time, they are still able to view the incredible talents of a large cast. Lynne Farrell, director of Wilson's play, has a cast of 11 and the director of Gibbons' play; JaLinda Wilson's cast is made up of eight actors.

"This is a quick way to get the author's work in front of the audience," said Bright. "We show you enough to see what the play is about."

Bright thought of it as a way to test the waters, or as she put it, "get a toe in the water." If the turnout is good and the audience takes to the play, her hope is to take it out into the community.

"Bee-luther-hatchee" was the most produced script in America in 2001. This play raises questions about the boundaries of white and black folks. Gibbons crosses it over and over, weaving a compelling puzzle of race and identity, asking the most important question: Who owns the story of your life?

The play focuses on a woman, Shelita Burns (Shelita Birchett), who edits a series of narratives by forgotten black women writers for a small press and has just scored big by publishing an award-winning, best-selling memoir titled "Bee-Luther-Hatchee" by Libby Price (Cathy Simpson), a 72-year-old Southern woman whom Shelita has never met and who wishes to remain out of the public eye, unphotographed and uninterviewed, in her North Carolina nursing home. At the end of the first act, Shelita meets the author, who turns out to be someone the character never expects.

"Thomas Gibbons wrote it to get discussions going," Bright said. "The script does not take sides. The audience walks out making their own decisions."

After Wilson read the script, she fell in love with it, said Bright. Wilson was the stage manager for "King Lear" last semester and after reading Gibbon's play, decided that she couldn't pass this opportunity up. Bright originally suggested the play's production and had planned on directing it as well, but after she saw how well Wilson was responding and how passionate she was about it, she asked her to take over directing the play.

August Wilson's play "Joe Turner's Come and Gone" is a fine example of a Black Nationalist writing that deals with the problems of race and the feelings of being a foreigner in your own land.

This two-act play begins with the character, Seth Holly, a steelworker, taking on extra work on the side helps him to make ends meet. He's a black businessman who wants to get further in life, but despite his savvy, none of the white men who could provide capital can see past his color. It's a spellbinding story within a story and effortlessly slides one of the main themes into the forefront - the search for self within the world.

The plot turns on the arrival of Herald Loomis and his daughter, Zonia. Loomis has been working on a chain gang for "Joe Turner," the nickname for the white authorities who picked him up while he was preaching to some men gambling.

August Wilson has written something beautiful based on some of the uglier truths in society.

Farrell, first year graduate student and director of this play, fell in love with the script after teaching it last semester in her Speech 101 course. While doing an independent study in African American Theater, she became acutely aware of August Wilson and his work. But it wasn't until she read this play, that she fully appreciated his screenwriting abilities.

After a general announcement was made regarding the plays to be produced for the Diversity Project, Farrell decided "I want to do it!"

"It's hard to argue against August Wilson," she said. "This a way to get a worthwhile script in front of people who would otherwise not see it. A taste of August Wilson is better than nothing at all."

Even though there were some concerns with being able to cast such a large amount of characters, Farrell was able to do it and says her actors have been wonderful. This production, by a very great contemporary playwright, needs dedicated actors, and Farrell has hit the bulls-eye on this dartboard.

"For an actor to have the opportunity to just have the words in his or her mouth is an opportunity that doesn't come along very often," Farrell said. "A truly dedicated actor will want to do it and are happy to get the opportunity."