Friday-Sunday: "Last House Standing: A Play About The Highway To Nowhere"

Nov. 11-13

Last year, for City Paper's annual arts issue, Sheila Gaskins, an artist, educator, and one of the members of United Diverse Artists, wrote a letter titled, "Separate and Unequal: An open letter to Baltimore's art scene," a firm but fair ("I am not calling you out, I am calling you in. This is a Baltimore art maker's love letter," Gaskins wrote) schooling of the city's maddeningly segregated art scene. "The Baltimore arts scene should reflect equitable access to opportunities for all residents," Gaskins wrote. "Regardless of race, creed, economic background, sexual orientation, weight, hair texture, ZIP code, religious affiliation, or arts education or naw, you get the point." Gaskins' play, "Last House Standing: A Play About The Highway To Nowhere" charts one example of Baltimore divestment. Set in 1968 in West Baltimore, it looks at the establishment of the transportation project that displaced many black residents for the semi-useless stretch of highway known as "the highway to nowhere," and specifically, its effect on one family. Head over the Arena Playhouse, the country's longest continually operating African-American community theater—Arena Players' production of "Luther" last spring was revelatory—and see the play this weekend. 8 p.m., The Arena Playhouse, 801 N. McCulloh St., (410) 728-6500, arenaplayersinc.com, $13-$20. (Brandon Soderberg)

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