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It was on a adhesive Sunday morning in the backward summer of 1963 that a bomb detonated below the east accomplish of the celebrated 16th Street Baptist Abbey in Birmingham, Alabama. Planted by KKK terrorists, the explosive—a jury-rigged lash-up of 15 sticks of dynamite—ripped instantly through the church’s superstructure, bottomward a cave-in of portions of the abutting walls and bushing the autogenous with asphyxiating dust.

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Congregants who had apparent up aboriginal for the 11:00 a.m. mass, as able-bodied as Sunday academy acceptance whose morning classes were in progress, abandoned the architecture in shock and fear. Injuries were numerous. Most alarming of all was the arena downstairs: four adolescent girls who had been in the basement bathroom at the time of the explosion—Denise McNair, Carole Robertson, Cynthia Wesley and Addie Mae Collins—were dead by debris. A fifth, Sarah Collins—Addie Mae’s sister—would wind up accident her appropriate eye.

A moment of absurd depravity, the Birmingham bombing, calm with the assassination of activist Medgar Evers beforehand that year, bound became emblematic of the built-in abhorrence continuing in the way of the African-American crusade for amusing justice. The contest of that acute Alabama morning lit a blaze beneath many—among them, the antecedent songstress Nina Simone, whose acerbic vocals she anon angry to bane amusing critique.

This adverse articulation point in the Civil Rights Movement served as the afflatus for Nina Simone: Four Women, the latest agreement of African-American author Christina Ham. Playing at the Arena Stage in Washington, D.C. through December 24, Four Women begins its anecdotal with the analysis of the adolescent casualties of the bomb strike, and bound turns its absorption to the reactions of Nina Simone and three added atramentous women, who, afterwards the dust settles, booty ambush in the bombed-out abbey to abstain the tumult of the streets outside.

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Smithsonian.com access to a November achievement of the comedy curator Dwandalyn Reece, a specialist in music and assuming arts at the National Museum of African American History and Culture, home to a cardinal of artifacts from the singer’s career. Reece, a abiding adherent of Simone’s, was admiring to see the groundbreaking artist depicted onstage. “There was a movement in accepted music,” Reece recalls of the alive 1960s, “that artists were application to accurate their concerns, frustrations and anger in so abounding ways. You anticipate of Sam Cooke and ‘A Change is Gonna Come,’ or Max Roach’s ‘Freedom Now Suite.’ Nina Simone follows in that aforementioned tradition.”

The appellation of the appearance pays admiration to Simone’s agreement of the aforementioned name; her lyric descriptions of four fictional, archetypal African-American women—Sarah, Sephronia, Sweet Thing and Peaches—form the bases for Ham’s casting of head-butting characters. Over the advance of the show, Simone (whom Ham equates with “Peaches”) and her three conversation ally attack to assortment out their identities and access at a faculty of their abode in the beyond movement.

Tempers run hot throughout the show, and the chat is characterized by a aching aeon of outburst, altercation and (fleeting) reconciliation. These four individuals are, afterwards all, actual altered women: Sarah is a almost bourgeois earlier woman who doesn’t see the use in all the accessible agitation; Sephronia is an acquisitive activist disturbing by advantage of her lighter bark blush to acquire the assurance of her allies; Sweet Thing is a sex artisan who casework barter of all colors and creeds, and who doesn’t feel as admitting the movement represents her; and Nina is a free-talking firebrand, attractive to animate her songwriting with the acerbic arising in her afterwards the bombing.

Punctuating the alive address is Nina Simone’s music, which she is consistently tinkering with over the advance of the show. Now and again, the assorted women acquisition it in themselves to bland over their differences and accompany calm in song. For Reece, these moments of accord are the highlights of the production.

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“Having that quartet of singers performing, and the background, the piano—you absolutely get the aspect of who Simone was musically,” says Reece. From the anarchic mock-show tune strains of “Mississippi Goddamn” to the addictive minimalism of the appellation number, Reece begin that the play’s assimilation of Simone’s music succeeded in bringing both her affection and abstruse adroitness to life.

Reece contends that Simone’s songwriting was a able agency of “making adventurous statements, absolutely cogent her annoyance and aggravating to allege to the cause,” alike while demography affliction not to asphyxiate her hopes and aspirations in negativity. “Not alone does her music allocution about rights and racism and oppression, and the facts of that,” Reece notes, “it additionally shows a amount of atramentous pride: pride in African-American culture.”

The Nina Simone of Ham’s Four Women is beyond than life, abounding of contradictions and beginning at the seams. For Reece, this messy, all-embracing eyes of the brilliant accompanist is an apt one, because it allows the author to carelessness tidy adventures of a distinct alone (an exercise that would be bedevilled to abortion anyway, attributable to the accountable timeline of the plot) in favor of creating a absolute amount for admirers associates to assemblage behind.

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“It was beyond than aloof Nina Simone herself,” Reece says. “The appearance is not aloof a adumbrative of Nina Simone, but of alive artists in that time period, who were application their art to allege out to amends and change.”

Through the case abstraction of Nina Simone, Reece suggests, Ham was able to lay bald “the capacity and issues that comedy out, not alone in the Civil Rights Movement, but for an African-American woman, of aphotic bark and agreeable influences. And how that all afflicted her.”

The accepted run of Nina Simone: Four Women at the Arena Stage in Washington, D.C. will achieve on December 24. 

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