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ONI FAIDA LAMPLEY
Playwright/Actress
1959-2008
Oni
Faida Lampley’s plays were produced in
New York and regionally. Her first play, Mixed
Babies, (published by Dramatists Play Service)
won a Helen Hayes award for Outstanding New Play
for its Washington Stage Guild production in
Washington D.C. It was subsequently produced
in New York City by Manhattan Class Company.
Her second play, The Dark Kalamazoo, earned her
a Helen Hayes nomination for the Woolly Mammoth
production, was produced at the Freedom Repertory
Theatre in Philadelphia and premiered in New
York at the Drama Dept and was published in The
Fire This Time, by TCG, along with plays by Pulitzer
prize winners August Wilson and Suzan Lori Parks.
Her play, Tough Titty, about a family surviving
the rigors of marriage and chronic illness premiered
at Williamstown Theatre Festival under the direction
of Charles Randolph Wright. The play was commissioned
by South Coast Repertory and made Lampley a finalist
for the Susan Smith Blackburn Award and a recipient
of a 2006 Helen Merrill Emerging Playwright Award.
It will open at the Magic Theatre in San Francisco
in January 2009 directed by Robert O’Hara.
Her play Sons was commissioned through the New
Dramatists/ Children’s Theater Company
Playground program.
As a member of Juilliard's Playwrighting Program,
Oni received the Lincoln Center LeComte
du Nouy Award. Other grants and commissions include The
Booomarang Fund for Artists Inc., the Smithsonian
Institute, the William and Eva Fox Foundation
grant, the D.C. Commission on the Arts and Humanities,
Alabama Shakespeare Festival, and a NYSCA grant
via Brooklyn Information and Culture (BRIC),
which was a frequent supporter of her work. She
was a member of New Dramatists, The Actors Center
and a Playwright-In-Residence with Mud/Bone Theatre
Company. In 2007 she participated in the three-week
New Dramatists’ Ted Tulchin/Max Weitzenhoffer
playwriting residency at the National Theatre
in London.
As a “working New York actor” Oni
appeared in several films including “Stay”, “Moneytrain”, “Jungle
to Jungle” and John Sayles’ “Lonestar”.
On television she appeared in all the “Law
and Orders”, “Third
Watch”, “The
Sopranos”, “As the
World Turns”, “NYPD
Blue” and “Oz”. She was seen
on Broadway in “The Ride Down Mount
Morgan”, “Two
Trains Running” and “Mule
Bone”.
She was seen off-Broadway in “Mud,
River, Stone”, “Zooman
and the Sign”, “The
Destiny of Me” and “Boesman
and Lena” among
others. Regionally she worked at Hartford Stage,
Long Wharf Theatre, Woolly Mammoth, Old Globe,
Center Stage and The Acting Company.
Oni is survived by her husband Tommy Abney and
sons, Olu and Ade.
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"No more
shame"
When you're used to being in
control,
it's hard not to feel that you're somehow
to
blame for having cancer.
By Oni Faida Lampley
this
article is republished from Self.com
Brooklyn,
summer 1996. I was 37. "I've got some
good news and some bad news for you," the surgeon
who'd removed the lump in my left breast said to me.
I said, "Bad news first!" But he had
his own script.
"The good news is that you are healing well from the biopsy.
The bad news is..." You know what came next.
Malignant.
My first thought: You talkin' to me? I'm too busy
to be sick. I'm a compulsively exercising, breast-feeding,
breadwinning, black mother of two! An SBW, strong
black
woman. I've read all the "Your Breasts and You" pamphlets,
and I don't fit the profile. I have no risk factors,
no family history of breast cancer. And not one
of the women in my pamphlets is black.
Then: All right! I'll admit it: I'm a lapsed vegetarian.
But I still scramble, bake or blend tofu to make
it taste like something other than prechewed gum.
Damn! I should
have had more cheap wine and barbecue pork rinds!
The doctor was going on about possible lymph node
involvement, lumpectomy or mastectomy, and he obviously
thought
I could hear him because I was nodding and taking
notes. But in my head it sounded like, "You are going to
die a horribly painful death. Now. Right here in my office,
before I get through talking!" I imagined a New
Yorker cartoon. Panel one: Doctor tells patient, "You
have cancer." Panel two: Patient drops dead
of a heart attack.
My husband, Tommy, and I drove home from the hospital
in silence, and I whipped myself into a frenzy
of self-flagellation. (Always better than feeling
scared, right?) This is my
fault. I didn't eat right, didn't exercise enough.
I had too many negative thoughts. I felt guilty
and ashamed.
I thought I was in control of my life, but I must
have missed a beat and allowed myself to get cancer.
The next morning, I woke yearning to see the faces
of black women who'd survived cancer. Growing up
in Oklahoma
City in the '70s, I never knew anyone black who
admitted she'd had it. Surely there was someone,
but people didn't
talk about those things. I went to the library
and saw Celebrating Life by Sylvia Dunnavant sticking
out on
the shelf. Inside were images of black survivors.
Their stories filled my spiritual arsenal. But
I found I kept
turning to the women who were sicker than me when
they were diagnosed. I'm finding comfort in seeing
people
worse off than me. That's wrong. Even in this,
I judged myself.
I don't recall how big my lump was, but it had
no discrete margins, meaning it had spread to my
lymph nodes, stage
II. I asked for a mastectomy. Part of me felt that
the more it hurt, the greater my odds of redemption.
Besides,
I wanted it over, so I could go to work: I'm an
actress, and I'd just gotten my first movie role
in which I had
more than one line, so I begged and squealed, and
ultimately the doctors did my surgery and reconstruction
right away
so I could go to Toronto to film. A month later,
I began chemotherapy at Memorial Sloan-Kettering
Cancer Center
in New York City.
In the months after my surgery, I was blessed with
the generosity of friends. I also felt an instant
intimacy with strangers at the Evelyn H. Lauder
Breast Center,
my support group and in surgeons' waiting rooms.
We'd grab hands like grade school friends and run
into restrooms,
and they'd lift their blouses to play show-and-tell. "Here.
See? I had such and such done, and I'm fine now. You'll
be OK, too," they'd reassure me. Tommy made
sure our sons, Ade and Olu (9 months and 6 when
I was diagnosed),
were busy with activities they loved. My mother
was a constant comfort. My doctors, vigilant and
compassionate,
prescribed medications that mitigated chemo's side
effects
and adjusted my treatment schedule to accommodate
my work.
It all went well—until it didn't. Three years later,
in 1999, I discovered a pea-sized nodule on my mastectomy
scar. Although I'd been informed that reoccurrence was
a possibility, I couldn't believe it. I gave the beast
a whole breast! Why wouldn't it leave me alone? Why was
I such a failure at "beating this thing"? I'd
done all I was supposed to do through conventional medicine,
and I'd been to naturopaths, homeopaths, the odd psychopath.
("You should drink your own pee!" one
quack in Mexico told me.) I was the poster girl
for not
letting my disease hold me back. Sure, I was profoundly
tired,
but I was used to that. Women in my family ate
tired for breakfast. In fact, we skipped breakfast,
after
we'd fixed it for everybody else, because who has
time to
eat? I had no idea how to take care of my own emotional
needs.
We radiated the nodule and changed my medication,
and I kept on going. I've lost track of how many
procedures
I've had and the drugs I've tried—which,
for me, is progress. I used to fetishize every
appointment.
Each
time my doctors tried something new to eradicate
my cancer, I took a breath and sank under water,
flailing.
Then
I'd bob back up and will my life to resume. Eventually,
I learned that this rhythm of sinking and resurfacing
was my life, my new norm, and I stopped trying
to hold my breath.
Some of this acceptance came on the set of a short-lived
TV show in March 2004. I'd had a headache and felt
woozy for a week. I thought perhaps I'd had a chemo
reaction,
on top of keeping long hours. But it was only a
five-day shoot, and I wanted to work.
About 20 minutes after the director announced, "It's
a wrap!" I went back to my trailer and had a seizure
that threw me to the floor. I was experiencing what I'd
feared almost as much as dying: I was utterly vulnerable
in public, vomiting, weeping, terrified. A beautiful
actress I barely knew midwifed on the way to the hospital.
She assured me that as a mother of four, she couldn't
be disgusted by anything I did. "Let your body do
it," she intoned. I did. Waves of shame rose
and subsided. I relinquished control.
In the ER, a CAT scan revealed a few small brain
tumors that had caused my seizure. I needed radiation.
The eight-week
recovery that followed forced me to sit down, shut
up and stay home. I was weak, bald, swollen-faced
and fragile,
incapable of doing anything for the first time
in my adult life. If I accomplished nothing, I
thought, what
right had I to survive? It felt like the end.
My body gave me no choice but to sit with those
thoughts. No getting up and getting busy when I
got scared.
No shouting slogans ("I'm happy, healthy, whole and
complete!") at myself. My brain refused to
host the usual riot of self-punishing thoughts
I'd mistaken
for ambition, such as, You're shit at the end of
the day if you haven't done 13 things.
Perhaps the hardest part of this enforced stillness
was my fear that those who loved me would be disappointed
if I ceased to be the do-it-all survivor. And then
I
felt ashamed, once again: There was a "right" way
of having cancer, and I was doing it wrong. No one blamed
me, but I blamed myself. Over time, I let that go, too.
I prayed, slept, cried and (don't tell anybody) felt
sorry for myself, and—lo and behold, the
roof didn't fall in! I wasn't instantly struck
down! I
washed one
damn dish at a time, and when I was tired, I learned
to stop. If making the bed took an hour and a half,
so be it.
Today, my brain tumors are gone, but others keep
popping up in my body. When it first became clear
that my cancer
was chronic, I went to the edge of desperation
and stayed there. It seemed that I'd feel sick
and terrified every
day until I died. But that wasn't true. As I stopped
grasping for control, I saw that every blip on
the screen, every spike in my tumor markers was
not an emergency.
I learned to let my anxiety ride.
I'm currently in a clinical trial for a new drug,
and I feel well. My younger child is 11, and we
shoot baskets
before school. I'm not very good at it, but neither
of us cares; when I'm too tired, I tell him so.
I wrote
a play about breast cancer, Tough Titty, which
premiered at the Williamstown Theatre Festival
in Massachusetts
in 2005 and was a finalist for a prestigious award.
I have ups and I have downs, too. But a sense of
shame
no longer rules me. I had to make this feeling
manageable because the guilt and self-recriminations
were just as
damaging as cancer. My illness may be chronic,
but at last I can say my shame is in remission.
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