1. Actor Urges Realism, Depth for Dr. Quinn
Actor Urges Realism, Depth for Dr. Quinn
[Source: Chicago Tribune, Feb. 18, 1995. N. Charles]
Henry G. Sanders, a regular on CBS' post-Civil War period drama "Dr. Quinn, Medicine Woman,"
thinks the latter is as pernicious as the former. "What happens a lot of times is that there's
a tendency to make black characters all good or all bad," said Sanders. "What is not explored
is that gray area, which is more interesting." Sanders has been pushing the producers and
writers of the show, which airs on Saturday nights at 7 p.m. Saturdays, to make his character
Robert E., an ex-slave/blacksmith, much more multi-dimensional." One of the things I think
about Robert E. and Grace (Robert E.'s wife, played by Jonelle Allen), is that (the producers
portray them as) independent and viable members of the community," he said recently. But, he
added, "I play him like he's constantly looking over his shoulder, it's a few years after
Reconstruction."
In a bow to his urgings, in this coming Saturday's episode, "Things My Father Never Gave Me,"
Sanders' Robert E. is hired for a job that he ultimately may be unable to complete. Because no
whites will work for him, he hires three non-English-speaking Chinese workers, who subsequently
come down with lead poisoning, leaving him facing failure. Robert E. then must confront the
reality of his status as complete outsider while trying to honor his commitments.
Sanders also wants the show's producers to avoid being ahistorical in attempts to placate con-
temporary political sensibilities and avoid dredging up painful past. "It was not uncommon for
ex-slaves to be lynched because they 'didn't know their place,' " said Sanders. "Before the
Civil War and Emancipation, slaves were regularly beaten but they were not often killed or
maimed because they were property and possessed a dollar value. When they were no longer slaves
and could not be bought or sold they had to be very careful, even servile in some instances, to
avoid possible lethal repercussions."
That sort of obedient behavior may be labeled "Uncle Tom-ing," by generations decades removed
from Slavery and the Jim Crow South. But Sanders, 52, is adamant about being realistic and
giving his character complexity. "I want my character of Robert E. to be true to himself with
his faults and shortcomings as well as true to the historical time frame, in which he must often
be wise, forbearing and even circumspect so as not to invite hostility," he added.
What the veteran actor thinks is needed is more creative control in television by blacks Sanders
said that his show has no black writers or producers, and that no black ever has directed an epi-
sode. "What you'll see when blacks have more say is more fleshed-out characters. Maybe then
someone will be bold enough to show a black villain, not a pimp, but maybe a white-collar
criminal," Sanders said. Henry G. Sanders portrays Robert E. on "Dr. Quinn, Medicine
Woman."
With An Eye On How The West Is Coping On Dr. Quinn
[Source: LA Times, Feb. 12, 1995. N.F. Mendoza]
Facing the condition will be blacksmith Robert E. and cafe owner Grace (played by Henry G.
Sanders and Jonelle Allen), who married on the show last season. "I love how they've made us
human beings, with both good and bad points," Allen says of her and Sanders' characters.
Allen began her acting career at age 5 opposite Helen Hayes in a revival of "Wisteria Trees" at
the New York City Center. A varied background, she says, has been a plus. While growing up, she
lived in Harlem, worked on Broadway and attended private school in Central Park West. "I was
like Sybil with her multiple personalities. I was always interacting with diverse groups of
people," she recalls. "It probably helped me as an actress." She received a Tony nominee for
"Two Gentlemen of Verona," in which she starred opposite Raul Julia. Before "Dr. Quinn," her
work in film and television ranged from "Hotel New Hampshire" to "Palmerstown" and "Generations."
A Vietnam veteran, Sanders was an aspiring novelist who found that an acting workshop worked
like therapy for him. "It allowed me to touch on some feelings and emotions I hadn't dealt with,"
says Sanders in a conference call from his Altadena home. "I auditioned for every role I heard
about," he says. "I everything, bad plays, anything, to get experience. Suddenly, I realized
it was what I wanted to do." Numerous roles in Los Angeles theater have included "Fool for Love"
and "Short Eyes," which he considers his "big breakthrough." A friendship filmmaker Bobby Roth
led to a part in Roth's "The Boss' Son"; roles in "Bull Durham" and "Made in Heaven" followed.
Both Allen and Sanders take great pride in their current roles on "Dr. Quinn" and how their
characters are being developed. "We've both got thriving businesses going and now audiences
are going to see how we relate as husband and wife in a new home," explains Allen. Part of
that "new home" includes children. "Grace wants all of it to come to fruition with this man,"
Allen adds. "She wants to have a family." Sanders points out that the story line is in keep-
ing with facts known about the time. "They knew enough about infertility back then to know
what it was," he says. "It's completely historically accurate."
Sanders reveals that he and his wife of 17 years, Naila, a wardrobe designer, had their own
bout with infertility. "It took us four years to have children, before they found out it could
be taken care of with a simple operation," says the father of four. "We were lucky. It's an
issue that plagues many couples, and it will plague Robert E. and Grace for several episodes."
Both Sanders and Allen point out how important their characters--and their concerns--are to the
show. "A blacksmith is a very intricate part of the community; a lot of people depend on him,"
Sanders says. "The cafe is integral to the show" as well, says Allen. "It's the social place
to meet, where things take place. Both of them work together to build their community." "What's
most important," adds Allen, who is single, "is first and foremost you're seeing an African
American couple, a male and female who work together in all those things couples go through--
loving, fighting, striving, surviving, bonding--being human in a positive light during the Old
West."
The depiction of Robert E. and Grace as a thriving--and emancipated--couple pleases Allen. "I
get upset when people say the show is politically correct," she explains. "I choose to say it's
historically correct. The research is there and has been done." "Dr. Quinn, Medicine Woman"
airs Saturdays at 8 p.m. on CBS.
Tough Choices [Source: Guidepost, Dec. 1994. H. Sanders]
For more than 20 years I'd studied, auditioned and acted in every show that would have me -- and
more often than not, those parts were small. Throughout it all, my wife, Naila, and our two
children encouraged me. I longed to give my family a good, regular income -- and spend more time
with them. But in the meantime, I had to take what roles I could get, wherever they might be.
That's why, when in the spring of 1992 I was offered a good at the Alabama Shakespeare Theater,
I kissed Naila and the kids good-bye and headed for Lafayette, Ala., for five weeks. The play
was Miss Ever's Boys and it was a chance to present a thought-provoking drama to an appreciative
regional audience. The play was interesting and I settled in to concentrate on my part. And then
one day as rehearsal broke, I was told I had a call. I went backstage and picked up the phone.
"Henry? It's Beth in Los Angeles." Beth Sullivan and I were longtime friends as well as profess-
ional colleagues. Beth develops ideas for television series, and I'd had parts on some of her
shows. Beth sounded excited. "I'm working on a new TV drama," she said, "and there's a part you'd
be perfect for. The pilot will establish the character as a regular." A feeling of anticipation
was building in me too. The job sounded like the kind of break I'd been hoping for.
"We'll be shooting the pilot next week," she said. "I know you're under contract in Alabama, but
the theater is dark on Monday, right? I've arranged to film all your scenes in Los Angeles on
Monday, starting early in the morning. You can fly to L.A., tape the TV pilot, and then fly back
without missing any performances." It's true, Monday is traditionally the day when the theater is
dark. "Terrific!" I said. "I'll bet you anything the pilot is picked up as a series." "I have a
good feeling about this." Beth said. "I'll bet you anything the pilot is picked up as a series."
A huge grin spread across my face. If I landed a role on a good dramatic series, I could stay
home in L.A. with my family, do interesting work, and bring in a steady paycheck. I nearly
floated over to the theater office to tell the managers so I could start making my travel plans.
They were enthusiastic as I described the opportunity. "That's great, Henry," the director said.
"Which Monday did you say you'll be gone?" "In a week," I said. "The Monday before the play
opens. I'll fly out to L.A. on Sunday before and be back here in plenty of time for Tuesday night."
A look of concern passed over the director's face. "You realize there's a paid preview here at
eight o'clock that Sunday night?" No, I hadn't realized. If you can work it out, go ahead," the
director said. Okay, so I'd leave for California the moment the curtain came down on Sunday night.
I immediately began calling to check airline tickets. But I discovered there were no flights
leaving after 10:30 that night. There wasn't even anything to New York, where I could connect
with a red-eye.
I hurried back to the office. "There's no way I can do the preview here Sunday night," I said.
"Could you possibly cancel that performance? Change the time? Get someone to do my part?" "I'm
really sorry," the theater manager said. "People have already bought their tickets; we're nearly
sold out. And you don't have an understudy who's able to go on."
Some actors in this dilemma might decide that a network TV series was much more important than
a repertory play in a regional theater and would simply walk out. But I'd accepted this part in
good faith. I'd signed the contract, made a commitment. People were counting on me. As I sat
in my hotel room, I thought about who I was, what I believed in, I'd been raised in a single-
parent home by a mother who had a strong faith, and I remembered what the Bible said: "Let your
yes be yes and your no be no" (James 5:12, Revised Standard Version). I had given the Alabama
Shakespeare Theater my yes. It would have to stand. With a heavy heart I called Beth Sullivan's
office back in California. I told them I wouldn't be coming.
It took me two who days to get my concentration back, to give 100 percent to Miss Ever's Boys.
But I did, and the show was well received. Soon after that, I wrote Beth a letter thanking her
for the offer. I explained that it was friends like her who given me jobs over the years-and
that when I make a commitment to any job, I honor that commitment. I said I hoped she under-
stood why I had to turn down her show. In a few days I got a letter back. "Henry we've been
friends a long time," she wrote. "Of course I understand. "She told me I had "a refreshing
attitude."
A month later, Naila and I attended a friend's open hours in Santa Monica. "Henry!" It was Beth,
coming over to greet us. "Remember that TV pilot I wanted you to do?" How could I forget it?
I hoped Beth couldn't see my disappointment. But she kept talking, clearly thrilled. "The
network's picking up the show!" she said. "It's going to go to series." "I'm really glad, Beth,"
I said. "Still interested in that role?" she said. "It's yours if you want it." As I stared
in disbelief, Beth gave me one of those I-know-you-all-too-well looks. "Henry," she said. "If
this show is going into a long run, I need a good actor I can count on. And that's you."
The show is both an exiting adventure story and the saga of different people trying to get along
in a changing world. My part is that of an independent village blacksmith in the old West:
Robert E is an ex-slave carving out a place for himself and his family on the frontier. Dr. Quinn,
Medicine Woman has been a popular show for the past two seasons. Families all over the country
enjoy viewing it together. Our "family" of cast and crew watched it together too. That first
year we gathered at Beth's house every Saturday night with our wives and husbands and children to
see "our" show on TV-and the job I got because I had to turn it down.
2. With An Eye On How The West Is Coping On Dr. Quinn
3. Tough Choices
4. A Lesson In Black History
5. Cats Taught Me How To Act
6. Another Western Look
7. Perseverance Finally Pays Off
8. Bad Medicine
9. If You Aren't Political, Your Personal Life Should Be Exemplary
10. Your Oldest Fears Are The Worst Ones
11. Crying Is A Release
12. Political Correctness Aside
13. Don't Tread On Me Even If You're Walking In My Shoes
14. Break Up To Make Up ... Now That's A Plan!
15. "Just Do It! Do Or Do Not, There Is No Try" [Nike and Yoda]
16. Nobody Knows The Trouble I've Seen ...
17. Nobody But Me and Oprah ... and Jenny ... and Ricki ...
18. Anything That Isn't Cross-Platformed Hasn't Been Taken ...
19. ... Seriously On The Net
20. Take Me There, Anyplace But Here!
Charges of promoting negative stereotypes, when it comes to blacks and other people of color,
have always been leveled at television and popular culture. But have television and popular
culture, in their efforts to address some of those depiction's, swung too much the other way
by portraying blacks as pure-hearted do-gooders?
Infertility is not just a contemporary concern. Beginning this week, CBS' popular pioneer drama,
"Dr. Quinn, Medicine Woman," now in its third season, tackles the subject over several episodes.
Ever wonder how actors get those parts you see them playing on a TV series? Well, strange as it
might sound, I got my role on Doctor Quinn, Medicine Woman because I turned it down. And saying
no wasn't easy.
Last Updated on Nov. 4, 1997
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