1942 · Haitianyear only
The play was the letter to Marie-Madeleine, finally staged
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Six years before the premiere, Perez had written to her niece Marie-Madeleine about the Citadelle and about the revolutionary woman she meant to summon. In 1942 she summoned her in a theatre. Read against that letter, the drama about Sanité Bélair reads as feminist argument, and the praise it drew for artistry and novelty accounts for only half of what it was doing. Perez had to hold several truths on the same stage at once: the historical record of the revolution, the sacred material of Vodou handled without desecrating it, and the case that Haitian women had made the country and could remake it. She kept all three standing for three acts. The reviewers noticed the craft. The niece it was addressed to would have caught the rest, and so would every young woman of the Ligue Féminine d'Action Sociale watching it from the seats.
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