Alliance Theatre Reviewers Blog

Hertz Stage -- A Contemporary take on the Classic Myth

Our five Alliance Theatre Reviewers will see Eurydice on Wednesday, March 19, 2008.  Come back to see what they have to say about this emotionally moving play.

Review by Jada Genter – In the Red and Brown Water

     Kianne Muschett—she of the radiant smile—leads the gifted ensemble cast of Tina Landau’s beautiful Alliance Theatre production of “In the Red and Brown Water”. Brechtian in its starkness, this powerful play is a glimpse into the ordinary/extraordinary life of one woman and the people who inhabit her world.

     The production is minimalist, stripping away all obvious sets, costumes, and sound, the effect being that what remains takes on hyper-realized power and symbolism, painting a picture on the canvas of the actors. If I seem to be waxing poetic, it is most likely in response to the poetic presentation of the play, bleak and powerful.

     The talented and versatile cast slip in and out of a multitude of characters, circling the life of Oya, a talented young runner who consistently chooses the path of family. The only character who leaves the stage for any length of time is Shango, played as both an emotional and physical presence by Rodrick Covington, perhaps because Shango is too powerful to ever fade into the background. The only way for him to not be at Oya’s immediate focus is for him to be offstage, or in the Army as the case may be.

     In light of the stark costumes, such things as shoes take on heightened importance. In the first act, always clinging to the dream of running through college, Oya wears track shoes. Come the second act, having given up her running dreams, she has slipped on flip-flops, those which only protect from the ground and do not further our dreams. Tennis shoes have passed on to those neighbors who need them to run after their children, the dream of family which Oya cannot catch.

     It was difficult to tell if the silver pipes on the wall were already there, or if they were purposeful set pieces. I would guess the latter given how clean and shiny they were. The bearers of water, an ongoing symbol of life in Oya’s life, are the one constant overseers of her existence, reminding her that life and children are passing her by.

     Each of us has a life both ordinary and extraordinary. Tarell Alvin McCraney’s script does a beautiful job of showing us this through powerful imagery, descriptive language, and passionate characters based on African mythology—all of which is brought to beautiful fruition in this remarkable production. Well done.

The Red and Brown Water Satisfies by Amy Lighthill

Water. Earth. Blood. Breath. These four elements form playwright Tarell McCraney’s cosmos, and a richly tragic and funny world it is. Born from nothing, leaving nothing but memory, his gritty psychic landscape grows sparse and strong from the utter air, watered by the peoples’ blood and tears.

 

The Hertz Stage, disemboweled from the seductive opulence of “Jacques Brel”’s cabaret set, is stripped bare of everything but a water spigot. A corroded red and brown ground suggests industrial waste, ariel views of lowlands breached and abandoned by water, and a rich primordial soup. Nothing distracts or offers comfort from the human tragedy and comedy enacted in this ritualistic drama. The only props are, fittingly, water pails which empty and fill, serving many functions. In a bold disassembling of our willing theatrical suspension of disbelief, the playwright has the actors precede almost every line by announcing their own stage direction. For example: “Oya smiles.” Though disconcerting at first, this stringent practice gradually creates its own kind of breath, as we begin to anticipate each tiny fruition of the announcement. It proves to be one of the only satisfactions we, and the characters, will be granted.

 

The complex and elegant rhythms of African-American speech, singing, and sound are beautifully rendered by a very fine team of athletic and expressive actors. There’s not a weak link in this chain: Kianne Muschett gives a nuanced and heart-rending performance as Oya, a young woman whose strong but self-contained life-force we watch drain away fruitlessly. Caught by the constraints of her people’s impoverished situation and her own griefs, she allows two men, each casting a very different spell, to pull her down into paralysis and self-destruction. Her surrounding constellation of characters, all with Yoruban names like “Elegba” and “Ogun”, spark the fire of this drama with their intensity and commitment.  

 

Though the play’s climax will seem familiar to fans of classical tragedy, young playwright Tarell McCraney has embued his story with all the elements of dramatic power and human emotion. I predict that one of his next plays will take us behind the door where two young men vanish together near the end of this work. I celebrate the fact that we have many years of his rich imagination to enjoy on stage, and I trust that soon McCraney’s vision will have outgrown its first womb-- the nurturing, intimate little Hertz-- for the full stage at the

Alliance

.   

In Red and Brown Water- A Must See by Shana Basnight

In Red and Brown Water, prepare to travel to the Bayou and I guarantee you will enjoy your stay there. This play will take you on an emotional roller coaster ride as you find yourself entangled in the passion, romance, and drama that characterize the fictional Louisiana town. The actors in the production are phenomenal in every way. Their is chemistry between the cast members that exudes in all of the scenes of the play. The actors take complete ownership of their role, completely embodying the persona and mannerisms of their characters. I guarantee you will fall knee-deep in love with all of the suspense, drama, and pure unadulterated emotion that comes almost effortlessly from each character as they try to make sense of the world around them.

Creativity is the other essential element to describe why this play is a success. The manner in which the characters use the props and create unique staging directions for each of the scenes is absolutely impeccable. For instance, while Oya was participating in one of her track races, the other actors moved in slow motion to allow Oya to smoothly and gracefully beat her competition. The play will captivate and mesmerize you all at once. You have to make sure that you take advantage of the unique experience to see a production that can only be found at the Alliance.

Red and Brown Water is wonderfully written, produced, and performed. It is absolutely sensational. I am eager to see other pieces by Tarell Alvin McCraney, winner of the Kendeda Graduate Playwriting Competition. I highly recommend this production and I hope you have a chance to see this amazing work of art before it leaves the Alliance.

In the Red and Brown Water - Maria Surprise

There are many reasons I love the Alliance Theatre – the commitment to diversity, the passion to bring new plays to Atlanta, and the exceptional talents on stage and off are just a few.  Another is the Kendeda Graduate Playwriting Competition. Now in its fourth year, this competition rewards the winning playwright with a professional production of his or her work.  In the Red and Brown Water, written by Tarell Alvin McCraney, had its world premiere last night on the Hertz stage, and he should be congratulated for that achievement. 

The setting is a fictional city in Louisiana during the “distant present”, a term that gave me pause.  Distant present?  Interesting…or possibly pretentious.  I was curious to see how the drama would unfold.  Based in part on the mythology of the Yoruba people of West Africa, In the Red and Brown Water revolves around Oya, a young woman faced with difficult choices as she makes her way in the world.  The gorgeous and talented cast members deliver Oya’s story through spoken word, tribal rhythms, and song.  Although there are humorous moments, a current of deep sadness runs through the play, and one of the characters arrives and departs according to the phases of the moon. 

I love that the Alliance Theatre makes this kind of play available to the Atlanta audience – Tarell Alvin McCraney is indeed a new voice and his style is like nothing I’ve ever seen on stage.  Come to see this new work if you enjoy the experience of witnessing an out of the ordinary theatrical performance.  You may love it, as many of the audience members on opening night surely did.  Or you may find yourself simply grateful for the opportunity to watch an emerging talent make his debut. 

"In the Red and Brown Water" by Wendell Barnes

The advance publicity for this show included a quote from the New York Times that said that this play offered by the playwright "Tarrell Alvin McCraney..." was "...beautiful music of a new voice...," and I couldn't agree more.  Although the "f-word" and sexual references and innuendo flew a little too fast and loose at times, especially in Act II, the overall effect of "In the Red and Brown Water" was that it was an exciting work of poetry, presented like no other theatre piece you may have seen before.  At times the cast acted as a Greek chorus, offering sounds and repetitions to emphasize McCraney's point.  Most prominent of all was the unexpected use of the actors vocalizing stage directions, and then following them with their actions.  Many times this was used for humorous effect and lightened up the mood, but oftentimes the vocalizations offered emphasis on dramatic points too. The audible clicks, sighs and gasps of air from the chorus were also often chilling underscores to the mood at the moment.  Produced on a bare painted floor stage with only a spigot on the rear wall of the theatre, Scott Zielinski's dramatic lighting effects became the set and were striking and even moving at times.  Tina Landau's direction included masterful tableaux that were often chillingly effective.  Chinai J. Hardy as Mama Moja commanded the stage from the first scene, and we only wish that her character had been able to continue throughout the length of the play when she became relegated to the background as a member of the chorus.  Kianne Muschett as Oya, the protagonist of the piece, was charming and believable in her innocence and later worldliness as she discovered her maturity, and we hope to see her grace the stage of the Alliance in future productions.  Andre Holland's transformation as Ogun from a nervous stutterer to a more sophisticated husband was moving and touching, especially when he put Rodrick Covington as Shango, the macho playboy and would-be villain of the story, in his place when Shango tried to move in on his wife.  The music of the piece even included Rodrick's actual vocal solo accompanied by piano in Act II, and it was pleasant to hear him exercise his vocal skills and the song softened up Shango to the audience somewhat.  Jon Michael Hill as Elegba was also believable as the young innocent who became more aware of his own needs as he matured.  Will Cobbs, Daniel Thomas May, Carra Peterson, Nia Whatley  and Heather Alicia Simms rounded out the rest of the supporting cast with excitement and professionalism, whether chasing, fighting or dancing.  You'll not soon forget the climactic ending scene, so get your tickets now for this exciting new work of theatre.  The sold-out opening night audience leaped to their feet at the end tonight, honoring the players for their lyrical presentation, but I was disappointed that Mr. McCraney did not take the stage for the final bow on this exciting Atlanta premiere of his beautiful new voice.

Hertz Stage -- Winner! 2007 Kendeda Graduate Playwriting Competition

Our five Alliance Theatre Reviewers will see In the Red and Brown Water on Wednesday, February 6, 2008.  Come back to see what they have to say about this World Premiere play.

DUKE ELLINGTON'S SOPHISTICATED LADIES

DUKE ELLINGTON’S SOPHISTICATED LADIES

After two attempts to get to this show were cancelled because of

Atlanta

snow events, we were finally able to attend the Sunday matinee performance!  But things were far from cold inside the

Alliance

on that Sunday afternoon—no, they were hot, from the “hot notes” to the bodies of the performers themselves!  In the second “jukebox” show of the season, (highlighting one composer’s works,) an energetic and talented case of eight covered what usually has been done by many more, doubling and changing costumes faster than a Cotton Club dancer.   I confess to being a Terry Burrell fan after “The Women of Brewster Place,” and I was delighted to see she would be performing in this show, but she was the only singer who stood out from this cast as not being as comfortable with the many and varied styles of dance.  Tracee Beazer and Debra Walton were both cute as buttons, and as equally adept at facial expression and vocalizing as they were at complex tap and jazz dancing.  Laurie Williamson’s expressive face and soaring soprano voice delighted, especially in “Solitude.”  Dewitt Fleming, Jr., Tommar Wilson and Eric B. Anthony all charmed with their continuous 100-watt smiles, athletic prowess and complicated technical dancing skills.  Bryan Terrell Clark seemed to be the pivotal ringmaster, and his duets with Terry were especially outstanding, especially when they joined together to scat and imitate musical instruments with their voices. 

Bryan

’s “Something to Live For” stopped the show with his honesty and strong vocal range.  Act II’s opening of “Caravan” with all but Terry forming a tap dancing airplane (!) was a delightful surprise.  Austin K. Sanderson’s costumes were gorgeous and full of glitter and fur—especially striking was Debra’s white fur and beaded headress in “Sophisticated Lady,” but I think this role would have been better suited to the more statuesque Terry as cute as Debra is—the number begged for a sophisticated lady and not a precious one.  Otherwise, Kent Gash’s always amazing directorial skills were once again spot-on, and the musical direction by William Foster McDaniel, who also conducted a very talented orchestra, was perfect.  Since this was basically a re-creation of a night club show, settings were minimal but appropriate, and lighting was good except for the huge “Duke Ellington and his Orchestra” sign near the finale of Act II that blinded us temporarily.  Please dim this down to a less offensive wattage, since the only purpose we could find for this brightness was to compete with the dental work of the cast!  We left with amazement of the energy of the cast, and on the way home, I commented that I don’t know when I’ve seen such enthusiastic tap numbers.  Go—the cast promises a good time, and you’re guaranteed to be singing tunes of the Duke all the way home.

by Wendell Barnes

Review of Sophisticated Ladies – by Jada Genter

     Sophisticated Ladies is one of those rare productions where everything comes together in just the right way and the result is magic. Keeping in mind that I am not usually a fan or a follower of jazz, imagine my surprise at being swept into the sounds and sensations unique to this genre.

     The overture by the jazz orchestra created almost tangible waves of sound. This pleasurable escape continued throughout the evening, enhanced particularly by the dancing and choreography. It is not easy to match the movement of the human body to the complex rhythms and sounds of jazz music, but Kent Gash and Byron Easley are more than up to the task here. From the tribal beats of “Jungle Revue” to the visual magic of “Flight to Timbuktu”, each number is both individual and a part of the whole. Special notice must be given, of course, to DeWitt Fleming, Jr.’s tap solo in “Kinda Dukish”, which will go down in history as one of the best tap numbers ever to grace any Atlanta stage.

     I always appreciate productions which take an inherently theatrical approach to their staging and set design. The Alliance’s production of “The Women of Brewster Place” did so earlier this season, and “Sophisticated Ladies” follows suit. Any time the audience can realize the set is fabulous without such a realization interrupting the flow of the play, the director and set designer have done their work well.

     If I was disappointed in any way, it was with the unevenness of the women’s dancing abilities. Terry Burrell’s movements were not as large or as free as her castmates’, to the point that a few times I had to actively avoid looking at her so as not to be pulled out of the performance. Her acting and singing were lovely, but Ms. Burrell seemed to be holding back in her dancing. In a production where no one else did, it was disconcerting.

     Kent Gash should put this production on his resume with pride. Beyond having heard of Duke Ellington and the Cotton Club in their historical context, I am not very familiar with either, and this production has inspired me to search out more. I want to know more about the Cotton Club—its storied existence, the famous people who graced its stage, the flight of some of its performers to France, and the life of its most celebrated composer. The magical melding of the elements of the performance reminded me why I so adore live theatre, why I attend it and why I make it. Well done.

Duke Ellington's Sophisticated Ladies- Shana Basnight

      The Alliance Theatre's production of Duke Ellington's Sophisticated Ladies takes you back to a time of good jazz, bebop, and swing music. The musical revue opens up with an outstanding live jazz band that plays to the essence of Ellington's music. As you are enjoying the sounds from the orchestra pit, you are introduced to the talented cast who will serve as your entertainers for the evening. The dancing and singing is superb. The set design is elaborate and elegant. This is a great musical revue.

      Although the band and cast are extremely talented, the costumes could use a little work. The men looked great in their tuxedos but the ladies' outfits were poorly designed. At times their attire was a bit risque, while for other scenes their dresses were not very flattering. As much as I did not enjoy the costumes choices, I did appreciate the sheer creativity in the way that the taxi was created in the Drop Me Off in Harlem scene. The actors, dressed in yellow and black, had on matching sneakers with roller skates attached. It was a clever and original idea for a taxi ride that was fun for the audience to watch.

      Duke Ellington's Sophisticated Ladies is directed by Kent Gash. He is a visionary that knows how to bring together a wonderful team of set designers, actors, and musicians to produce a memorable piece that will have you singing Ellington's songs as you exit the theater. Don't just take my word for it. Take the A Train, or MARTA, and grab some friends and head to the Alliance. You will be singing "I Got it Bad and That Ain't Good/Mood Indigo" if you miss this wonderful performance.