By Jason Crawford Samios-Uy
Running Time: Approx. 2 hours with one intermission
Though times may seem crazy right now, the early 2000s were a doozy, as well! The economy was down the tubes and many areas in America were feeling it. Jobs seemed to be disappearing and everyone was replaceable, whether it be by a machine or someone willing to do the job for less pay. Everyman Theatre’s latest offering, Sweat, by Lynn Nottage (their fourth Nottage produced work), Directed by Vincent Lancisi, gives us a peek into one community as their security and way of life seem to be slipping from their fingers and there are no easy answers.
Sweat is a Pulitzer winning play by Lynn Nottage and centers around the working-class of Reading, Pennsylvania. It bounces back and forth between 2000 and 2008 and concerns itself with three longtime friends, Cynthia, Tracey, and Jessie, who have worked at the same factory for years. The economy being what it is, there are fears that the factory is laying people off and even a possibility of it closing its doors for good. Suddenly job security is taken away and the characters have no idea what to do with this new feeling except express disbelief. Two of the friends, Cynthia a black woman and Tracey a white woman, apply for the same management job and Cynthia lands it, perplexing Tracey, who has a few years of experience on Cynthia. Soon, the company moves jobs to Mexico, the trade union goes on strike and the workers are locked out of the factory, putting Cynthia in a hard position. The new hierarchy of management vs. workers begins to put a strain on the friends, while racial issues widen the already growing gap, as well.
I’ve got to admit. I’ve seen a few Lynn Nottage plays and… I can’t say that I’m a fan. It’s not because the stories aren’t moving or the performances were poor, but… the script. Sweat seems to be trying too hard for some reason. The dialogue makes the very able actors seem scripted and unnatural, for some. I just can’t seem to get invested in any of the characters of a Nottage piece, as much as I want to be. Ensemble pieces are hard to write, I’m sure, but Nottage seems to have a bunch of smaller sub-plots going on and she seems to leave characters hanging with no real resolutions. If she stuck to one or two plots, she might be more successful in fleshing out the characters, who have so much potential, a little more. I will say, the tension of this piece does come through, such as the racial issues and union vs. non-union folks, so, there are some highlights. That’s not to say her writing is bad, but, she could put more time into some of her characters. However, check it out and judge for yourself!
Daniel Ettinger has, once again, outdone himself with this Set Design. It’s a masterpiece unto itself. With a fluid set revolving from a dank, blank area that is used as an office and low-income apartments to the lavish but cozy neighborhood bar, this Set Design is superb. The attention to detail is not to be missed and Ettinger is to be heartily applauded for his work on this production.
Working in tandem with Ettinger’s Set Design, Lighting Design by Harold F. Burgess II and and Sound Design by C. Andrew Mayer are impeccable. Setting just the right moods for each scene and adding emotion and just the right amount of intensity to the piece rather than drawing attention from the action, make Burgess’ and Mayer’s work flawless and adds value to this production, in general. Kudos to them for jobs very well done.
Costume Design by David Burdick is spot on and his presentation of the first decade of the 21st century is stellar. Not only a general style, but a specific, blue-collar style shines through in Burdick’s design putting the audience right smack dab in the middle of the time setting and adding a sense of authenticity to the entire piece.
Vincent M. Lancisi, Founding Artistic Director of Everyman Theatre, takes the helm of this production and he certainly seems to have a solid grasp of the story and each character. His staging is impeccable and the pacing is near perfect. His vision is apparent and his casting is superb, working with resident company members and non-members, pulling together a cast that has a natural chemistry and understanding of their characters. The subject matter is delicate but Lancisi takes it and presents it in a way that’s easy to follow and entertaining, all the while making the audience think about the trials and tribulations of folks who may be living these same scenarios right at this moment. Kudos to Lancisi for an exquisite job.
Moving on to the performance aspect of this production, Jason B. McIntosh portrays Evan, the parole officer and though he is believable he comes off as scripted and stiff at times. He only has two scenes at the beginning and end of the play, and most of the problem may be the dialogue, but he manages the short stage time he has nicely.
Vaughn Ryan Midder portrays Chris, the young man who has dreams of getting off the factory floor by going to school, and Matthew Alan Ward takes on the role of Jason, his close, longtime friend who seems content on the factory floor, but still has big dreams with the money he could possibly make. Both of these actors are quite able and work well with and off of each other, giving 100% effort to their roles. However, Ward does seem a bit forced in his role and uncomfortable with the dialogue… at first. As the production moves along, he gets more comfortable but there’s still a certain stiffness in his delivery, but, again, this could very well be Nottage’s dialogue itself. Stronger of the young duo is Midder, who plays his role with an authenticity that shows he certainly has a good grasp on his character and is comfortable in his actions and delivery.
JaBen Early plays, Brucie, the out-of-work partner of Cynthia, who has resorted to dope to get by, but is seemingly trying to get back on track. Early seems to have a good understanding of this character and plays him confidently, but I just don’t buy that this character is a dope feign. Once again, I don’t think I can blame the actor for this… it’s Nottage’s writing or director’s decision. It’s mentioned repeatedly that this character, Brucie, is on dope, but it’s not really presented in the dialogue or in the action and portrayal. I can tell Early is a damn fine actor, but in this role, unfortunately, it doesn’t come across so clearly. Alejandro Ruiz, however, as Oscar, they Latino barback who just wants to get ahead in life and work, is more of a character one can invest in. He means no harm, but is accused of things for which he is not responsible. Ruiz plays the role smoothly and unassuming which is absolutely required for this character. His delivery is natural and his presence is strong, making for a wonderful performance.
In this production, we are treated to resident company actors and highlights, the incomparable Dawn Ursula, Deborah Hazlett, and Megan Anderson. These ladies never cease to amaze and impress. Ursula, as the level-headed Cynthia excels in this role as she gives us just the right amount of emotion to portray the conflict of management vs. friendship all while dealing with an out-of-work partner and maturing son. Though, it takes a minute to ease into Ursula’s performance (she starts off a bit rigid and deliberate as opposed to natural), 15 minutes in, you get her groove and it’s smooth sailing from then on. She has a tight grasp on this character and portrays her beautifully. Hazlett, as the hot-headed, content Tracey gives a stellar performance as a woman who is not so much narrow-minded as she is set in her ways, but can definitely come off as narrow-minded. Her delivery and stage presence is authentic and her understanding of this character and her trials and tribulations is very apparent. Anderson’s take on Jessie is superb and her usual authenticity shines through in this role. Anderson is quite comfortable in this role and she has a certain appreciation for her character, playing her with a perfect blend of dignity and spitfire. All of these actors have an impeccable chemistry and work well with and off of each other. All three should be applauded for their work in this poignant, important piece.
A definite standout in this production is Kurt Rhoads, who takes on the role of Stan, the laid-back, impartial (most of the time) bartender of the small neighborhood bar. Rhoads’ performance is flawless with his booming, but soothing voice, and easy delivery of his dialogue. He has a deep understanding of this character and plays him with a rough-around-the-edges exterior but an empathetic and compassionate interior. Somehow I connect with this character (one of the only ones I truly connect with, really) and see him as the wise, worldly old uncle at a family gathering, which is what a bartender of a neighborhood bar should be, anyway. Rhoads gets this character and his performance is spot on. He is one to watch and should be commended and praised for this marvelous performance.
Final thought… Sweat is a serious, in-depth look at middle-class America and its inhabitants. Concentrating on the trials between family, friends, and work, and the fine line that separates these parts of life, Sweat gives us a peek into a blue-collar town in Northeast America and looks beyond skin color and other surface differences to express the kinship and ideals of the characters within. With very real and hard situations, Sweat manages, to tell a story that is relatable to many. Speaking of the story… it’s good. It’s very good but, unfortunately, Lynn Nottage’s script doesn’t do it justice. It seems to be trying too hard to present this middle-class group of people and the dialogue ends up sounding forced and phony, taking away from the other not-so-unfortunate parts. Overall, the production value is top notch and the performances are on point. It’s another bona fide success for Everyman Theatre and, forgiving the script and dialogue, it’s definitely worth checking out!
This is what I thought of Everyman Theatre’s production of Sweat… What did you think? Please feel free to leave a comment!
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