By Jason Crawford Samios-Uy
Running Time: Approx. 90 minutes with no intermission
No matter how you cut it, family is like nothing else in the world. Each family is crazy in their own way and we never know what another group of related people are doing behind closed doors, but Baltimore Center Stage’s latest offering, Rickard & Jane & Dick & Sally by Noah Diaz, Directed by Taylor Reynolds, gives us a glimpse into the lives of a seemingly ordinary family with extraordinary circumstances. With a Eugene O’Neill meets Tennessee Williams feel, it makes for an engaging and entertaining evening at the theatre.
In a nutshell, Richard & Jane & Dick & Sally concerns itself with a seemingly normal family headed by a widowed father, Richard, who’s trying to keep everything in control while raising two young kids, Dick and Sally, one of whom is deaf, and who seems to be stuck in the past and tradition, so much so as to living in his dead parents’ house. Enter the sister, Jane, who left to make her own way and is bringing in outside influences that shake the fragile hold Richard has on his life and family. Throw in a family pet who just wants to belong and bits and pieces from the old Fun with Dick and Jane book series, you have a story that is funny, poignant, irritating, and caring all at once… you know, all the feelings you get with family.
There is a lot going on in this completely original, fresh 90-minute roller coaster of humor, sadness, realism, and absurdity, but, believe me, it’s well worth it. It’s heavy, make no mistake. You will have a whirlwind of emotion and it’s a rare story that almost everyone on this earth can relate making it a phenomenal piece of theatre. Diaz gives us a lot of information in this short time, touching on the bonds we have with people both present and absent, as well as those who may not be human, and it’s all played out on a phenomenal set designed by Stephanie Osin Cohen. Her use of levels and open space is spot on and moves the story along beautifully and effectively.
Along with Cohen’s Scenic Design, Reza Behjat’s Lighting and Frederick Kennedy’s Sound work in tandem to transport the audience to various times and locations flawlessly. Kennedy’s efforts are especially noticeable as the sound and action move along together, hand in hand, sometimes unsettling so, with a rich original score that hits you, when you’re not expecting it, masked in an upbeat, bright sound with a creepy undertone. Hats off to Kennedy for his work.
Costume Design by Alicia J. Austin is spot on and effective adding to the story and not distracting from it, as should be. Each character has his or her own style and Austin’s attention to detail is to be commended.
Direction by Taylor Reynolds is superb as she presents this story in snapshots and vignettes with smooth transitions that are easy to follow and she seems to have a deep comprehension of this text and a clear vision. Taylor’s understanding of the more linear parts contrasting with the surreal parts of this text is clear and her presentation of both is clean and concise making for a solid showing.
Performance-wise, highlights of this production are Noah Averbach-Katz as Spot and Treshelle Edmond as Sally. Edmond pulls us in with her character and we’re rooting for her from the moment she sets foot on stage playing Sally with an innocence and coming-of-age that is impeccably balanced. Averbach-Katz as the family pet, gives such a natural delivery of the text and completely embodies this role, he has the opportunity to outshine the rest of this ensemble, but does not, making his performance an absolute standout. He is s certainly one to watch in this production.
Neimah Djourabchi takes on the role Richard and Michelle Beck tackles the role of Jane, the estranged, but loving brother and sister who are trying to reconcile the past, present, and future with each other. Djourabchi, at first, seems scripted and stiff, but it’s clear this character choice is the genius of his character choice. Once you get into the rhythm of his performance, you realize it’s a beautiful, poignant performance that makes you feel for the character. In the same vein, Beck portrays Jane as a hard-nosed bitch at first, but then the gradual transition Beck masterfully undergoes is brilliant. Her character’s at-arms-length attitude slowly strips away and she ends up being a character to which the audience can relate. Kudos to both for strong, solid performances.
Jay Cobián as Dick Jr., at times, is hard to connect with as he seems to be playing this character over the top, but his handling of this character is careful enough that you feel for him and want to help and Vanessa Kai as Mother is elegant and purposeful as she glides across the stage seemingly effortlessly.
Final Thought… Richard & Jane & Dick & Sally is a poignant, thoughtful look at a family in crisis and it shows the difficulty of moving on as well as the clash of the old and the new. I cried. It’s not something I do often, but I did with this one. Don’t get me wrong, I’m not a hard ass and I can get all the feels, but I pride myself on being able to keep my composure, but this is the first piece in a long time that had me straight up crying in my seat. The performances are spot on, the Set Design, Lighting Design, and Sound Design all enhance the story and the staging is on point. This is seriously not a production you want to miss this season so get your tickets now.
This is what I thought of Baltimore Center Stage’s production of Richard & Jane & Dick & Sally… What did you think? Please feel free to leave a comment!
Richard & Jane & Dick & Sally will play through March 1 at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets, call the box office at 410-332-0033 or you can purchase them online.
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Some could argue that adventure is in our nature. We want to know what’s around the bend and some even see it as a duty. Years after we became an independent nation, there were still many areas of this vast land that were uncharted but a handful of brave people decided it needed to be done. One of those stories is told in 
Scenic Design by Stephanie Osin Cohen is more of an insinuation and it works beautifully for this piece. Cohen uses a huge, beautifully painted backdrop of a canyon that transports the audience to the natural wonder and glory in which this story takes place and the use of simple but effective props and set pieces helps tell the story and keep it moving along. Just as with the Scenic Design, Lighting Design by Stacey Derosier and Sound Design by Elisheba Ittoop work in tandem to set the moods of each scene and the attention to detail from both Derosier and Ittoop transforms the space into the isolated, uncharted area and puts the audience smack-dab in the middle of it all. Kudos to all, Cohen, Derosier, and Ittoop for their splendid efforts for this production.
Taking the helm of this production is Director Jenny Koons, who clearly has a deep comprehension of this material and has presented a polished production that is to be commended. Her staging is near flawless and the pacing is spot on, especially in the action bits where the group of adventurers are bravely forging the uncharted waters. The challenge of having women represent men may not be as challenging as it was in the past, but there’s still a certain challenge and Koons has stepped up to the plate and knocks it out of the park. With her guidance and understanding of the text, she presents this story with a seriousness that enhances the humor that’s weaved throughout making for a charming and enlightening evening of theatre. Koons should be applauded for her work on this production.
As for the performance aspect of this production, this entire ensemble brings this story to life with dedication and 100% effort making for a clean, polished production. They all have a tight grasp on their characters and make them their own with authentic portrayals and natural delivery. They all make the intense physicality of the staging seem effortless and all should be applauded and commended for their work on this production. Kai Heath as Hall, the group’s main cartographer with an air of optimism, and Sara Porkalob as Hawkins, the crew’s curmudgeon but caring cook, bring much of the humor with their curmudgeon but faithful, caring characters. Their comedic timing is splendid and they have a great chemistry between them for being such contrasting characters and both have a strong presence on stage making for delightful performances.
Ceci Fernandez as John Wesley Powell, the confident and optimistic leader of this expedition, and though her portrayal has a tendency to go over the top, at times, Fernandez has a tight grasp on what this man is about. Aside from the camp, which she is good at, she plays Powell with a balance of sincerity and comedy, that enhances the story and keeps it interesting and she should be commended for her efforts. In the same vein, Jessica Ranville tackles the role of William Dunn, the more practical and skeptical crew member who loses faith in the expedition that causes rifts. Ranville knows this character and understands the material well making for a praise-worthy performance overall. Her chemistry with the ensemble is top-notch and moves the action and story along nicely. Along with Powell, Dunn seems to be the heart of this expedition and both Fernandez and Ranville clearly understand this and should be applauded for their strong, solid performances.
A standout in this production is Natalie Woolams-Torres as Frank Goodman/Mr. Asa. As one of the funnier characters in this piece, Woolams-Torres plays Frank Goodman brilliantly. Her grasp of the text and the comedy of this role is clear and her portrayal and timing is near flawless. What makes her a standout is the authenticity she brings to the role with a natural delivery of the text and understanding of the character. Hats off to Woolams-Torres for a superb performance.
The Book by Quiara Alegria Hudes flows nicely and keeps the chronology of a few days with natural, unforced dialogue. The smooth timeline makes it easy to follow and the dialogue keeps the action engaging. Music by Erin McKeown is appealing and contemporary with good hooks that will have you humming as you leave the theater. Great arrangements and an apt ensemble enhances an already great score. Lyrics by both Hudes and McKeown are good, in general, but are a bit too on the nose for my liking at times. Some of the lyrics could have been regular dialogue, but we would have missed out on the beautiful music McKeown has created, so, it’s a compromise, in a way. Overall, the entire piece, Book, Music, and Lyrics is constructed splendidly and is an important, polished, work that makes the audience think, and that can never be a bad thing in theatre.
Choreography by Alex Perez is frenetic, but once you get used to the style, it begins to make more sense. This piece doesn’t strike me as a piece that needs heavy choreography, but Perez seems to be trying to make the best of it, to a fault. Simply put, there’s just too much going on at one time in certain parts of this production and the ensemble, doesn’t seem 100% comfortable with the choreography choices, but… as it goes in theatre, not everyone is a dancer. However, this isn’t to say Perez’s work was bad, because it wasn’t, maybe just misplaced. I’m wondering what a less choreographed production would look like – not void of choreography (it’s a musical for God’s sake), but maybe minimal choreography might be more beneficial.
Music Direction by Tiffany Underwood-Holmes is impeccable. Working with an already wonderful score, Underwood-Holmes has presented this material beautifully. She has a tight grasp on the modern style of this piece and has guided her musicians and ensemble confidently into superb performances and presentations of this score. The orchestra should be applauded as well, for their efforts in bringing this story to life through the music. The orchestra is consisted of: Daphne Benichou (Viola); Zack Branch (Basses); Frank Carrol (Drums/Percussion); Soojin Chang (Violin); Mary Ann Perkel (Cello); Diego Retana (Guitars); and Tiffany Underwood-Holmes (Conductor/Keyboards). Hats off to Underwood-Holmes for a job quite well done.
To name a few, Michael Mediros as Mo, a gay veteran, and Raphael Nash Thompson as Higgins, his long-time lover and companion are a sort of comedic relief, and boy, do they know their roles. Both actors have a tight grasp on their characters and the humor that is required of them. Mediros’ portrayal of Mo, a gruff Vietnam veteran with a heart of gold, is authentic and charming making him likable from the start. In the same vein, Thompson’s portrayal of Higgins, an equally gruff, old-timer with a big heart, is also believable and his stage presence is strong. Both are confident in their roles and their chemistry makes the experience all the more authentic and both Mediros and Thompson are to be applauded for their work.
Ceasar F. Barajas takes on the charming role of Manuel, a gentlemen that Olivia and Beatriz happen to encounter on their journey who happens to sell tamales out of a cooler. Barajas makes this character absolutely likable and you feel for him instantly. He portrays the role with a delicacy and gentleness that pulls the audience in. He knows his character and the things he’s gone through and emotes that with every gesture and word. His vocal stylings are impressive, as well, especially his stylings of featured numbers, the reminiscing “Tamales” and the New Orlean’s inspired “The Dirtiest Dead.”
Lastly (but not least), Lorraine Velez takes on the role of Beatriz, the loving, if not flawed mother of Olivia, who is trying to do the best she can with her circumstances and she is the standout in this production.. At first glance, you might think you recognize Lorraine Velez… I most certainly did. Being a huge fan of the television show Dexter, my eyebrow definitely raised my eyebrow, but… after a closer look at the program, I realized I wasn’t looking at the actress who played one of my favorite characters on one of my favorite television shows, but… I was looking at her twin sister and, I’ve got to say, I’m just as enthralled with Lorainne Velez as I was with her sister a few years back. Velez can certainly carry her own and she plays this role divinely and skillfully. From the moment she walks onto the stage, she becomes this woman and doesn’t falter once. She’s confident and comfortable in this role and has no hesitation in any part of her performance. Her delivery of the dialogue is natural and authentic and every move she makes just makes this character more believable. When it comes to vocals, Velez does not disappoint. Her performances of her featured numbers such as the opening “(Prayer) Lioness” is inspiring, “Over My Shoulder,” is thoughtful, and the fun, energetic “Dance With Me” will have you toe tapping at your seat. Beatriz is a tough character in the way that you don’t know if you like her or dislike her, but you seem to be rooting for her and Velez has this understanding and portrays her near perfectly.
Briefly, Indecent is a historical play with music about a playwright, 
Set Design by Jack Magaw is splendid and he uses his space wisely. Looking more like the backstage of a theatre, which it should, it complements the story beautifully. Using set pieces to present different locales instead of changing the space makes for smooth transitions and doesn’t interfere with the action and staging of the production. Kudos to Magaw for a wonderful design. Running in tandem with Magaw’s design is a terrific Lighting Design by Josh Epstein that blends nicely with the production as a whole and precisely sets the mood for each scene with an overall dim look with appropriate splashes of light and emphasis.
On the performance side, every single member of this ensemble gives a marvelous performance. The chemistry is fantastic and they work well with and off of each other. Victor Raider-Wexler and Susan Rome take on the “elder” roles and Raider-Wexler makes you instantly feel at ease with his smooth, clear delivery of the material and his embodiment of each character he plays such as Otto, the first producer of God of Vengeance. In the same vein, Susan Rome is brilliant in the other “elder” roles she takes on. She portrays her characters with a certain gracefulness one would expect an experienced actor to have and she transitions through her various characters seamlessly. Both Raider-Wexler and Rome give strong, confident performances that are a pleasure to experience.
Two of the folks we see most are Susan Lynskey as The Middle/Halina and Emily Shackelford as The Ingenue/Chana. Lynskey has a great command of the stage and completely embodies her character. She plays her roles with confidence and emotes the no-holds-barred personality of them, making for a striking, emotional performance. Alike, Shackelford holds her own and portrays her characters with just the right amount of gusto and calm. These two actresses have a pristine chemistry that makes the roles work so well. It’s impressive because of the various roles these two are playing but yet, the chemistry between them is consistent and absolute in the scenes that call for it. Kudos to both Lynskey and Shackleford for exquisite performances.
A definite highlight of this production is Ben Cherry as Lemml, or “Lou”, the Stage Manager of this troupe of actors. Cherry, from the beginning, makes this charming, simple character loveable. You can’t help but get a warm feeling when he speaks and the way he plays this character makes you think he is just the nice guy next door. The character itself is amazing because he’s supposed to be a simple tailor from a small town but he seems to be the only one, among more sophisticated, scholarly folks, who understands the beauty of this new, brash play called God of Vengeance. Cherry plays him with just the correct amount of charm and childish naiveté that makes you just want to hug him and protect him. The authenticity in his portrayal makes it an impeccable performance.
Finally, I would consider this a play with music and giving standout performances are The Musicians, John Milosich, Maryn Shaw, Alexander Sovronsky, with Sovronsky being the Music Director and, Composer of Original Music. These folks are seriously singing for their supper but they do it flawlessly. Their impressive technique and talent on their musical instruments add so much value to this production and they are well-rehearsed and polished. Though all of ensemble take on double, even triple duty, with various roles, there’s just that extra bit for Milosich, Shaw, and Sovronsky by adding in musical instruments and these three step up to the challenge and absolutely succeed. Kudos and commendations to these fine musicians and their efforts.
King of the Yees concerns itself with Lauren Yee, a young-ish playwright who is using her father’s hall to rehearse her newest piece that happens to be about her father, Larry Yee, who has been an important figure in the Yee Family Association, a strictly male-only organization. This association seems to be outdated and somewhat obsolete but has been around for over a hundred years, forming soon after the California Gold Rush. Larry Yee goes missing and Lauren must navigate through San Francisco’s Chinatown and immerse herself in a world with which she is familiar and unfamiliar all at the same time. Through both hilarious and heartbreaking scenes, Lauren learns about her heritage and the true meaning of being a Yee.
Lighting Design by Jessica Trundy and Sound Design by Brendan Patrick Hogan and Alex Hawthorn work in tandem to add a certain energy to the production. Trundy’s superb design incorporates isolated lighting as well as moving light at appropriate times that set the mood for each scene and assist in presenting this story. Working with Trundy’s design, Hogan and Hawthorn’s Sound Design is wonderful, using both traditional Chinese compositions as well as modern dance music that keeps the audience on their toes. The designs work hand in hand to create a world that moves this production along beautifully and helps rather than hinders the presentation of this story.
Moving on to the performance aspect of this production, Khanh Doan takes on the role of Lauren Yee, the woman caught in between generations, cultures, and traditions. Doan gives a strong, authentic performance as a woman on the brink of the past and the future. He comprehension of this character is quite apparent, and she plays her to the hilt. Pretty much the straight man amongst the comedy, Doan holds her own and is comfortable and confident in this role. With the help of the real Lauren Yee’s brilliant writing, Doan is delivers the dialogue effortlessly and brings you into the story of the Yees.
The standout in this production is, hands down, Stan Egi as Larry Yee. His energy, authenticity, and likeable portrayal are heartwarming and, in my case, very relatable. He understands this character who walks a fine line by knowing his culture and ancestry but also living in the modern world. This character is welcoming and humorous and Egi gives an exceptional showing of this jovial character. His comedic timing is spot on and mixes well and just at the right times with his more poignant scenes. He absolutely embodies this character and gives a strong, confident performance that you don’t want ot miss. He is certainly one to watch in this production.
It’s likely that we’ve all heard of Motown Records, RCA, Atlantic, A&M, and all the other big names in the music business, but what about the smaller labels that gave us the classics we know and love today? Unbeknownst to many, small companies like Sun Records, Chess Records, and Stax Record Co. have given us numerous hits and given starts to such legendary performers such as Elvis Presley, Muddy Waters, Otis Redding, Isaac Hayes, and countless others, but we usually don’t think about where these folks started. 
In a nutshell, SOUL the Stax Musical concerns itself with the rise and fall of Stax Record Company and the evolution of American soul music. It begins with a brother and sister team, Jim Steward and Estelle Axton, who combined the first two letters of each of their last names to form Stax Record Company. It touches on the careers of many well-known artists such as Otis Redding, Isaac Hayes, Sam & Dave, and others who started their long, illustrious careers at the small label. It also tells of how the music business isn’t all about the music, sometimes, and bad deals, novice businessmen, and egos get in the way of the magic. Every good thing must come to an end whether we like it or not and this is not only a history of soul music but also a cautionary tale of the business part of show business.
Scenic Design by David Gallo is intelligent and practical adding value to this production. Using a unit set with set pieces coming in and out, create each space perfectly and seamlessly in this fast paced piece. Though in the background, the orchestra is presented nicely and they are noticeable but cleverly out of the way of the action. A simple looking set, it allows for ease of entrances and exits of the actors and helps tell the story in an interesting and engaging way.
Since this piece is all about the music, Music Supervisor and Musical Director Rahn Coleman is to be commended for his fantastic direction. The tunes are recognizable and folks are familiar with most of them so it can be tricky not to mess with the music so much, but, wisely, Coleman has decided to stick to the original arrangements and the audience couldn’t have been more entertained and pleased. It’s worth mentioning the outstanding band consisting of Jared Denhard (Trombone), DeAnte Haggerty-Willis (Guitar), Matt Kruft (Guitar), Todd Harrison (Drums), Fred Irby, III (Trumpet/Flugelhorn), Winston Philip (Keyboard), Mark Russell (Bass), and Ed Walters (Saxophone/Flute). These folks hit the nail on the head when it came to performing the music of this energized, delving music and they deserve many kudos for their efforts for this production.
To go along with music being a main component of this production, Choreographer Chase Brock also gives us high energy, brilliant, and engaging choreography that is simply a joy to watch and is actually infectious, causing me to tap my foot along with the classics I grew up hearing. I found myself looking forward to and waiting with anticipation for the next choreographed number and I the dancers themselves were tight and well-rehearsed adding great value and vitality to this production.
There’s an old adage that goes something like “behind every great man is a great woman” and there is no exception in this story. Mary Jo Mecca takes on the role of Estelle Axton, co-founder of Stax Record Company and the logical thinker of the crew, and Anastacia McCleskey tackles the role of Deanie Parker, dedicated employee and peace-keeper of sorts. Mecca gives an authentic and poignant performance as Estelle Axton and plays this character as rough-around-the-edges but it’s easy to see she has a heart of gold and cares deeply for her brother and business partner, Jim. Mecca is able to portray this character with the perfect blend of acidity and charm that makes her a multifaceted, but likeable character. Also, her vocal performance is spot on, especially in her featured number, “Your Good Thing (Is About to End)” which she duets with an able and resonating Tasha Taylor (as Mable John).
Rounding out this uber-talened and able ensemble is Harrison White as Rufus Thomas, Ricky Fante as Otis Redding, and Boise Holmes as Isaac Hayes. These three actors couldn’t be more on point with not only their performances but their look and representation of these well-known soul singers of a bygone era. Harrison’s energy is relentless and remarkable as he sings and dances his way through is featured numbers such as “Walking the Dog,” “Can Your Monkey Do the Dog,” and the party staple “Do the Funky Chicken.” He also has a heartwarming duet with a velvet-voiced Allison Semmes (as Carla Thomas), “Cause I Love You,” which gives us a taste of the good music to come in this production.
Ricky Fante takes on the persona of the famous Otis Redding and shines bright not only in his portrayal but in his vocals in such numbers as “These Arms of Mine,” “Respect,” and the ever-popular smooth sounding “(Sittin’ on) The Dock of the Bay.” Pure magic.
Final thought… SOUL the Stax Musical at Baltimore Center Stage is a high energy, nostalgic look at the rise and fall of a special time and place that brought us some of the most memorable and meaningful music in American history. It not only entertains but teaches us a little about the music business and its darker side where it’s not just about the music, no matter how the creators want it to be. The performances are spot on, the choreography is inspiring, and the story is one that has been wanting and needed to be told and it is told with love and care. Whether you’re a fan of soul music or just discovering it, you do not want to miss this production this season. Get your tickets as fast as you can!
In a nutshell, George Orwell’s Animal Farm uses animals and the setting of a farm to explore how communism and absolute power effect different classes of people and how something starts off as good for the whole ends up diluted and people (or pigs) get power hungry and human (or animal) nature takes over to turn it into something bad. For instance, those in charge create the “rules” but change them to suit their needs and actions, as needed. As the old adage goes, “absolute power corrupts absolutely.” And when a people blindly follow, they end up too deep in a situation to change it… or to feel as though they can change it.
Costume Design by Izumi Inabi is a particular highlight of this production. Inabi has taken on the challenge of a production filled with humans playing animals and has risen to that challenge. Instead of dressing the actors head to toe as animals, Inabi has cleverly and creatively built costumes to insinuate animals, effectively, without bogging down the actors in heavy material, giving them room to work. More like puppetry, the costumes wisely consist of a base white overall while adding animal head puppets to portray each animal character and this also allows the members of this small ensemble to switch between animal characters easily and seamlessly. Overall, Costume Design is top notch and Inabi is to be applauded and commended for her impeccable design.
It’s worth mentioning that Ian Wooldridge’s adaptation is spot on. Being one of Orwell’s shorter novels, Wooldridge manages to cover all the main points without omitting or adding too much. In a cool 90 minutes, he manages to tell the story in its entirety. He also captures the oppression and blind loyalty in his text, as well as the change made of those in power and he writes in such a way that is easy to follow making this (I don’t mind saying) one of the best adaptations of a novel I’ve seen in quite awhile.
Napoleon, played by Melvin Abslon and Squealer, portrayed by Tiffany Rachelle Stewart, are the main pigs in charge of Animal Farm (the name given to the farm after the exile of Mr. Jones) and both of these actors play their characters to the hilt. They must be doing a bang up job because I find myself absolutely despising these two at the conclusion. Abslon (who adeptly takes on various roles, including that of a preaching crow named Moses) completely embodies the role of Napoleon and plays him with a certain dignity and grace one might not expect of a pig, but also has such a great, booming stage presence, this character, the leader, fits him perfectly.
While Abslon is large and in charge, Tiffany Rachelle Stewart takes on the role of what seems to be the #2 pig in charge, keeping tabs on everyone and making sure everything runs smoothly… in accordance to what the pigs want. While Stewart does a fantastic job as the voice box for the leader, I found her portrayal a bit annoying and though the character is written as an annoyance, Stewart played this up more so than it should be. Her jerky movements and idiosyncratic noises throughout the production just grated on the nerves, but, in her defense, it works to make her character more intolerable. Overall, her performance is effective, if not aggravating.
Brendan Tilley as Snowball, makes a great showing and gives a strong performance, as a betrayed pig who is exiled, just as the farmer was, and is turned into public enemy #1. Tilley’s stature helps him create a character with a big presence and one of authority and he has a good grasp on the necessity of this character and his place in the story and this makes for a commendable performance. Along those same lines, Jonathan Gillard Daly, who tackles the role of Benjamin, the old, curmudgeon donkey who questions the actions of the powers that be, knows exactly what his character is about and how he fits into the story. Daly takes on various roles (namely that of the humans in this piece), and does a splendid job transforming from his animal characters to his human characters. He is confident and comfortable on the stage and gives Benjamin a certain sense of balance between the clever pigs in charge and the workers (of whom he is one of the few who can read well). Both Tilley and Daly add value to this production with their character work and understanding of the material.
Deborah Staples as Clover, the young mare (though in the novel, she’s a bit older) and companion to Boxer, and Stephanie Weeks as Major, the former leader of the pigs, and Boxer, a work horse, are definite highlights of this production of Animal Farm. Staples plays Clover as an unsure character who knows something is awry, but also unsure of what to do about it. Much like many people throughout time who stood by out of fear or ignorance when things were going bad. Staples completely embodies this character and it is easy to connect with her as I would venture to say we’ve all been in her shoes at one time or another. She’s comfortable on stage and has a strong presence making for a stellar performance.
The other standout, Stephanie Meeks, starts off with a bang as Old Major, the boar who is the leader of not only the pigs, but all the animals on the farm and her monologue rallying the animals into rebellion is inspiring. You can see in her eyes the emotion and the heartache in her performance, especially when she begins the hymn “Beasts of England,” with a very impressive low, guttural alto that fits this character and the mood perfectly. Meeks’ turn as Boxer is just as impressive as she has a full grasp on this character and exudes the blind loyalty that leads to pretty much nowhere. It’s frustrating for the audience to see but she also emits a certain hope in her performance that gives the audience a light at the end of a tunnel that makes for an outstanding performance.
Skeleton Crew is one part of Dominique Morisseau’s Detroit Project that includes this play as well as Detroit ’67 and Paradise Blue. This is a truly American play that exhibits an American experience as the country was on the verge of an economic collapse and deals with a group of people trapped in a system that seems to force their hand but also presents the choices those same people can make. The story is relatable and relevant as are the characters within this story and the dialogue is authentic making this an intriguing, engrossing evening of theatre.
Sanchez’s design works in perfect tandem with a Lighting Design by Burke Brown and Sound Design by Darron L. West giving us a full and immersive production. Brown manages to set the mood and time of each scene with subtle shifts of light from within the small breakroom as well as from the insinuated factory beyond. His use of jolting flashes of light during particular points and transitions in the production are effective and work well with the piece as a whole. Along with Brown’s design, Darron L. West’s superb Sound Design helps put the audience smack dab in the middle of this auto factory with muted background sounds of an operational facility. The hum and rhythm of the machines are always present and are almost like the heartbeat of the production but also adds that extra bit of authenticity.
Moving on to the performance aspect of Skeleton Crew, we meet Shanita, portrayed by an able Brittany Bellizeare. Shanita is a young mother-to-be who is optimistic, hard-working and proud of her work and wants what’s best for the city she lives in. Belllizeare shines in this role and it’s as if it was written just for her. She’s comfortable with this character and has a good understanding of what she’s going through and what she has to deal with as a single, pregnant young woman trying to make her way in the world. Her grasp of this character is quite apparent, especially in her monologue about how her character feels like she’s making a difference with her part in creating automobiles and how she’s a part of the lives of people who purchase and drive these vehicles. Aside from sounding a little scripted, at times, Bellizeare gives a strong, confident performance.
Gabriel Lawrence takes on the role of Dez, the young, rough-around-the-edges guy who has a slight problem with authority and big dreams of striking out on his own. Lawrence gives a brilliant performance as this character and seems to understand the load this character carries on his shoulders every day as a young, middle-class, African-American male. Lawrence also manages to blend that rough exterior with a man who is, deep down, a good soul. The way he portrays him with his fellow workers in the breakroom as opposed to the way he portrays the character with management is a good, definite switch that makes this character interesting.
Sekou Laidlow is a highlight in this production as he tackles the role of Reggie, the Supervisor who worked his way up the ranks at the factory but has close ties to the workers and absolutely understands their plights and honestly wants what’s best for everyone. Laidlow starts off a little stiff, but quickly starts to ease into his character to give a natural portrayal. Laidlow understands his character walks the very thin line between management and employees but he plays this balance beautifully. We learn of this character’s background and relationship with the other characters and Laidlow manages to emote the conflict within this character of what he thinks is right and black and white of company policy. He’s got a strong presence and natural flair that makes his performance a definite highlight.
Last, but certainly not least, we have Stephanie Berry, who takes on the role of Faye, the hard-as-nails old-timer on the line who happens to be the union representative and seems to have seen it all and knows how to survive. Berry, hands down, is the standout in this production and completely embodies this character she is portraying. She pulls of a motherly persona, who wants to take care of those around her, as well as the loner persona who just wants to be left alone to take care of herself. That conflicting balance can be challenging to portray, but Berry does it with ease and confidence. The character of Faye is multi-faceted but Berry tackles her with gusto and is quite successful in her portrayal. Her presence is formidable and her chemistry with her castmates is superb. The poignancy in tandem with the roughness in her portrayal make this a beautiful performance and certainly one to watch.