Review: Detroit ’67 at The Strand Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 20 minutes with one intermission

Some of us are lucky to come from close knit families and they are important parts of our lives. Brothers and sisters the world over have a special bond, sometimes they like each other, sometimes they hate each other, sometimes they don’t understand each other, and sometimes they’re on the exact same page. If you are fortunate enough (or, at times, unfortunate enough) to have a sibling, you know they never cease to amaze whether it be for the good or for the bad. The Strand Theatre’s latest offering, Detroit ‘67 by Dominique Morisseau, Directed by Erin Riley gives us a glimpse into the lives of an African-American brother-sister relationship amidst the strife and change of late 60s Detroit. Part of a trilogy including Skelton Crew and Blue Paradise, Morisseau manages to capture the authenticity of these people and their times in both dialogue and storyline. With the addition of all the great music of the time from The Temptations to Mary Wells to Marvin Gay, this piece promotes a certain nostalgia that makes for a charming evening of theatre.

Shamire Casselle as Chelle and Mack Leamon as Sly. Credit: The Strand Theatre

Detroit ‘67, as the title states, concerns itself with happenings in Detroit, Michigan during the year 1967. Chelle and Lank, sister and brother, try to earn some extra money by opening up their basement as an after-hours joint and everything is running smoothly, if not under the legal radar. One evening, a hurt, broken woman with a mysterious past finds herself into Lank and Chelle’s home and lives and soon the brother and sister are arguing over more than after-hours “business.” Just as their bottled up feelings explode, so does Detroit and they find themselves stuck right in the middle of the Detroit riots of 1967.

Brian Douglas’ Set Design and David Cunningham’s Scenic Art is superb, to say the least. Walking into the theatre, one is transported to a basement of an average home in Detroit and the attention to detail is amazing. From the staircase leading to “upstairs” to the concrete façade on the back wall, including two highly placed windows, places the audience into the action and adds great value to the production. Douglas uses his intimate space wisely and Cunningham, with the help of the script, gives us little touches here and there such as an old painting of a 6 year old adds authenticity to the entire setting. Kudos to Douglas and Cunningham on jobs quite well done.

Lighting Design by Lana Riggins and Sound Design by Carlos Guillen are also stellar adding realism to the piece, as a whole. A good light and sound design are not very noticeable and do not take away from the action, but, instead, blend into the action and this is exactly what Riggins and Guillen have accomplished. The script calls for a hefty sound design as is, with music and songs from the era, but the added effects that are chosen fit in flawlessly and with the lights and sound working in tandem moving the story along, it makes for a well put-together design.

Rachel D. Reckling as Bunny. Credit: The Strand Theatre

When it comes to an overall look of a piece, this era, the 60s, is one of my favorites to experience. With so much fashion and cutting edge designs (for the time), costuming for this period can be daunting but Costume Design by Lori Travis hits the nail on the head. Each character seems to have stepped right out of a late 60s closet but all look totally natural in their threads. Finding period costuming for gentlemen isn’t necessarily easy, but it’s a little easier to find pants and shirts for guys than it is to find particular period styles for the ladies. However, Travis has done it in this piece, especially for the character of Bunny, who seems to be on top of the fashions of the day, and every outfit she appears in is on point. All of the costume choices made for this production are spot on and realistic adding a great deal of value to the entire production.

Erin Riley takes the helm of this production of Detroit ‘67 as Director and it’s clear she has a great comprehension of this piece and understands the material quite well. Her staging is terrific and her casting couldn’t have been better for this particular production. She has a good grasp on the message of family and compromise in this piece and presents it beautifully on this stage. Through her guidance and Morisseau’s script, it makes for a delightful, emotional evening of theatre with peaks and valleys that are required for a great show.

Betse Lyons as Caroline and Troy Jennings as Lank. Credit: The Strand Theatre

Moving on to the performance aspect of this piece, we being with Rachel D. Reckling as Bunny and Mack Leamon as Sly. Both of these actors know their characters and portray them genuinely with little flaw. Reckling is comfortable as Bunny, the fast-talking, quit witted go-to girl of the neighborhood. Though her lack of eye contact can be distracting at times, disconnecting her with her fellow cast mates, her performance, overall, is commendable. She gives just the right amount of attitude, sass, and compassion as required, making her a very likeable character. Leamon, too, is confidant and comfortable in his role as the laid back, helpful best friend and he completely embodies this character. He has a strong presence and gives a great showing making him a character to whom the audience wants to be pals and can relate.

Caroline, the mysterious outsider who has, by a strange fateful meeting, finds herself engrossed in the lives of Chelle and Lank, is played ably by Betse Lyons. Lyons does quite well in this role and seems to have a good grasp of what her character is going through. She portrays the beaten and broken Caroline beautifully, if not a little too timid. The character is afraid for herself and for her new friends but many times, it was hard to follow along with Lyons as she stuttered and mumbled her way through a lot of her lines. However, that’s not to say her performance was bad because it most certainly was not. She’s comfortable on stage and her presence is strong making for an admirable performance, overall.

A certain highlight of this production is Troy Jennings who tackles the role of Lank, a young man just trying to make his way in life who is tired of making ends meet through different odd jobs and wants something stable for himself and his family and friends. Jennings takes this part and makes it his own. He emotes the conflict in Lank and his ideas of what is right and wrong. His chemistry with his cast mates is natural and he moves and speaks with purpose delivering the dialogue as if he were simply holding a conversation, adding legitimacy to his performance, especially in his scenes with Shamire Casselle.

Speaking of Shamire Casselle, she is a standout in this piece as Chelle, the worrying, older sister who likes things the way they are and is resistant to change, but understands it’s inevitable. Casselle is superb in her portrayal of this character. Her ability to show the emotions of her character from happy to upset to angry is spot on. Right away, she is able to connect with her audience making her and endearing character. She gives a solid, robust, and charming performance that makes her one to watch. I’m looking forward to seeing more of Casselle’s work in the future.

Final thought… Detroit ‘67 is a nostalgic and poignant look at a bygone era when the music was great and people helped each other, when in need. Dominique Morisseau has crafted a beautiful piece incorporating humor, tenderness, high emotion, and humanity that crosses time and space. The story takes place in the late 60s and concerns itself with subjects of family, racial tensions, and blurred lines between the races, but it is still quite relevant today. The production is one of the best I’ve seen this season (so far) from the set, to the staging, to the performances, this is not a show you want to miss this season. Get your tickets now, while they last!

This is what I thought of The Strand Theatre’s production of Detroit ‘67… What did you think? Please feel free to leave a comment!

Detroit ‘67 will play through November 18 at The Strand Theatre, 5426 Harford Road, Baltimore, MD. For tickets, call the box office at 443-874-4917 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

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Review: Two Trains Running at Spotlighters Theatre

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours and 30 minutes with one intermission
August Wilson is a master in telling the everyday, slice-of-life stories of the average African-American community and his Pittsburg Cycle, a 10-play cycle of stories (mostly) out of Pittsburg, gives insight to the African-American experience during whole of the 20th century with one play touching on one decade in the century. With the recent popularity and critical acclaim for the film version of Fences, Wilson’s work has been brought to the forefront or, at least, has made a resurgence, which is warranted. Spotlighters Theatre’s latest offering, Two Trains Running, Directed by Fuzz Roark, with Set Design by Alan S. Zemla and Costumes by House of Bankard, touches on the late 1960s experience with authenticity and truthfulness that can only be found in a small neighborhood café with their regular crowd. This production is a great start to an exciting new season.
 

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Set Design by Alan S. Zemla for Two Trains Running at Spotlighters Theatre. Photo: Spotlighters Theatre / Shaelyn Jae Photography


With the intimate space at Spotlighters Theatre, some productions can be more difficult than others and sometimes a big show can feel stuffed into the space however, with the Set Design for this production of Two Trains Running, Alan S. Zemla has outdone himself. He used his space wisely, even with the four troublesome pillars holding the place up! Impressively, he used as much space as needed, but it did not feel cramped in any way. One corner for a counter, one corner for a window table and a jukebox, and one corner for the main entrance and front window while using the main stage for the main dining room worked out perfectly for this piece. It was an open design but not so open that the intimacy was lost. His choice of colors is spot with pinks and blues, which I imagine are remnants of an earlier era of bobbysocks and Elvis Presley that stuck around until the late 60s. Overall, the design is impressive, smart, and simple, working with the space and not against it. Kudos for a job well done.
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Linae Bullock and Troy Jennings. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Costumes by House of Bankard never disappoint and it’s the same for this production. Each era definitely has its own style and anytime a piece is hitting the cusp of a decade or era, it can be tricky. The late 1960s were flashy (paving the road for the outlandish 70s), but when you walked through a regular, blue-collar neighborhood, you didn’t see the avant garde fashions that were in the streets of New York City or Paris or Milan, but… just regular every day folks and House of Bankard does an admirable job with the wardrobes for these actors. You could see the differences in these characters by appearance alone and each costume fit each character beautifully from a café waitress, to the stylish proprietor of the café, to an elderly working-man, to the rich under-taker across the street. All costuming is appropriate and feels natural adding great value to the production.
Direction by Fuzz Roark is impeccable in this production. Roark really seems to have a great comprehension of this story and the characters and, though there is no major conflict or purpose, most days don’t and Roark guides these apt actors through a day as if we were actually sitting in the café with them, give the entire production an overall authenticity. Roark is experienced working in the round and the action was fluid. It’s a lengthy play, but it doesn’t feel lengthy because of the spot on pacing and, with the intimate space helping, the immersive feeling as if you are sitting at the table right next to these characters.
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Timothy Eric Andrews as West. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Moving into the performance aspect of this piece, it’s worth noting that every single actor in this small ensemble gives 100% effort and entirely embodies his or her character. Major kudos to the entire ensemble of this production of Two Trains Running.
Timothy Eric Andrews takes on the role of West, the very rich owner of the funeral home who seems to want what’s best for the neighborhood, but doesn’t hide the fact that whatever he does can benefit him, as well. Andrews has a very good look for this part and is confident in his role, if not more soft-spoken that I like, at times, but his character mannerisms are a good fit for this character.
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Linae Bullock and Aaron Hancock. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Taking on the role of mentally challenged Hambone, who is obsessed with getting his ham (which was payment for painting a fence a decade before) from the grocer across the street from the café, is played by Aaron Hancock who does a bang up job with this character. Totally believable and brave, Hancock treats this character delicately and gives a strong, authentic performance that makes you want to take him in his arms and protect him.
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Troy Jennings as Sterling Johnson. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Taking on the role of the young, kind of mixed up and searching ex-con, Sterling Johnson, is Troy Jennings, who gives an admirable performance. Though his performance is a bit too technical and stiff instead of fluid and natural, he still gives a confident, precise performance, and gives his all for this character. Sterling Johnson isn’t someone you know you can trust… at first, then he grows on you and this is exactly how Jennings played this character and it worked nicely. His chemistry with the rest of the cast is very good and jovial but when it comes to his scenes with Linae Bullock, who plays Risa is, things seem a bit scripted, but still believable and the two work well together.
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Linae Bullock as Rissa. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Linae Bullock is a standout in this production as Risa, the lone female character and only employee at the café. Her natural motion and delivery of her dialogue had me believing she was this character from the first time she walked on stage. The character is jaded, but underneath the hard exterior, she has big heart and wants to be loved and Bullock presented this near perfectly.
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Mack Leamon as Wolf. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Wolf, the neighborhood “numbers guy,” who is actually a likeable person, regardless of his not-so-legal choice of profession, is played by Mack Leamon who does a brilliant job with the role. He plays the character low-key, as required by one running on the outskirts of the law, and with a heart for the neighborhood and its inhabitants. Leamon doesn’t overplay the light conflict between Wolf and Sterling (whether it be because of Rissa or a change in the rules of the numbers game) making it believable.
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Tyrell Martin as Holloway. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Next, probably my favorite character and a highlight in this piece is Holloway, the down-home, common sense elderly regular who always has an anecdote or story for every situation, is played Tyrell Martin.  The only slight flaw is that Martin may be too young for this role. Appearance-wise, this may have been more successful in a bigger space, but in the intimate surroundings of Spotlighters, it just didn’t read as well as it should have. HOWEVER, that’s not to say Martin’s performance wasn’t spectacular, because it most certainly was! He has a good grasp of this character and his purpose and pulls it off beautifully. Aside from looking too young for the part, he even has the mannerisms and gestures of an elderly gentleman down pat. He fully embodies this role and makes me feel like he’s the good-natured uncle who you visit for a spell, just sitting on the stoop, talking about everything under the sun and watching the world go by.
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Louis B. Murray as Memphis Lee. Photo: Spotlighters Theatre / Shaelyn Jae Photography


Rounding out the small ensemble and a standout in this piece is Louis B. Murray who tackles the role of Memphis Lee, the proprietor of the small Pittsburg café, in which this piece takes place, known simply as Memphis Lee’s. Murray, who has experience with August Wilson works, is superb as the non-nonsense, old-timer who doesn’t seem to understand the generation of outspoken activists. Murray understands where this character is coming from and gives a confident, natural performance. He delivers August Wilson’s words with passion and intensity, when needed, as well as with a tenderness that is seeping just under the surface in this character. He, too, is someone to whom everyone can relate… like an older uncle or family friend who you don’t mind spending an hour or two with each week, just talking and learning. His chemistry with the rest of the ensemble is on point, as well, making for a strong, thoughtful performance.
Final thought… Two Trains Running is a poignant, relatable look at the African-American experience in America, told masterfully with a thoughtful script, good directing, and exquisite performances. The chemistry in the cast is strong and every actor has a good comprehension of what their characters are all about and how they fit in the story. As part of a 10-play cycle, this work stands alone and really puts you in the moment. Though there’s no major conflict, this piece works nicely as a “slice of life” piece where the audience is witness to every day goings on in a small café in Pittsburg and, because of the dialogue and situations, it’s still enthralling. This production is a great addition to the theatre season and you should get your tickets now!
This is what I thought of Spotlighters Theatre production of Two Trains Running… What did you think? Please feel free to leave a comment!
Two Trains Running will play through October 8 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, purchase them online.
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Review: Antony & Cleopatra at The Baltimore Shakespeare Factory

By Jason Crawford Samios-Uy

Running Time: 2 hours and 40 minutes with one 15-minute intermission
Even though many are familiar with the plays or poetry of Shakespeare, it can be daunting when one is face to face with it. It can be even more daunting when someone decides to present said material in Original Pronunciation (OP), but the latest offering from The Baltimore Shakespeare Factory (BSF), Antony & Cleopatra, Directed by Thomas Delise, is a charming, easy-to-follow presentation that will be a delight for Shakespearean newbies and experts alike.
True to form, the staging for Antony & Cleopatra is sparse with the production depending on the performances to carry the show, however, it’s worth mentioning Costume Design by April Forrer is exquisite and adds great value to production as a whole. Forrer’s design is authentic and the actors seem comfortable in the wardrobe making for quite pleasing aesthetics to go along with the superb performances.
To help those who may not be as versed in the work of the Great Bard, a BSF company member takes the time to explain a few things to the audience before the show starts and this is a good call on the part of BSF. The explanation and examples of Modern English, which is actually what Shakespeare spoke and wrote, in contrast to Old and Middle English gives the audience an idea of what they’re about to experience and a base from which to work and it eases the anxiety a little, letting the audience relax and enjoy the production.

Chris Cotterman and Valerie Dowdle. Credit: Will Kirk


As for the performance aspect, it’s easy to see this production team and actors have put time, blood, sweat, and tears into this production and it certainly pays off. Kudos to Director Thomas Delise for keeping this piece moving with a balanced pace making the near 3-hour run time seem much less. Delise has a good understanding of the material and has guided his actors so well they tell this story effortlessly.
During a short Q&A after the performance I attended, the actors explained how they paraphrased and came up with their own translations of the material, helping them understand the text and, in turn, being able to express the words to the audience with their inflections and movement. I can’t emphasize enough how easy it is to follow this story, even if you aren’t familiar with it. Though some performers were a little stronger than others, the entire ensemble is spot on with their performances and easily accomplish the Original Pronunciation.
Tom Piccin, a fairly new Shakespearean actor, does well taking on four roles (Mardian, Scarus, Thidias, and Seleucus) but shines as Mardian, Cleopatra’s eunuch who entertains and has a bagful of jokes for any occasion. He works well with and has a good chemistry with Bethany Mayo and Isa Guitan who take on the roles of Charmina and Iras, respectively, with Mayo being a definite highlight of this production and gives a natural, effortless performance as one of Cleopatra’s attendants.

Troy Jennings as Octavius Caesar. Credit: Will Kirk


Taking on the titular role of Mark Antony, Chris Cotterman is confident and comfortable but next to his counterpart, Valerie Dowdle (who I will most definitely discuss in a moment), his performance falls slightly flat. This isn’t to say he doesn’t do an admirable job, because he does, but Cotterman seems a little stiff and scripted, at times. Regardless, he still does a bang up job and has a fantastic comprehension of the piece making for a commendable performance. Cotterman does, however, very well in tandem with Troy Jennings who takes on the role of Octavius Caesar and he embodies this character wholly. Jennings is comfortable in this role. but makes a curious and somewhat annoying vocalization choice with Caesar (and this is a little nitpicking, but it stood out for me) repeatedly speaking in a voice obviously higher than his own and it just didn’t fit well for the character. Otherwise, he has a great grasp of the character and the story and gives a strong, confident performance. Both Cotterman and Jennings are to be commended for their performances.

Valerie Dowdle as Cleopatra. Credit: Will Kirk


Working along side of this able and worthy cast, Valerie Dowdle is the standout in this production Antony & Cleopatra, taking on the role of the complex, manipulative, and sexy Queen Cleopatra. Dowdle has this role down pat and makes it her own with no holds barred. She has a flawless authenticity and such a strong, assured stage presence, it’s hard not to watch her when she steps onto the stage. Even with the challenge of Original Pronunciation, she seems to be Cleopatra incarnate and glides across the stage understanding every word which gives the audience a better understanding of this character. Her intonation and movement are on point and she is an absolute joy to watch.
Final thought… Antony & Cleopatra at The Baltimore Shakespeare Factory takes us back to days of olde when Modern English was just starting to form and William Shakespeare was a rockstar of the theatre. This Original Pronunciation production is well put-together with painstaking detail and talented Shakespearean actors from beginners to more advanced. It’s actually quite easy to follow, even if you are unfamiliar with the Great Bard’s work. It does help that the audience gets a tiny crash course in language before the show starts, which is a good call on BSF’s part! It’s an authentic showing and whether your a Shakespearean expert, beginner or somewhere in between, this is not a production you want to miss.
This is what I thought of The Baltimore Shakespeare’s production of Antony & Cleopatra… What did you think? Please feel free to leave a comment!
Antony & Cleopatra will play through April 23 at The Baltimore Shakespeare Factory at The Great Hall Theatre at St. Mary’s, 3900 Roland Avenue, Baltimore, MD. For tickets, purchase the online here.
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