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REVIEW: Lyric Stage Company’s unleashes a powerful ‘Trouble in Mind’

Posted on February 3, 2024 by The Sleepless Critic

Wiletta has always longed to be a famous actress, but at what cost?

With shrewd direction by Dawn M. Simmons, Lyric Stage Company presents Trouble in Mind by Alice Childress, part of Lyric Stage Company’s 50th season, live and in person at Lyric Stage Company in Boston, Massachusetts through Sunday, February 4. The show is 2 hours and 20 minutes including one intermission and the action is not limited to the stage. Click here for more information and for tickets.

The Cast of Trouble in Mind Photo by Nile Hawver

Sound designer Aubrey Dube’s jazz-inspired soundtrack rewinds the clock to the late 50’s. Connected by a spiral staircase, Shelley Barish’s vintage two floor set features elegant and colorful mid century-inspired furniture pieces, gold and burgundy trim, and scattered hanging crystal chandeliers and yet is also true to any backstage theatre rehearsal setting, including a realistic red glowing exit sign hanging over a backstage door, dressing rooms, and a gleaming ghost light.

Some of Rachel Padula-Shufelt’s vintage costumes include a mix of muted and bold colors as well as lively patterns that not only reflect each character’s distinct personalities, but the action in the scene. One scene has McConnia Chesser as Millie Davis and Patrice Jean-Baptiste as Wiletta presented in rich colors to stand out while Allison Beauregard as Judy Sears is adorned in smart suits in softer pastel patterns.

What is particularly fascinating about Trouble in Mind is Alice Childress’s meaty and layered script. It is an intriguing production that tackles racism, truth, censorship, stereotypes and much more taking place in New York City in 1957. A play within a play, this engaging and multifaceted cast rehearses backstage for a divisive production called Chaos in Belleville as the underlying tension of this seemingly happy theatre group builds. When things start to get real, that is where the real story unfolds.

MaConnia Chesser, Patrice Jean-Baptiste, and James Turner. Photo by Nile Hawver

The cast has sharp dramatic and comedic skills to navigate the often swiftly changing tone of this production and delves into the nature of Broadway theatre. At the center of this tale is seasoned actress Wiletta, depicted with a mix of cheerfulness and hearty determination by Patrice Jean-Baptiste. Wiletta eagerly shares her ambitions privately, but hesitates to pursue her loftier dreams in the interest of remaining a working Black actress. Jean-Baptiste shares a warm rapport with Robert Walsh as supportive Irishman Henry who works for the production. Their nurturing understanding of one another is a particular highlight. Jean-Baptiste also confides in young actor John Nevins, portrayed by Kadahj Bennett, who also longs to succeed in show business.

James Turner, Davron S. Monroe, Patrice Jean-Baptiste, and Allison Beauregard. Photo by Nile Hawver

Allison Beauregard portrays naïve ingénue Judy Sears with an array of nervous chatter behind a pretty face. She longs to say and do the right things, but at times, Judy cannot seem to get out of her own way. Beauregard does an impressive job depicting this enigmatic character’s nuances as each situation changes.

Barlow Adamson as firm and condescending director Al Manners is not unlike other complex characters that Adamson has aptly captured. Manners feels over worked and underappreciated which fuels some of his impatience, belittling nature and frankness. Adamson navigates the shifting atmosphere of each rehearsal and has a powerful effect on each of the cast members. From Bill Mootos as self conscious Bill O’Wray to MaConnia Chesser as wealthy, humorous and seemingly confident Millie, Adamson more often than not, stirs the pot.

Cautious, wise, and experienced Sheldon, depicted by Davron S. Monroe, at first seems an understated character, but Monroe later makes a sudden and indelible impression in one of the most memorable and stirring scenes in the production.

Trouble in Mind was created in 1955 and yet much of the themes are alarmingly relevant today. Some of Trouble in Mind can be unsettling with veiled barbs, underlying tension, disdain, slights, and grim humor behind a smile, but the authentic reactions and self awareness are riveting to witness. At one point, Manners states, ‘What is Truth? Truth is simply whatever you can bring yourself to believe, that is all.’ Some familiar food for thought.

REVIEW: Packed with emotional punch, Gloucester Stage Company stirs up a curious ‘Stew’

Posted on July 21, 2023 by The Sleepless Critic

What does it take to create a memorable stew?

Zora Howard seems to have perfected this particular recipe because Stew embodies in structure and storyline while enhanced with metaphorical seasoning and home style hospitality the unpredictability of cooking a stew and how it relates to the chaos and disarray of life.

Gloucester Stage Company’s ‘STEW’ Cheryl Singleton as Mama, Sadiyah Dyce Stephens as Lil Mama Breezy Leigh as Lillian and Janelle Grace as Nelly Photo Credit to Jason Grow Photography

Directed conscientiously by Rosalind Bevan, Gloucester Stage Company continues Zora Howard’s renowned drama Stew live and in person at Gloucester Stage in Gloucester, Massachusetts as well as a streaming option through Sunday, July 23. The show is 90 minutes without an intermission and discusses some adult themes. Click here for more information and for tickets.

Isn’t it a wonder that whenever guests or family visit, they usually end up in the kitchen? The kitchen represents more than just preparing a meal. It is a haven where people convene to share stories, gossip, and build camaraderie in a mutual place while also representing an opportunity to help each other.

Gloucester Stage Company’s ‘STEW’ Cheryl Singleton as Mama, Sadiyah Dyce Stephens as Lil Mama, Janelle Grace as Nelly Photo credit to Jason Grow Photography

Taking place entirely in Mama’s kitchen, Pulitzer Prize finalist Stew focuses on four generations of Tucker women who are all dealing with their own secrets as they mill around the kitchen. In many ways, these four women also ‘stew’ with worry over what they have hidden away. However, what is most intriguing about Stew is the liberating nature in which the cast interacts from the calling up or down the stairs, the bickering, the fast paced family dialogue that practically runs over the other’s sentences, and frank conversations to the loving manner in which these four women act toward one other. Some with respect and then in scenes where there should be far more respect. The pacing of events also parallels the progression of a stew. It begins at a mild pace, simmers, and as the tension escalates, the stew begins to boil.

Gloucester Stage Company’ ‘Stew’ cast Photo credit Jason Grow Photography

This tight knit cast creates tangible tension and yet also reflects a familiar family dynamic fueled in this inviting atmosphere. Cheryl D. Singleton portrays Mama, a God-fearing, wise, stern, stubborn yet generous woman who annually invites her family to prepare a big meal for her church group. Singleton is as capable in her joyous moments as she is in her stark silences. In one scene, Singleton could have leveled the room with her eyes and her silences speak much louder than her words. Mama is a reminder of any mother who is trying to bind the family together, but look out when a certain line is crossed.

Gloucester Stage Company’s ‘STEW’ Sadiyah Dyce Stephens as Lil Mama and Cheryl Singleton as Mama, Breezy Leigh as Lillian Photo credit to Jason Grow Photography

Breezy Leigh depicts Mama’s daughter Lillian and the mother of Janelle Grace as rebellious Nelly and Sadiyah Dyce Janai Stephens as Lil Mama. Leigh depicts outspoken, talkative, and restless Lillian with depth and complexity as she attempts to navigate life with headstrong and rambunctious daughters. Leigh has some intriguing and relatable moments with Janelle and Sadiyah who often try their mother’s patience. Sadiyah and Janelle share some humorous scenes as squabbling sisters and Sadiyah is compelling in Lil Mama’s precocious moments while Janelle impressively depicts any haughty teenager’s attitude on the brink of turning 18.

Gloucester Stage Company’s ‘Stew’ Breezy Leigh as Lillian and Cheryl Singleton as Mama Photo credit Jason Grow Photography

Elevating the intrigue of each scene is Aubrey Dube’s bluesy single bass guitar and soundtrack and Kat C. Zhou’s evocative and occasionally harrowing lighting that exude a troubling aura. Jenna McFarland Lord’s hospitable and functioning kitchen builds on the production’s realism as the stove comes alive and the counter is strewn with ingredients. In colorful head wraps and flowing, casual wear indicative of each generation’s personality, KJ Gilmer’s relaxed costume design completes this homespun feel as the daughters slide in socks and cotton pajamas.

Howard’s characters are richly developed, fleshing out their strengths as well as their flaws. The revelations in the production, once the stew thickens, are swift and astonishing. It is a memorable production delivered so cleverly, it urges conflicted contemplation long after the show is over.

REVIEW: Central Square Theater brings Lloyd Suh’s ‘The Chinese Lady’ to light

Posted on November 26, 2022 by The Sleepless Critic

Afung Moy is majestic, idealistic, and beautiful. In 1834, she has set foot on American soil from China at just 14 years of age to share her background, culture, and experiences. However, the details behind her arrival as well as her time and purpose in the United States is where the real story lies.

Directed impressively by Sarah Shin and in partnership with the Chuang Stage, Central Square Theater reveals a little known yet impactful figure in Lloyd Suh’s The Chinese Lady live and in person at Central Square Theater in Cambridge, Massachusetts through December 11. This semi-interactive production is 90 minutes with no intermission. Click here for more information and for tickets.

Sophorl Ngin as Afung in ‘The Chinese Lady’ Photo credit to Nile Scott Studios.

The Chinese Lady is gripping from the start and much of that is due to its two powerful leads that at first share amiable banter, humor, and building tension. With bright and expressive eyes, Sophorl Ngin depicts Afung Moy with compelling curiosity as she gradually discovers the life that has been set out in front of her. Ngin’s sweet and understated ingenuity beams adorned in exquisitely-detailed gold embroidered lavender and lilac attire crowned with a colorful guan by costume designer Sandra Zhihan Jia.

Scenic designer Qinan Zhang has a meticulous eye for detail and each piece of furniture and prop provides a significant purpose. Nothing in this vast room is just for show. Translucent curtains blanket the room and add a mysterious quality to the space. Steel structures hang above a Chinese floral blossoms arrangement and the matching end tables and chair quickly become essential to this historical account.

Jae Woo as Atung and Sophorl Ngin as Afung Photo credit to Nile Scott Studios

From China’s history of inventing tea to the gruesome details of foot binding, Ngin delivers her lines pragmatically and with a cheery glow, treating her time onstage at first an adventure with delusions of grandeur. With a wide eyed countenance, Ngin brilliantly depicts Afung from her imaginative humor and naivete to the subtle evolution in her ripened demeanor, weary walk, and her conflicted style of speaking as years gradually progress. The Chinese Lady is confronted with the ugly side of humanity and lays it bare as her time slowly fades into a land she has little choice but to adapt to it.

Ngin as Afung and Jae Woo as her older translator and guide Atung illustrate their absorbing camaraderie as they embody their complex characters, particularly exemplified in a chilling scene with the President. This intense and carefully executed scene is riveting and difficult to witness, but punctuates the sheer marvel of these two together onstage. Jae Woo portrays Atung as mysterious, subdued, polite, and unassuming as he keeps himself as minimal as the furniture. He is kind, protective, and squarely knows his place, but hints at a painfully buried intensity. Woo handles this complicated and austere character with tight lipped finesse in spite of or more hauntingly, because of all he has been through.

Sophorl Ngin as Afung and Jae Woo as Atung Photo credit to Nile Scott Studios

The Chinese Lady is best experienced without revealing the true nature of the story. Afung’s endearing personality provides a temporary distraction of what is actually happening onstage. Director Sarah Shin and author Lloyd Suh’s clever unfolding of historical and contemporary events and the actors’ subtle navigation in their performances on issues that are anything but subtle are weaved into a striking and message driven historical work that peels away that subtlety piece by piece and by the final act, leaves everything astonishingly and unsettling bare.

Central Square Theater reveals a little known yet impactful historical figure in Lloyd Suh’s The Chinese Lady live and in person at Central Square Theater in Cambridge, Massachusetts through December 11. This semi-interactive performance is 90 minutes with no intermission. Click here for more information and tickets.