Can I start this blog with an “Ouuuuuuuuuuuu”? The semi darkness, coziness, the leaves of the set and the bark of the tree along with the sad music provided an intimate vibration that was irresistible. Upon entry one could not help but be astounded by the realness of the tree and the leaves. The Environmental Theater Space was the perfect place for this play. It was hard for anyone to choose where to sit in this black box space. For everywhere was filled with various possibilities for different visual perspectives of the performance.
This space, though a black box, was made into a thrust stage also. The seats were arranged on three sides of the space and the back wall was used in the creation of the set as well as an entrance and exit of the performers. They also used the door the audience used.
The circle of stones in the middle of the set seemed to hold magical power, mystery and secrets. It seemed to represent a center for not only stage a spacing reasons but also as a local to bring the women and their experiences together. Throughout the play the women gathered around this at various points to share stories, to remember, to cry, to dance to commune. It was like a well of memories “…and magic” as lady in Blue would say.
There was so much to absorb before the play began. The audience sat with great anticipation as we all felt like part of what was about to take place. The blackness enveloped us and there was thunder. “Spirits of the wind I can feel you in my skin” was just the energy created by this production.
Sound designer, Cresent Haynes proved showed superb skill in this field throughout the entire piece. The choice of music and sound effects through out the production seemed to be precisely in tune with the mood of the particular moment. “Porcelain Doll” was an excellent choice for the beginning of this choreopoem by Ntozake Shange. The sound of trains during “I Used to Live in The World” was seamless and very appropriate. The sound effects gave strong support to this poem and helped bring it to life.
George H. Epting’s work together with the work of sound designer, Haynes, created an un-forgettable ambiance for this presentation. Light designer, Epting, showed his strengths many times. A few that stand out was at the beginning when he used the blue to create a felling of somberness and seriousness. As the dancers danced the lighting gently supported their expressions and was able to seduce us into becoming one with the spirit that they seemed to conjure. Other periods where he showed his expertise was during lady in Yellows first poem about “Graduation Night”. He put the spotlight directly on the ladies who transformed two benches into a car. The fact that he made everything else dark and focus the lights on only that spot the audience was also able to focus all their attention on only that one spot.
The costume design seemed to be wanting more. The all black skin fitting suits may have worked better had they fit the women better or had there not been so many obvious pins or loose threads. The all black worked well in terms of relaying the common thread among them all. The costume portrays the women’s obvious female bodies and the fact that they were all women of African descent. The addition of each ones color seemed to work smoothly on a technical level however they failed to accentuate the feminine energy each women possessed. Instead it hid the curves that could have added so much more especially with some of the moves they conveyed. The hair of all the women worked extremely well though. It unified the women’s story into one story with many parts and emotions. This hairstyle also highlighted the ladies faces and expressions. It also brought into play again the presence of the African link.
The Director contributed a little more than simply a good effort to this production. A lot of repeat imagery was implemented to represent and portray the pain and agony that these women often experienced. This was done with both the dancers at the beginning and repeated again with both lady in Blue, “Sachita” and Lady in Red. The presence of the hands near the genital region as the dancers lay on their backs on the floor with their legs open and feet together created a very jarring visual. They seemed almost in pain. When lady in Blue is recounting and reliving her abortion she again assumes a variation of this position when she in talking about her womb. “Sachita”, narrated by lady in Purple shows again a variation to this and so to does lady in Red. The reappearance of this position, that seems to represent agony in a unifying theme throughout the stories of the women. This piece is about beings with wombs that we know as women. African America women who are at varying stages of their life throughout the play and who at times are coming to accept their selves as such in a powerful way.
The Actors who stood out were lady in Yellow, lady in Green lady in Brown and lady in Red. Lady in Yellow was strong and powerful at every point. If they were doing a dance and stretching out their hands lady is yellow could be seen putting all her energy into her hands. When she laughed the audience laughed. Lady in Green gave a very powerful rendition of her “Stuff”. When portrayed Sachita she did not seem to exude much enthusiasm nor commitment to the piece but as lady in Green she capture the crowds attention and committed emotion. The audience was fully present in her piece. Lady in Brown did an excellent job in relaying poems that gave a lot of history. She was able to make this history fun and exciting. We learned a little about Haiti and Toussaint. She was loud enough for us and seems to embody the part.
Then there was lady in Red, who stole the show. Her piece where she was in the tub was very well supported by both the sound effects and lighting. As she washing her self the audience was able to hear the water as it trickled down the tub. She was precise in her words and actions and indeed she was a temptation to everyman. She brought to life her children and their father with out them being there physically. She was able to bring their spirits alive for us to see and feel them. This is evidence of a great actress.
The stage manager and assistant stage manager both did an amazing job with the entrances and exits of the entire show. It was seamless and the timings were perfect. The imagery at the ending with the Tree matched some of the last words by lady in red. They all found themselves “..in God and loved her fiercely” was indeed a powerful line and feeling.
Director L.A. Williams has a lot to be proud of. It was evident that the audience really listened and this was able to facilitate healing. Dramaturge, Otis Ramsey-Zoe, represented wonderfully the intended result of this play in his chosen work for the cover of the program. This intent is healing.
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