African-American Collective Theatre
Washington, DC
The holidays are suddenly upon us and last night, appreciative audience members got a sneak peek at what lucky Washington theatergoers are getting for Christmas. That gift is available early - now through December 18th - at the H Street Playhouse in northeast Washington, D.C., where Restoration Stage, Inc. has mounted its debut production - the expansive and ambitious world-premiere of Steven A. Butler, Jr.'s timely and thought-provoking new play, "The Truth (About the Down Low)."
Since a developmental, staged reading earlier this year, "The Truth" has evolved from straightforward drama into a play with music (if not a full-blown musical). While the need for this transformation seems questionable, the new music by Christopher John, with lyrics by producer/director, Courtney Baker-Oliver, was well received and performed with winning aplomb by a talented cast.
Although technically, not specifically a "holiday" play, the warmth and heart displayed in this portrait of a loving, but troubled, middle-class family in Washington, D.C. are definitely in keeping with the mood of the season.
Butler's drama depicts several eventful days in the lives of a somewhat rigid and overprotective divorced woman who is raising her grad student daughter and high-school football star son, with the aid of their doting aunt and uncle. In light of the play's title, I won't be giving any secrets away to observe that appearances are deceiving and things are not necessarily what they seem.
While the media overkill of the past year may have some of you thinking that you never need to hear the phrase "down low" again in life, "The Truth's" young playwright has done an impressive job of illuminating fresh insights while providing sufficient twists and turns to stay one jump ahead of what audiences may be expecting.
Producer/Director Courtney Baker-Oliver has clearly spared no expense on solid production values, both on stage and backstage. He marshals an army of artists and technicians to achieve a splashy and impressive debut for the fledgling theater company. His directing is equally adept, staging the proceedings at a brisk clip, but with a keen eye for telling detail.
ACT'ers David Lamont Wilson and Marlon Anthony Russ acquit themselves most admirably, with David mining both the humor and the pathos of a man who provides a much-needed, positive male role model for his niece and nephew, while desperately longing for children of his own. His amiably combative interaction with his wife proved one of the audience highlights of the evening.
Marlon navigates his complex role as a cocky-but-conflicted teenage athlete with skill and empathy - deftly managing the tricky task of imbuing a less-than-sympathetic character with heartfelt emotion and subtlety.
They are hardly the exceptions in a cast brimming with talent, all of whom deserve individual mention:
Along with his customary, soaring baritone and strong, nuanced acting, Isaiah Johnson brought intensity, persuasive menace, and a sexy charisma to his role as the daughter's boyfriend.
Also displaying impassioned singing and presence is L.C. Harden, Jr., whose character A.J. serves as conscience of the play and gets to deliver a knock-out second-act solo that nearly stopped the show, as the teen-age son's closest friend.
The women in the cast are equally talented. Tracie Jade's solid performance as the mother reveals the vulnerability of a woman who is seemingly a tower of strength, but who buries her disappointments in life and love under the guise of family demands.
JaWuana Lindsey unveils a lovely singing voice, as the pragmatic - if misguided - prodigal daughter returning home with recently-received master's degree in hand . . . and "trophy" boyfriend in tow.
Last, but certainly not least is Nikki Dade, whose tart and sassy turn as Aunt Angie provides a surprising amount of tenderness along with crowd-pleasing comic relief. Playwright Butler has provided a stage full of multi-dimensional characters and the actors tear into them with gusto.
A detailed set by Howard James and Donna Hollis's witty and colorful costumes are further indications that Restoration Stage, Inc. possesses the professionalism and artistic resources to rise to the challenge of a stated mission to " . . . become a diversified entity that will target the Black urban theatre market by producing, marketing and selling urban and popular theatre productions as well as other genres under the Restoration Stage, Inc. brand . . ." while developing ..."new artists from unknown commodities into superstars in the worlds of playwriting, direction, and production."
You can help on the financial end by purchasing your tickets now, while they remain available. The process can be managed quickly and easily online at the website www.restorationstage.com but don't wait too long - or you may wind up with nothing but a lump of coal in your stocking, as tickets are going quickly.
At present, the evening is admittedly somewhat on the long side, but the playwright and director are in the process of making some final cuts to streamline things. It's easy to understand their dilemma - one we all share at this time of the year, when it is especially difficult to trim down when confronted with such an embarrassment of riches.
Nonetheless, they've presented Washington theatergoers with a feast. And if some audience members leave feeling a little overstuffed, it may just be that they've been given so much more than usual to digest.
Alan Sharpe
Artistic Director
African-American Collective Theatre
(Alan Sharpe is the founder of African-American Collective Theater, a fifteen year-old playwright's group based in Washington, DC. He is the recipient of numerous playwriting awards.) |
I LOVED IT!
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