Reviewed by Judy Richter
Thanks to a partnership among
three of its leading theater companies, the Bay Area is being introduced to a
major new voice -- playwright Tarell Alvin McCraney. Marin Theatre Company, Magic
Theatre and American
Conservatory Theater are
each presenting a part of the West Coast premiere of his trilogy, "The
Brother/Sister Plays."
MTC
is starting the cycle with "In the Red & Brown Water," to be followed closely by
"The Brothers Size" at the Magic and "Marcus; or The Secret of Sweet," opening at ACT in late
October. "That three theaters could agree to mount a trilogy together
speaks to the sheer genius, relevance and importance of Tarell's voice and
vision," MTC artistic director Jasson Minadakis said in a press release.
"Not since the arrival of Sam Shepard and August Wilson has such universal praise been
heaped on such a young playwright and his work," Minadakis continued.
The
30-year-old playwright penned the works while in his 20s. MTC's production of
"In the Red & Brown Water" shows why McCraney is generating so
much praise. Directed by MTC producing director Ryan Rilette, it's set in the imaginary San
Pere, La., in the "Distant Present." Most of the characters are the
black residents of a housing project in a small bayou town. Their names are
based on West African gods, reflecting some of the story's mythological
qualities. The central character is Oya (Lakisha May), a young woman who loves to
run. She runs so fast that a college track coach tries to recruit her for his
team, but she forgoes the chance for a college education to stay home with her
ailing mother, Mama Moja (Nicol Foster).
After
her mother dies, she has virtually no support system. The charismatic, macho,
womanizing Shango (Isaiah Johnson) stays with her for a while, then joins the Army. He's
replaced by Ogun (Ryan Vincent Anderson), a steady, hard-working but -- to Oya -- dull
auto mechanic. Her bawdy godmother, Aunt Elegua (Dawn L. Troupe), offers advice but not much
solace. A friend, the annoyingly amoral Elegba (Jared McNeill), is something of a constant but
not much help either. Other characters are the catty, flirtatious Shun (Jalene
Goodwin), and
her friend, Nia (Foster again). Daveed Diggs plays the Egungun, a disc jockey.
The only white characters -- the track coach and a shopkeeper -- are both
played by Josh Schell.
References
to Oya's blood symbolize her various struggles. The struggle that gains more
prominence is her hope to become pregnant. Concurrently, she never stops loving
Shango, who -- perhaps unintentionally -- toys with her emotions.
May
is superb as Oya, who figures in virtually every scene during the taut,
two-hour, two-act play. Each of the other actors seems tailor-made to his or
her role -- a credit both to the actors and to director Rilette.
Scenic
and lighting designer York Kennedy's set is unadorned except for a central platform that
serves as Oya's house. There are no other set pieces and few props. Banks of
lights flank the stage, and actors who aren't in a scene usually stand upstage
watching. This approach is in keeping with McCraney's device of having the
actors speak their stage directions, such as "Oya smiles" or
"Enter Shango." The simple costumes are by Lydia Tanji. Zane Mark serves as music supervisor for
the songs that occasionally accompany the action. The sound design is by
composer Chris Houston. Deborah Sussel serves as dialect coach.
"In
the Red & Brown Water" is a terrific introduction to the trilogy,
making one eager to see the next two parts, which will have different casts and
directors. It also is likely to attract new audiences to each of the three
theaters, and that's all to the good.
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