In the interim I have attended a couple of virtual productions at Everyman Theater out of Baltimore, Signature Theater, and Constellation Stage. The DMV is lousy with excellent live theater. But today was my first foray back into an actual theater setting surrounded by other human beings in the flesh to experience a production again. The venue was Arena Stage in DC down on the waterfront in southeast DC. The production was one of playwright August Wilson's 9 play group called the Pittsburgh Cycle. It is my goal to see all nine performed live on stage. They are written to represent a decade from the 20th century. Thus far I have seen: "Gem of the Ocean" 1900's @ Round House Theater, "Ma Rainey's Black Bottom" 1920's @ 1st Stage, "Fences" 1950's @ Ford's Theater, "Jitney" 1970's @ Arena Stage, "Radio Golf" 1990's @ Everyman Theater, and today "Seven Guitars" 1940's @ Arena Stage. 6 down, 3 to go.
As a plot, "Seven Guitars" reminded me a lot of "Ma Rainey's Black Bottom." Clearly the parallels must have been obvious to Wilson, as well. MRBB is the only play not set in Pittsburgh, but Chicago. The protagonist in SG aspire to go to Chicago. Both plays center around an ensemble of musicians. Both end tragically. While I did not really think that MRBB was his best work, I found this play more compelling. The soliloquy written for some of the main characters were complex and more importantly brilliantly performed by a cast with no loose ends.
Of the seven actors featured, I have only any experience with one, Roz White. Ms. White delivered one of the worst performances I have ever experienced in the DMV in a production of "The Gin Game" at Metro Stage, and so I worried about how much effect she would have on this production. I am pleased to say, quite a wonderful one! She owned the role of Louise, the chain-smoking matriarch of the household. She was sassy and commanded the moment of comic banter especially well. Utterly transformed my respect for her as an actor.
The others wove themselves into and out of their roles with moments of quite recitative in one moment, only to rise up and shine wonderfully in another. This interplay of foci is written into the fabric of the play, but only comes to life in the hands of an accomplished director who both understands how it works and how to build the trust in the actors to make it work. Kudo's to director Tazewell Thompson, a luminary of theatrical talent in his own right.
But the highest praise is saved for Roderick Lawrence in the role of Floyd Barton, the frenetic ne'er-do-well dreamer beaten down by one systemic injustice after another and still hellbent on realizing his success as a musician. A hallmark of Wilson's brilliance is his refusal to sugarcoat reality while creating such complicated and compelling characters. In the adept hands of Mr. Lawrence, you see Floyd's faults clear enough. But you also see his humanity and you want so desperately for him to make real that elusive destiny that he so passionately works to have.
Excellent 5 stars with shout outs to Donald Eastman for his spare, evocative sets, and Harry Nadal for such rich and beautiful costumes. I often find myself appreciating good set design, and yet, rarely does the design of costumes capture my attention and admiration as much as these did.
What a wonderful way to return to live theater!
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