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The musical adaptation of Gloria Naylor's novel works because
A mix of veteran Arena Stage players and rookies deliver |
FOR THE FREE LANCE-STAR
WASHINGTON--Watching the musical version of "The Women of Brewster Place" compared to reading Gloria Naylor's novel is like looking at a photograph of the Grand Canyon instead of actually standing on the rim of this natural wonder. You get an idea of the place, but the scope is missing.
That the adaptation works as well as it does is due to Tim Acito's ability to weave seven women's stories together in a (fairly) cohesive manner and his talent for writing music that captures the various elements of this heterogeneous community. This Arena Stage production is the work's world premiere.
Naylor treated each woman's story separately, and was thus able to delve deep into relationships, character traits and twists of fate that brought each of them to this dead-end ghetto.
These are women who have suffered much on their way to Brewster Place, and the suffering doesn't end when they get there. Acito has had to strip this dense tapestry down to a plainly woven fabric in order to fit it into a two-hour stage play. The basics remain, but much is lost in the telling.
Still, enough remains to identify the characters--Mattie, the mother who loved not wisely but too well; Etta Mae, who sought her fortune on the road and found only fool's gold; Kiswana, determined to bring power to the people of Brewster Place; Cora Lee whose obsession with babies didn't allow for the fact that they grow up; Lucielia, who makes excuses for her man and loses everything because of him; and Tee and Lorraine, who just wanted a place they could be together. And the songs fill out some of the spaces left blank by Acito's pruning.
Etta Mae's scorn for convention comes through loud and strong in "Makin' the Rounds" and "Man of God." Mattie's warm motherliness is evident in "Leave the Light On" and her unbreakable spirit in "This Ain't a Prayer (I'm Tellin' You)."
Lucielia analyzes her relationship with Eugene in "Adding It Up," and Kiswana tells her story in "Kiswana Browne," complete with Black Panther backup singers. Lorraine and Tee come to life in "Smile," about a day in the classroom, and "A Day at the DMV."
This production also boasts one of the most hilarious stagings of "A Midsummer Night's Dream" ever set on a stage. The audience was howling.
Arena Stage artistic director Molly Smith directs a fabulous cast. Every single one of these women can sing her boots off and turns in a splendid performance. Arena audiences will be familiar with Tina Fabrique (Mattie), Harriett D. Foy (Lorraine), Suzzanne Douglas (Tee) and Marva Hicks (Etta Mae) from their previous outstanding performances there.
Two other cast members, Eleasha Gamble (Wanda) and Monique L. Midgette (Kiswana), call Washington their hometown. Newcomers Cheryl Alexander, Terry Burrell, Tijuana T. Ricks and Shelley Thomas also deserve praise.
The production is well served by choreographer Kenneth L. Roberson, set designer Anne Patterson, costume designer Paul Tazewell and projection designer Adam Larsen whose work is key to creating the atmosphere of Brewster Place.
The musical is worth seeing, but you'll probably get more out of it if you read (or reread) the book before you go.
--Lucia Anderson is a freelance writer living in Woodbridge.|
What: "The Women of Brewster Place"
Where: Arena Stage's Kreeger Theater, 1101 Sixth St. S.W., Washington When: Through Dec. 9 Cost: $55-$74 More info: 202/488-3300; arenastage.org
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