Black Theatre Troupe's Before It Hits Home at The Helen K. Mason Performing Arts Center
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 1/14/99
(out of )The threat of AIDS is a very real and very daunting specter. This is an equal-opportunity virus, preying on the population-at-large, and yet almost militantly misunderstood by those who have remained at the edges of the battlefield. Theatre has attempted to show the mainstream effects of dealing with this incurable disease. In response to the consistent threat that HIV has had on the black community, the Black Theatre Troupe, and talented director Matthew Mazuroski, have mounted a play that focuses on the myriad of reactions to the announcement of its entry into a middle class black family, Cheryl West's Before It Hits Home. The play has many valid points to make, and is not preachy in the process. The best thing about this script is its concentration on the family, not just the initial victim.
A black jazz musician must come to terms with his inclusion into
the "AIDS family," and must tell those around him that
he loves about his diagnosis. His admission, and occasional silence,
on the subject has many varied and unexpected reactions. Just
when the audience thinks they know who will react in a certain
way, the author surprises everyone, while still remaining believably
consistent with character. From Wendal's girlfriend, to his best
friend, and through his family of parents, brother, aunt and son,
each reacts to the threat that he has exposed them to.
Mr. Mazuroski must first be credited for his casting, which includes
the local treasures of Mike Traylor as Wendal, and Ken
Love as his father, Bailey. His choices for the supporting
cast are also generally impressive, and he manages to get a solid
familial feeling from the cast, so crucial to the development
of this production. During this Thursday evening, the first act
sagged in terms of energy, but the pacing of the show quickly
heightened in the second act, and save for one forced image that
ended the show, remained consistent and engaging. To Mr. Mazuroski's
defense, that final image was almost impossible to avoid, but
still felt a bit cliched in its use of a single bright floodlight
on Mr. Traylor to end the show. The disappointment of this image
is balanced, though, with the mastery he uses in staging an interesting
split-stage scene in the first act, when Wendal is faced with
admitting his condition to two separate yet equally important
people in his life.
The power of this show rests on its three leads, and here, the
production is impressive. Mr. Traylor's realization and redemption
are ably handled, and realistically portrayed. Though too young
for the role, Mr. Love does a convincing job of becoming Mr. Traylor's
father, and the power with which he commands the stage, especially
during the second act, is commendable. Add to this mix Joyce
Gittoes as the stabilizing mother, Reba, whose quiet power
is perfectly balanced with her overwhelming fury and sorrow, and
you've got an impressive trio that succeed in selling this talky-then-dramatic
production.
The others in the cast handle their parts well. Ellishequea
Bishop does a solid job in her two roles, including that of
Wendal's girlfriend. Steven Scally is subtle and balanced
in his role as Wendal's friend, Douglass. Helen Jones'
portrayal as family friend Maybelle is sincere and engaging, as
is Kenny Grimes' characterization of family hero and younger
brother Junior, and Lionel Ray Bardwell's performance of
Wendal's son, Dwayne. Andréa Morales does a solid
job with her role of the nurse, although Jesse Ramlawi
is disappointingly flat and monotone in the small role of Wendal's
doctor.
Scenic Designer Thom Gilseth has done a wonderful job of
creating several separate and distinct playing spaces on the stage,
allowing the constantly moving action to seem perfectly believable,
and giving the audience an interesting stage picture. Save for
the aforementioned single light, Michael Eddy's lighting
design is solid for the space, sometimes creating wonderful images,
but others leaving parts of action in shadow. Carol Simmons
costumes were consistently on target, as was David Empey's
sound.
The play is necessarily dark, though understanding and sympathetic
to the characters and their separate levels of comfort when faced
with the specter of HIV. While the first act is a bit talky, and
lower energy accordingly, the second act makes up for that with
its power and sentiments. Black Theatre Troupe's Artistic
Director, David Hemphill, should be congratulated on his
current season, and his impressive balance of black- and universally-themed
shows.
Production Details:
Before It Hits Home by Cheryl West
Black Theatre Troupe
The Helen K. Mason Performing Arts Center, Phoenix
(602) 258-8128
January 7th January 24th, 1999