A story about growing up poor, black, and religiously and politically militant in Brooklyn doesn't sound like the basis of a laugh-fest, unless you're entering the world of Lynn Nottage's Crumbs From the Table of Joy. Through the eyes of 17 year-old Ernestine, who has found herself transplanted from rural Florida to Brooklyn in the early 50s, she recounts the race relations, religious zeal, political struggles, and familial entanglements of the Crumps. Using a clever mix of presentationalism, realism, and fantasy, the humor necessary to survival in difficult circumstances shines through this piece. The greatest problem with Arizona Theatre Company and director Reggie Montgomery's production is that the audience is asked to leave its magic at the end of the evening.
The Crump family has endured its share of heartbreak and discord. The mother has recently passed away, and in his search for an answer to his grief, the father, Godfrey, has turned to the powerful religious leader Father Devine for guidance. He moves his two daughter, Ernestine and Ermina, from Tallahassee to Brooklyn, determined to make a better life for them. Into their camped basement apartment come the wife's sister, Lily Ann, an outspoken and well-dressed rabble-rouser with communist sympathies, and Gerte, a white German immigrant, to muddy everything up a bit more. Throughout the fast-paced and lively proceedings, a lot of social and familial issues are touched upon, always presented with equal balances of love, humor, and thoughtfulness.
Mr. Montgomery's engagingly brisk pacing and energetic staging keep this consistently tense production from lapsing into too much negativity. While the subjects are tough, and the emotions run high, he has kept the relationships true, the battles broad, the surprises unexpected, and the resolutions encouraging.
In addition to masterful direction, the performances are nearly perfect. Erica N. Tazel is a treat. She moves swiftly between narrator and participant without a hesitation, and endears herself with the audience through her genuine delivery and friendliness. Her final speech is inspirationally powerful. Alex Morris' father, Godfrey, is a strong performer with a booming voice and gentle ways. The presentation of his character's grief and plight evokes immediate empathy from the audience. Portia Johnson is highly energetic as outspoken aunt Lilly Ann. She is hilarious, yet her angry speeches are perfectly balanced and modulated. When she steps onstage, she is the brightest light of this blindingly great cast. Sally Nystuen Vahle's Gerte is perfectly enigmatic, though she gets her chance to wow the audience through dream sequences and moments of struggle. Finally, as younger sister Ermina, Nomsa L. Mlambo is quite enjoyable as the coquettish young girl just coming into her own.
Meanwhile, as amazing as the offerings of director and actor are, the designers nearly top them. Donald Eastman's set is incredibly imaginative, offering differing angles of the basement apartment with a representational spin and a clever concept. Matthew Frey's lighting is equally imaginative, while Claudia Stephens' costumes offer a few surprises of their own. J.R. Conklin's ever-present sound design is perfectly executed.
It's great when a theatre piece finds all members of the team at the height of their offerings. This is one world that everyone should take the subway to see.
Production Details:
Crumbs From the Table of Joy
by Lynn Nottage
Arizona Theatre Company
The Herberger Theater Center, Phoenix
(602) 256-6995
November 11th - 26th, 2000