Rarely can I say that I have been transfixed by a three-hour long play, but that's the only way to describe my reaction to Black Theatre Troupe's production of Jeff Stetson's intense, brutally honest, and soul-searching Fraternity. With a blockbuster mix of a great script, utterly professional direction by the extremely talented Anthony Runfola, and a tight-knit cast that works together to a magnificent effect, I have been left flipping through my thesaurus to unearth rarely used superlatives. While there were a few moments where the script became slightly repetitious, and some very judicious cutting might have been called for, I'd still have to say that this is one of the best productions I have seen from Artistic Director David Hemphill's company.
Playwright Stetson brings his audience into the unfamiliar surroundings of the bar of an exclusive African American men's club in Birmingham, Alabama. This is the type of setting where men speak frankly and the big deals are made. Populating this space are the five power brokers who comprise the membership committee: Benjamin Wilcox, a fiery Reverend past his prime; Lawrence "Turk" Maddox, a former musician turned teacher; Turner Greystone, a newspaper owner; Preston Gherard, a real estate mogul; and Charles Lincoln, the first African American state senator. Simultaneous to deciding on potential new member Brandon, four-term Senator Lincoln is in the reelection fight of his life with a former acolyte, Paul Stanton. This youthful catalyst reminds the establishment of their continuing responsibilities to their community. While power and racial politics infuse the setting with tension, it is one date that causes the plays greatest rift: September 15, 1963. This was the day of one of the most seminal and horrific events of the Civil Rights era, the bombing of Birmingham's 16th Street Baptist Church that took the lives of four young girls. Reverend Wilcox was the pastor of that church. Turk's daughter and his music were two of its casualties. Senator Lincoln swept into office on the graves of those poor little victims. Stetson's frank and incisive script forces these leaders of the Civil Rights movement to face their successes and failures in trying to achieve equality for their community.
Runfola does a remarkable job of bringing this necessarily talky play to life. He blocks the actors through Thom Gilseth's lush, clubby set in carefully plotted chess moves. The pacing and his stage pictures are impeccable. He makes this ensemble into a fighting force to match the Marines. The mix of patronage, needling, and angry outbursts serves the script perfectly.
There is not a weak performance in the group. Leading the charge is Charles St. Clair as the power-seduced Senator. Whether justifying his voting record or advising on the necessity of married men to smoke cigars, he cuts the perfect figure of an older Southern politician. Rod Ambrose's broken Reverend is masterful. He spices the Reverend's pathos with occasional glimpses of his former fire. Two very powerful moments come when Ambrose offers the funeral sermon for the four victims, and the sermon that he was preparing for the day of the tragedy. Measurably underplayed is Saikh Sammad Brown's youthful challenger, Paul. His intensity is a perfect counterpoint to the bluster of his elders. Kwane Vedrene is a cold, calculating Preston, while Barry Williams is understated as natural observer Turner. Though too young for his role, Kenneth Grimes is solid as eternal Blues-man Turk. Rashid K. Helper captures the mannered, social climbing Brandon.
Placing blame on any mistakes and miscalculations of the Civil Rights movement is a noble and tricky job. A prevalent theme is the emasculation of African American men as the community achieved a certain level of acceptance. The power of Paul's speech is a great counterbalance to the concessions of the previous generation, giving hope to a continued striving for true equality. This is an evening that manages to condemn and give hope all at once, and members of every race can learn from the messages and insights offered.
Production Details:
Fraternity by Jeff Stetson
Black Theatre Troupe
The Helen K. Mason Center for the Performing Arts, Phoenix (For a map to this location, click here)
(602) 258-8128
January 3rd - 20th, 2002