Sherry Shepherd-Massat's script, Waiting To Be Invited, has both a great genesis, and a great premise. Based on a true incident involving the author's grandmother in early 60s Atlanta, the play explores the passionate feelings of four African American women who have courageously decided to take the Supreme Court up on their ruling that segregation, the separate-but-equal treatment prevalent in the south, was unconstitutional. It is their intention to go to a local department store, and demand service at what had been until this point an all-white lunch counter. Along the way, they encounter a friendly African American bus driver who legitimately fears for their safety, and an older white woman whose religion may let her either support or undercut their endeavors.
This is the stuff of real drama. Unfortunately, the script is rather talky, as much of the conflict is in the form of potential for violence. The situation is putting a real strain on their friendships, but the tension that is being created takes a necessarily circuitous route, and sitting on the bus through most of the first act is a little more exciting than a longish bus ride into Atlanta would ordinarily be. The second act hesitations go over similar ground, and the issues, while worthy, are repeated, albeit a bit more hotly. This is a psychological drama that feels longer than it actually is.
Director Eric Ruffin has done as much as possible to kick start the drama. He has created a presentational format that offers moments where the actors can reveal wordlessly the palpability of their fear. He has added as much movement as the script will allow to keep the audience from growing restless. He has created a few interesting stage pictures, even allowing actors to keep their backs to the audience to create photographic images of their courage and hesitations. That didn't stop this reviewer, though, from looking at his watch three-quarters of the way through each act.
Part of the reason for those sneak peaks was
the performers. It was obvious this 
opening Saturday night that lines were still a minor
issue. A few obvious flubs were badly covered during the first
act. Pacing, too, was halting. Some moments were discussions that
ran over each other, while others were beset by pauses. Consistent
pacing will aid this production.
The four women, Elain Bardwell, Helen Jones, Evelyn Brown-Gray, and Keisher Glymph have a definite rapport. The supportiveness and tension is realistic, and their quips genuine. Ms. Bardwell and Ms. Jones are pensive, while Ms. Brown-Gray does her usual good job with a pushy, quick-barbed character. As the sympathetic bus driver, James Olu Henderson seems to have the greatest hesitation with lines, though his presentation is solid. Barbara Wood's boisterous character is handled well, and even touchingly by the time she reaches her destination. The inclusion of Sam Anderson as a percussionist wearing African drum and playing a native drum helps with the presentational feel, and adds texture to the evening.
Thom Gilseth's stage is well-designed, offering a clipping-filled flat that pulls double duty as a projection screen, and three generic benches that fulfill several purposes. Michael J. Eddy's lighting has elements that are haunting, but is generally solid in its general washes. Carol Simmons costumes are consistent with period.
This is a leisurely stroll through some pretty heavily emotionally charged real estate. With consistent pacing, that stroll should prove to be a more engaging one.
Production Details:
Waiting To Be Invited by Sherry
Shepherd-Massat
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 4th - 21st, 2001