While it is always commendable to attempt new works, Black Theatre Troupe's current production of neophyte playwright Bless ji Jaja's bIRTH is a two hour and fifty minute long attempt at a script that is both over- and underwritten. One couple's story is in dire need of fleshing out, while the second couple's story is overloaded with gratuitous exposition and humor. The result is a production that has the pacing of a car with four flat tires, is acted with distinct hesitancy, and is over-directed by Ben Tyler in an ineffective attempt to compensate for everything that is wrong with this piece.
Two couples in their mid-sixties are struggling with their marriages. The Mitchells are trying to rediscover their intimacy, while the Wellings are splitting up what seems to be their marriage of convenience. The Mitchell's struggles are generally funny, while the Welling's situation, which includes another woman that has captured Jonas' eye, is supposed to be dramatic. The problems with this script tend to be first-time playwriting issues that include a lack of modulation, unbalanced dialogue, clunky and extended exposition, and inconsistent characterization. The Welling's story can be relegated to support characters or their section entirely cut away without any kind of loss. The telephone is used extensively as a carrier of exposition, and some of the remaining situations, including the first meeting between current wife and future love interest, are beyond believability. Surprisingly, in a show of both awful timing and bad judgment, Mr. Jaja's script contains an overt political agenda that targets Jews with crass jokes and comments in a very tasteless and offensive way.
Mr. Tyler, recognizing the talkiness of the piece, has compensated by overblocking long conversations and exchanges. Characters bounce off of the furniture and circle the rooms with little motivation for their movement save that there's a fear of lulling the audience to sleep during these long-winded scenes. He has done a good job during some of the highly comedic sections, including a lesson from Jonas to Fred on how to have sex, but many other forced bits backfire.
The production is not aided by most of its actors. Joyce Gittoes would be a fine Olive Mitchell if she could remember her lines and stop looking at the floor. Harold Luther White, who plays her husband Fred, is the strongest of the cast, but the boundless energy with which he plays his role can't bring life to his flatly written character. Talented performers Mike Traylor and Helen Hayes are completely wasted as Jonas Welling and love interest Vera, stumbling through their awkward sections and rarely bringing any energy to what little they are asked to do. Fanta Shabazz Scott plays the put-upon Selah Welling with only two levels: shrieking or moping.
Despite it's many problems, the design element is impressive. The unbilled set design is handled quite well, utilizing as much of the space as possible in creating three very different settings. Mike Eddy's lighting design is very effective, while Carol Simmons' costumes are consistent. Brian Burrill's sound design works well, even as it is not run very effectively.
The script and production include some funny moments. Unfortunately, they are so few and are surrounded by so many other unnecessary and underwhelming situations, it's hard to recommend this show to anyone.
Production Details:
bIRTH by Bless ji Jaja's
Black Theatre Troupe
The Helen K. Mason for the Performing Arts, Phoenix (For a map to this location, click here)
(602) 258-8128
October 4th - 21st, 2001