This story of two lovers celebrating their first 10 year anniversary while carrying on an unfortunate romance that not only breaks the “Miscegenation Laws,” but embraces intimate integration, takes place over three days in Charleston, South Carolina.
It is the summer of 1918 and WWI rages on, the Spanish Influenza is on its way to being the worst epidemic in American history and the Suffrage Movement continues to make headlines.
Drama of this magnitude stands on its own. It engages the heart and embraces the sky. It is a sensitive portrayal of two people losing faith in themselves and the world around them. The silence more certain and the tears salty.
It tells us that peace and understanding between the races may be long in coming if they ever come at all. The message leaps from the page, and makes its way into your day like the chorus of a song you heard on the radio.
It asks only that you respect its purpose, soul and integrity.
Childress, who as an actress with the American Negro Theater company, was cast as the original Blanche in “Anna Lucasta,” earned a Tony nomination for Best Supporting Actress for the role.
The playwright finished writing “Wedding Band” in 1966, but could not produce it until 1972 because of the politically sensitive material.
The writing seethes. It is a bubbling, boiling torrent of water raging against the tide. This is turmoil squared.
The words reflect the direct and unswerving candor of the black community towards the white establishment. And they are not pretty, politically correct or convenient.
In fact, rarely has this critic seen a play that makes its point more effectively, poignantly or creatively. The muses dance to the sound of Childress’ pen.
The writing is honest, authentic and wonderfully detailed.
The women in this play are survivors. They make it from dawn till dusk with tenacity and ferocity. They overcome whatever is pulling them down. They inspire each other, and in so doing, those around them.
Childress is deeply courageous in portraying a culture where skin color and social position determine one’s rung on the ladder of existence.
What matters, she seems to be saying, is the content of your character, not the hue of your skin.
This she screams and shouts from any and every box office that will produce this masterpiece of sensitive rebellion and tender regret.
Gregg T. Daniel’s direction is striking, stirring and freeing.
He allows the actors to be themselves within the context of the language and the kaleidoscope of their characters.
The play builds like a firecracker and explodes with a second act of such breadth and depth that it reminds of dramatic dynamite and directorial fluidity.
Daniels’ brilliant direction is surpassed only by the awesomely gifted cast. All Antaeus full productions are partner cast.
Stand outs among the “Sweet Potatoes” cast include:
Cheryl Francis Harrington (Mattie) who portrays her character with a larger than life sense of humor and presence. Harrington makes you laugh and cry at the same time. She asks some of the most important and telling questions in the play.
Saundra McClain (Lula Green) just about runs away with the play as Nelson Green’s (Jason Turner) mother. It is from her particularly spontaneous, vivid and expressive turn that we learn the incredible hardships of raising an African American son in the Southern United States during the early 20th century. McClain is a staunch and gifted actress whose substance and style should keep her acting in local theatres for many years to come.
But it is Karole Foreman (Julia Augustine) who steals the show. Foreman gives no less than a dignified, graceful and dynamic performance. She is an undulating, torrid volcano ready to erupt. When she did on opening night this critic was awestruck by her range, power and fury. This is a dazzlingly talented actress at the very top of her game.
She portrays a multi layered character with such simplicity and ease that this critic wonders why he has not seen more of Foreman on the stages of North Hollywood, and hopes to see her again there soon.
The message of the production was furthered by Francois-Pierre Couture’s inventive and colorful scenic design, Michael Gend’s lighting design, Jeff Gardner’s sound design and A. Jeffrey Schoenberg’s costume design.
All in all, “Wedding Band,” the third production of the 2014 season, is an in your face, now or never, take it or leave it, unapologetic confession. It poses more questions than it answers, and in the process inspires, illuminates and educates the still controversial topic of race in America.
Antaeus deserves a great deal of credit for taking a chance on this rarely staged gem.
One which will no doubt pay-off handsomely in the end, and send ripples across the pond that is the Los Angeles theatre scene.
It seems all is well on Lankershim Boulevard.
Thursdays and Fridays at 8pm
Saturdays at 2pm and 8pm
Sundays at 2pm
Talk back Thursdays: stay after the performance and discuss the play with the cast.
Halloween show on Friday, October 31st at 8pm.
Tickets:
Thursdays and Fridays: $30
Saturdays and Sundays: $34
Pay-what-you-can Fridays: Oct. 24, 31, Nov.7.
Information/Ticket Orders:
(818) 506-1983
Antaeus Theatre,
5114 Lankershim Boulevard,
North Hollywood, CA 91601
Street parking and $7 lot parking across the street on Lankershim Blvd.
Photo 1: Ranya Jaber and Olivia Sparks
Photo 2: Buck Zachary, Cheryl Francis Harrington, Jason Turner, Saundra McClain