THEATRE REVIEW
“American Saga Gunshot Medley Part 1” at The Met Theater (Photo – Cristian Kreckler).
Playwright Dionna Michelle Daniel tackles historic racism from the days of slavery, the bloody repercussions of which trickle down through succeeding periods of our history, up to current times where it seems, especially lately, not much progress has been made, and director Desean Kevin Terry brings her characters to life.
By Carol Edger Germain
The Rogue Machine Theater troupe bring us many heart-rending moments as we vicariously relive brutal deaths and other injustices over the last 150+ years. Nevertheless, this is an entirely fresh take on the subject, not relying merely on the emotional response evoked by confronting racism so directly, but instead allowing us to absorb the message and connect with the characters in a beautiful, mysterious, dreamy, musical ambience, which illuminates this unique telling of the more shameful aspects of the American Saga.
Betty (Cherise Boothe and alternate Mildred Marie Langford), George (Donathan Walters and alternate Jon Chaffin), and Alvis (Derek Jackson) are deceased residents of a haunted southern cemetery, all having died in the 1800’s. They are trapped in the “Hereafter,” forever carrying out their tasks, but having some ability to “go back” to the living to a certain extent and perhaps learn how to overcome their past and find a happier, forever future. Older, more militant George fades out and back in, bringing effects and news from various future times. Young Alvis also absorbs some future culture at a more social, rambunctious, humorous level. He is forever teasing Betty, bringing joy and humor to the situation, while she scrubs and scrubs and scrubs the floor, trying to “clean things up.” At various times, a gunshot interrupts the action and conversation, and Betty doubles over for a second as if absorbing the bullet.
The High Priestess of Souls (Sha’Leah Nikole Stubblefield), a beautiful bald woman dressed in a voluminous red, flowing dress, remains stationary on the stage, softly and beautifully singing Gospel occasionally, which the characters seem to experience as rustling wind, although Betty also joins the singing at times. Also part of the set are three large tombstones which become translucent and backlit to expose ghostly outlines of the three musicians (guitar/banjo, violin, and djimba/African conga) sitting behind them when they play. I liked that some effects and actions were left to the interpretation of the audience, after all, who has been to the Hereafter and come back to pen a documentary about it? The conclusion, and the defining line of the play, which I won’t spoil by disclosing, came to me more as a call to action than a message of hope, as interpreted by others I’ve talked to.
“American Saga Gunshot Medley Part 1” (Photo – Cristian Kreckler)..jpg
I recommend this play – the writer, director, actors, musicians and production team were all on the same excellent level, no weak links, an emotionally draining but inspiring evening.
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