As delightful as it is provocative
Review by Lauren Whalen
Playwright and poet Aziza Barneswrote BLKS as "a self-portrait of me and my best friends in our cripplingly early 20s. So, a bunch of painful absurdity..." In press materials Barnes goes on to say, "for me is emotionally rigorous and delightful because I'm constantly laughing at the person I was and am, and the jokes me and my kin tell each other." Indeed, "emotionally rigorous and delightful" describes to a tee, even for a privileged white woman such as myself. Full of laugh-out-loud moments as well as dark humor and quiet poignancy, is a day in the life of three black women in New York City: their dreams, their loves and their constant screw-ups.
In Barnes' tightly-paced script, sharp and frank observations about sex, police brutality and what it means to be a young black woman in America abound. Combined with intelligent and savvy direction from Nataki Garrett, Associate Artistic Director of Denver Center for the Performing Arts, has the feel of a solid pilot for a compelling and binge-worthy Netflix original series. Each character, from the three roommates to That Bitch on the Couch, a well-meaning but clueless young queer white woman (played to perfection by Kelly O'Sullivan) feels nuanced and real. Everyone has layers, fears, dreams both shared and kept locked inside. In other words, the characters in feel like real, true human beings from beginning to end.
Sibyl Wickersheimer's scenic design perfectly recreates a loft apartment in New York City: large and roughly constructed, with curtains to delineate everyone's personal spaces (and lovely pops of turquoise throughout the whole set). T. Carlis Roberts' sound design and original music provides a soundtrack that's energetic and moody in equal measure, beautifully underscoring the play's quieter, more serious moments. Additionally, Rasean Davonte Johnson provides brilliant projection design throughout.
The actors are as fantastic as the production team. Coming off a lovely performance in Victory Gardens' , Davis shines as the straight-talking yet vulnerable Ry, and Ayers is bursting with energy and attitude as June, who must now face life as a single woman. Steppenwolf ensemble member Namir Smallwood excels in three different roles, including the nerdy Justin, who finds himself in a very compromising position. Cooper, always magnetic and charismatic, is both hilarious and tragic as Imani, and Carroll as Octavia has all the makings of a breakout star. is incredibly provocative and just as enjoyable, inspiring hoots and hollers from the audience as well as inviting deeper thoughts.
continues through January 21st at Steppenwolf Theatre, 1650 N. Halsted (map). Tickets are $20-$89, and are available by phone (312-335-1650) or online through their website (check for availability of ). More information, including entire performance schedule, at Steppenwolf.org. (Running time: 2 hours 10 minutes, includes an intermission. Note: may not be suitable for people under 18.)
Photos by Michael Brosilow
behind the scenes
Nataki Garrett (director), Sibyl Wickersheimer (scenic design), Trevor Bowen (costume design), Marcus Doshi (lighting design), Rasean Davonte Johnson (projection design), T. Carlis Roberts (sound design, original music), Gigi Buffington (company vocal coach), Malcolm Ewen (stage manager), Cassie Calderone (assistant stage manager), JC Clementz (casting director), Anna D. Shapiro (artistic producer), Michael Brosilow (photos)
Tags: 17-1220, Anna D. Shapiro, Aziza Barnes, Cassie Calderone, Celeste M. Cooper, Chicago Theater, Danielle Davis, Denver Center for the Performing Arts, Gigi Buffington, JC Clementz, Kelly O'Sullivan, Lauren Whalen, Leea Ayers, Malcolm Ewen, Marcus Doshi, Michael Brosilow, Namir Smallwood, Nataki Garrett, Nora Carroll, post, Rasean Davonte Johnson, Sibyl Wickersheimer, Steppenwolf Theatre, T. Carlis Roberts, Trevor Bowen
Category: 2017 Reviews, Lauren Whalen, Steppenwolf
