From start to finish, Artistic Director Alex Roe's SHE'S GOT HARLEM ON HER MIND at The Metropolitan Playhouse is far and away the best conceived and executed production I have seen Off- or Off-Off Broadway this season.
A triptych of short plays by Eulalie Spence, well-written, expertly staged, splendidly cast, and beautifully designed, SHE'S GOT HARLEM ON HER MIND is both a rewarding evening of theatre and a significant cultural experience.
Eulalie Spence might need no other recommendation than that of theatre giant Joseph Papp, who acknowledged her mentorship as the most important influence in his life, but to stop there would be to fall far short.
A core participant in the Harlem Renaissance, Eulalie Spence was both one of the most experienced female playwrights pre-1950's and a decisive force in establishing black theatre as written and performed by black artists.
Eschewing political discourse onstage, Spence focused on "slice of slice" domesticity, often featuring the love triangle as a hinge factor in the plot. Of particular significance from the viewpoint of cultural history is her capture of the ordinary black speech of the time.
The three plays, THE STARTER, HOT STUFF, and THE HUNCH, are models of simplicity and theatrical prowess. There isn't a wasted word or false moment, and each play holds the stage securely with an unforced stability too rarely seen.
Writers who consider themselves "emerging" playwrights would do well to pause their excessively prolific output and closely study her oeuvre for structure, form, economy, and impact.
Mr. Roe's production was coherent, articulate, and balanced; eliciting finely detailed, emotionally powerful, fully-engaged performances from the octet of artists that constituted his exceptionally attractive cast, without pushing them past the limits of either their instruments or their technique.
The ladies ruled the day, partly because the plays were written that way, partly because Monique Page, Jazmyn D. Boone, Deja Denise Green, and Raven Jeannette (listed in order of appearance) are actor-aristocrats.
What the men lacked in opportunity provided by script, they made up in presence, evoking "affect" by pinpointing details of their appearance and behaviour. SJ Hannah, Terrell Wheeler, Eric Berger, and Dontonio Demarco each cut instantly recognizable 'iconic" figures from the Harlem of the 1920's.
Precise musical direction by Timothy Johnson and smart choreography by Katie Bradley ensured that the songs, which were a counterpoint to the drama, were an enhancement.
The costumes were - in a word - brilliant.
Designer Jevyn Nelms has the eye for color, pattern, line, and texture that makes one want to give her unlimited resources and a green light to design an opera with a cast of 200 royals, soldiers, bishops, and ghosts; something like Verdi's DON CARLO, perhaps at La Scala Milan. Yes, I think she's that good, and I trust that opportunities on a grand scale will come her way.
The production is too enticing to have disappeared with the end of this run.
A tour, PBS telecast, and/or DVD release should be considered.
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