You know that breathless moment of silence after the curtain falls and before the applause begins? That moment doesn’t happen often, and it always indicates a truly extraordinary performance. That silence occurred Sunday night as the stage of AMERICAN SON at Fleetwood-Jourdain Theatre went black: we all sat stunned for just a moment before erupting into a standing ovation.
AMERICAN SON was written by Christopher Demos-Brown in 2018 but in today, post-George Floyd et al, it’s even more relevant and impactful. The plot is simple: a bi-racial teenager has had some sort of run-in with the police. His parents, separated only a few weeks, meet at the police station seeking information about their child. In this charged atmosphere the estranged couple confront the dissolution of their marriage and the challenges of raising a biracial son in a privileged community.
Fleetwood-Jourdain Theatre Artistic Director Tim Rhoze directs AMERICAN SON with compassion and finesse. The theatre has no actual curtain, giving us ample time to examine the set designed by Rhoze with Technical Director Evan Sposato. Nondescript institutional furniture is rigidly arranged against a striking backdrop of abstract graphics painted in grey tones with ominous splashes of red. Huge enigmatic faces have a distinct tribal vibe, infusing every word and movement with racial significance.
It's a small cast and all four actors are superb. Michael Manocchio brings a sense of uncertainty and vulnerability to the role of Officer Larkin, whose unenviable task it is to placate the parents with meager scraps of sketchy information. The mom describes him as ‘a low-level flunkey who’s not too bright”. His subconscious racism is transparent to us, as in his fumbling attempt to bond with the father by “speaking badge to badge” while sweating it out until the all-knowing Detective Stokes turns up.
Detective Stokes, impeccably played by Darren Jones, finally arrives, positively bristling with authority but without much additional information. Though he maintains his rigid professional preeminence with the frantic parents, occasional glimpses of well-concealed humanity unavoidably break through.
The central characters are the parents, Scott (Darren Andrews) and Kendra (Alexandra Moorman). Andrews plays Scott as the prototypical affluent White Male, reeking of privilege and self-importance. Scott believes his marriage proves he’s unprejudiced, but his subliminal racism inevitably breaks through with words like ‘uppity’. Yet Andrews’ treatment of Scott’s vulnerable moments are equally credible and satisfying. There is a lovely scene where Scott and Kendra review the issues they agree on – Thelonious Monk and sex, basically. Scott is not likeable, but we can’t help being moved as he tenderly recalls the happiest day of both their lives: the day their son was born.
I saw Alexandra Moorman a month ago in What to Send Up When It Comes Down” at Lookingglass. She was phenomenal there, but as Kendra she purely took my breath away. At several points, starting with the first five minutes of the play, Moorman is alone, and fills the stage with her consummate presence. She maintains this aspect throughout, managing to enrich the other performances without eclipsing them. I noted this same quality in What to Send Up: a troupe production, but Moorman’s genius can’t help but show. Her light will penetrate any bushel … and besides, she’s gorgeous!
The production crew is vital in creating such an awesome production. Director Tim Rhoze and Technical Director Evan Sposator both double as co-Set Designers. Name coincidence is good for David Goodman-Edburg and David Goode as Lighting and Sound Designers, respectively. Bria Walker is Dramaturg, Production Stage Manager is Barbara Reeder, and Lynn Baber costumes the characters with penetrating character discernment.
I don’t often add VERY to my rating, but AMERICAN SON is VERY HIGHLY RECOMMENDED
