I have seen “Blues for an Alabama Sky” several times, all very good productions. However, the production by Remy Bumppo in the intimate space of Theater Wit was sublime.
As soon as you walk into the theater, you are transported to an apartment building on iconic Lenox Avenue in the heart of Harlem in the 1930’s. The production design is truly remarkable. Lauren Nichols’ depiction of a Harlem tenement complete with fire escape and two apartments on each floor, encapsulates the essence of tight-knit living in New York City. The meticulous attention to interior details provides valuable insight into the lives of its occupants.
This setting is beautifully enhanced by Becca Jeffords’ carefully crafted mood lighting and Ricky Harris’ evocative 1930’s musicscape. Set against the backdrop of the Harlem Renaissance and the opening salvo of the Great Depression, Pearl Cleage’s poignant play masterfully weaves together themes of love, loss, ambition and social change. Each character is searching for their identities and places in the world. They all experience love whether romantic, platonic or familial and the sacrifices made for love. They experience loss but are never defeated.
More than anything, they dream. They dream big dreams and they have the tenacity to bring them to fruition. Cleage created multi-dimensional characters, put them in proximity, sat back and
let them live. The characters are truly the heartbeat of this production.
Tiffany Renee Johnson, evoking a young Diana Ross, fully embodies the role of Angel. She exudes a magnetic charm, begging everyone to love her but unable to reciprocate the love she so desperately needs and wants. Pearl Cleage, we extend our gratitude for crafting the character of Guy Jacobs. Breon Arzell brings this role to life with grace and authenticity, resisting making him a stereotype.
Delia Patterson who works tirelessly to introduce family planning to Harlem is played by the talented Jazzlyn Luckett Aderele. Aderele’s vocal nuances and gestures transport us seamlessly to a time when women were just learning about agency over their bodies. Edgar Sanchez last seen by me in Goodman’s production of “Toni Stone” disappears into the conflicted persona of Dr. Sam Thomas, showcasing a depth I had previously overlooked. He proves himself capable of portraying a mature, distinguished man with flair.
Ajax Dontavius, last seen in American Blues production of “Fences” as Cory, transforms himself to become Leland Cunningham, the broken, dogmatic paramour of Angel. Dontavius lays bare every facet of this intricate character, leaving the audience captivated.
In Director Mikael Burke’s steady and capable hand, not only do these characters live, they soar. We are introduced to five very different, complex people as well as a host of era specific luminaries such as Langston Hughes, Margaret Sanger and Adam Clayton Powell, they are all real people. Cleage’s dialogue is authentic and resonant, tackling issues of race, gender, and sexuality with sensitivity and intelligence. The plays intersectionality of identity is particularly relevant.
Remy Bumppo’s “Blues for An Alabama Sky” is a triumph. It is a powerful commentary on the human condition. It invites introspection and reflection on our own dreams, aspirations and sacrifices we make to achieve them. It challenges us to confront the complexities of love, friendship, family and societal expectations. This play is a must see for anyone who craves entertaining and thought-provoking theatre.
Also notable, there is a Pearl Cleage festival in Chicago. Most of the events are free. You can get details at https://www.goodmantheatre.org/event/pearl-cleage-fest/
