After half an hour into Loy Webb's "Judy's Life's Work," I found myself silently reciting the dialogue, though not necessarily every line, as the familiar narrative unfolded predictably before me. The tale revolves around a classic trope: a familial feud over inheritance. While it pays tribute to the themes of Hansberry's "A Raisin In The Sun", Wilson's "The Piano Lesson," and Morisseau’s  “Sunset Baby” it falls short of reaching the profound heights achieved by those works.

The prologue inexplicably begins with a symbolic fight between Xavier and Charli.

The play is set in a boxing gym in Chicago. It is owned by Xavier, a 43-year-old ex-con. He purchased the gym after doing an 8-year stint in prison for a crime never fully explained. His motivation for the gym is to give the youth of the neighborhood a haven from the crime and negative influences he fell under. Xavier’s gym is facing foreclosure. His mother, who he calls Judy, has died a month earlier. He never had a relationship with his mother. She gave birth to him at age 15, then gave him up for adoption so she can finish her education. He harbors the hate and pain of her decision. It has clouded his being his entire life.

Enter Camille. She sells herself as a financial guru to Xavier, but she is a pharmaceutical professional. She tells Xavier she loves him. (she telegraphs us she doesn’t ) She explains how she will make his gym a non-profit entity and have donors lining up to support his dream. She makes him believe together they will change the world one wayward child at a time. She talks Xavier into selling Judy’s papers on cell regeneration and he is more than happy to do whatever she suggests.

Before they ride off into the sunset there is the pesky business of getting Judy’s papers from his sharp as a whip baby sister, Charli. Charli sees through Camille scheme. She tries to open Xavier eyes, but he is blinded both by hate and love.

The prologue shows Xavier symbolically fighting with his sister Charli,  since the prologue sets the stage for the story, which is all about Xavier's internal struggle, Xavier should have been shadow boxing.

Bringing a new theatrical work to the stage is fraught with challenges, demanding a symphony of creative minds, unwavering passion, and experience. The respect I have for Definition Theatre begs me to question some of their creative decisions.

“Judy’s Life’s Work” should have been workshopped. I believe some interesting plotlines were not developed in a rush to produce this work. True, Webb scored a  big hit with “The Light” but as anyone on Broadway will tell you, you’re only as good as your last show. I question the hiring of Michelle Renee Bester as director and Jessica Moore as assistant director. Why choose the associate director and stage manager of The Black Ensemble Theatre as your director and assistant director? Black Ensemble Theatre is a wonderful theatre for musical revues.  Black Ensemble isn’t known for original work, especially plays, so I’m at a loss. Nothing in these beautiful women biographies suggest they have the experience to shepherd new work to the stage.

 Xavier, the character, has gray hair. Rashun Carter, an excellent actor,  powders his hair so it appears gray. Now, it may work in high school where there are restrictions on casting, but in a professional production you would cast an actor with gray hair. An experienced director would know it takes more that gray hair for a man to appear to be 43. Carter, for all his wonderful acting, never appeared to be 43 and there was no one in the room to direct him on how to act 43. His character never got past his anger. It wasn’t his fault; he was doing as he was directed.

Cereyna Jade Bougouneau is a spirited Charli. She knows her brother and she knows where his fault lines are. Bougoneau’s energy gave the script a much-needed boost.

Kenesha Kristine Reed is dastardly as the pharmaceutical mole infiltrating the family. I’m sure I’ll be seeing more of her work.

The cast in general worked well with each other. They are extremely talented though I don’t think they were challenged enough.

The set, the inside of a boxing gym, by Alyssa Moon Thompson, was beautiful. Did it serve the story? I’m not sure, it seemed like a lot of unused space since there was no actual boxing going on. There was some important dialogue too far away from it’s intended person to land the way it should….again, direction.

The promise I see in Definition Theatre is truly inspiring. I am confident they will create remarkable work, although not without its challenges. Webb, a budding playwright, requires the seasoned wisdom of experienced individuals to ensure her plays reach their full potential. This play has potential.

When: Through Feb. 25

Where: Definition @ 55th, 1160 E. 55th St.

Running time: 1 hour, 30 minutes

Tickets: $31 at definitiontheatre.org