Displaying items by tag: Alana Arenas

The expansive, opulent home exudes an air of solid middle-class comfort, boasting a formal dining area, an upright piano, and multiple doors leading to various sections of the house. A bay window graces an alcove, while a grand staircase ascends to the sleeping quarters on the second floor. Adorning the walls are portraits commemorating significant moments in the family's history, including images of MLK and Rosa Parks alongside the patriarch. This residence, nestled in the Jackson Park Highlands—an economically segregated enclave on Chicago's South Side—radiates a sense of peace, tranquility, and nobility. Soon, however, it will transform into a bustling hive of activity.

Branden Jacobs-Jenkins, a MacArthur Fellow and Pulitzer Prize finalist is a chameleon in the world of dramatist.  He wrote the controversial Obie Award-winning “An Octoroon”; the satirical  thriller “Gloria”, and the southern plantation drama “Appropriate” which received its world premiere in Chicago. Branden Jacobs-Jenkins is not a Black playwright, he is a playwright who just happens to be Black.  He would have it no other way. He doesn’t allow himself to be classified to any specific genre of storytelling. His influences are as varied as the plays he writes.

"Purpose," directed by the Tony Award-winning actress and director Phylicia Rashad, is nothing short of extraordinary. It transcends the confines of a mere family drama, delving deep into the realms of a virtual character study.

(left to right) Harry Lennix and Ayanna Bria Bakari with ensemble members Glenn Davis and Jon Michael Hill in Steppenwolf Theatre Company’s world premiere of Purpose by Branden Jacobs-Jenkins, directed by Phylicia Rashad.

The Rev. Solomon "Sonny" Jasper is a civil rights icon. He has marched for justice and witnessed important moments in the Civil Rights Movement. He has met with influential figures like Rosa Parks and Nelson Mandela. His income comes primarily from speaking engagements and donations. He has dedicated his life to helping others. He tried to raise his two sons according to his values, church and state. Naz was to be a pastor and  Solomon Jr. was in politics.  Now retired, he has taken up beekeeping, perhaps to find purpose in his life.

His wife Claudine Jasper is the proverbial women behind the man. She takes care of her family and is the strength they rely upon. A lawyer by degree, she uses it in service of her family. She’s shrewd  and disarmingly warm at the same time. She likes to be in control and she’s not one to cross.

Solomon "Junior" Jasper, son of Sonny and Claudia Jasper, embodies both his parents' strengths. A former congressman, he has recently been released from prison after serving time for using campaign funds for his personal use.   Despite his challenges, he stays positive and believes in himself. He blames his troubles on his recently diagnosed mental health issue. He craves attention and shows signs of narcissism, but his charisma makes it easy to overlook.

Morgan Jasper is the wife of Solomon Jr.  When we meet her she is soon to enter prison to serve her time for tax fraud. She was caught up in her husband’s financial improprieties. Since they have  children Morgan and Junior cannot serve their prison time at the same time.  She is more bitter than a slice of lemon in a jar of three-day old Kool-Aid. She feels she is taking the fall for her husband and by default his family. She warns anyone within earshot to be wary of The Jaspers. She denies them the company of their grandchildren, knowing this drives Claudia to distraction.

Nazareth “Naz” Jasper is the youngest son of Solomon and Claudia. He is an introvert in a family of extroverts, in essence, the weird one. He photographs nature scenes for a living and enjoys his solitude. He dropped out of divinity school much to the chagrin of his father who wanted him to follow in his footsteps and become a pastor. He’s possibly on the spectrum (aren’t we all) and asexual. He’s also our narrator, giving us valuable insights into the Family Jasper.

Aziza Houston, an independent self-sufficient woman, is the friend of Nazareth Jasper. She walks into this situation blind. She is shocked Naz, is the son of the civil rights icon. She is elated to be in the company of the Jaspers until she is truly in the company of the Jaspers.

Director Phylicia Rashad effectively maintains the motivation and focus of her cast throughout the production, fostering a sense of familial unity among the actors, which I find particularly appealing in collaborative efforts. The casting couldn't have been more apt, with each actor perfectly suited to their respective roles.

Jon Michael Hill embodies the charm of Naz, evoking empathy as the outlier within his family. Whenever he steps into the spotlight, anticipation mounts for the forthcoming revelations, delivered with a blend of wit and sincerity. Glenn Davis delivers his best performance yet as Solomon Jr., infusing the character with a delightful humor that effortlessly captivates the audience. Alana Arenas mesmerizes with her portrayal of Morgan, conveying volumes with just a single glance. Her entrance into the dining room is etched into memory, portraying a woman whose words cut like a dagger.  Ayanna Bria Bakari navigates the complexities of Aziza's character with finesse, charting a compelling arc from excitement to dread as she becomes entangled with The Jaspers. Harry Lennox brings a dignified presence to the role of patriarch Solomon Jasper, embodying the essence of strength and authority. Tamara Tunie shines as the family matriarch, Claudine Jasper, striking the perfect balance between assertiveness and subtlety in her delivery, effectively communicating her message without overpowering force.

Todd Rosenthal's set design is teeming with intricate detail, evoking the sensation of a hive with its distinct compartments—a captivating and thought-provoking choice. Amith Chandrashaker's realistic lighting design further accentuated the set, seamlessly integrating even the more fantastical elements such as the special spotlight on Naz, lending them an air of naturalness. Dede Ayite's costume design elevated the character portrayals, skillfully complementing them without ever overshadowing the performances.

While the playwright never explicitly mentions the name, it's difficult to miss the parallels to the Jackson family……..Jesse,  not Michael. Brandon Jacobs-Jenkins is known for tackling controversial themes, prompting the question: would a white playwright be afforded the same latitude in crafting such an interesting narrative?   Discuss!

“Purpose” is a cautionary tale.  Imagine we are all worker bees in a giant hive called life.  Each bee has a specific role within the hive, whether it's building comb, collecting nectar, or caring for the young. These roles contribute to the greater good of the hive's survival and success.  Just like bees, we all have a unique purpose within the larger ecosystem of life.  Our purpose may not always be readily apparent,  but it's there and only we can live our purpose.

“Purpose” is arguably the best play I’ve seen at Steppenwolf Theatre. It’s going to be the best play seen on Broadway.

Highly Recommended

When: Through April 28

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Running time: 3 hours

Tickets: $52-$116 at 312-335-1650 and www.steppenwolf.org

*Extended through May 12th

“What do you see when you look at me?”

That was the final line of Steve Harmon (Daniel Kyri) from the stage adaptation of the best-selling book Monster. 

Monster is an award-winning novel by Walter Dean Myers and has been adapted by Aaron Carter. The show tells the story of African American teenager Steve Harmon, an aspiring filmmaker, who is on trial for felony murder. 

The show takes the inner monologue of Steve as he deals with being on trial for a murder that he says he was not part of. Since Steve is an aspiring filmmaker he tells the story as if it were lifted from a script that he is writing, using terms like “Close on”, “Cut To”, and “Fade In.” The show itself tries to tackle the issues of race, the public perception of race, masculinity, as well as the justice system itself. 

“While the play does deal with the criminal justice system and notions of guilt and innocence, to me, the most active thing about the book is examining how people perceive young black men,” says adapter Aaron Carter. 

The idea might be there, but the execution of the idea seems to fall short. Yes, African American men are incarcerated at a much higher rate than any other race. Currently, according to the NAACP, African Americans constitute nearly 1 million of the 2.3 million incarcerated population. However, this play does not represent those kind of staggering statistics. The major scenes in the show take place in court, in jail, and in Steve’s home. The show focuses more on the idea of masculinity and what it is like to be a “man” in today’s society.

Steve tries to act tough in front of other gang members from the neighborhood, but behind closed doors Steve speaks about how he wants no part of that life. The only part I took away from the show, in terms of race relations, was that if you hire a white lawyer to be your attorney, it looks better for your character. 

Aside from the adaptation issues this is still an important show to see. The reason being is that this show demonstrates how one decision can alter your path for the rest of your life. Steve is sixteen-years-old and if he is convicted he faces a prison sentence of twenty-five-years to life. This play can serve as important message for today’s youth. There will be connections made simply because the performances by the cast are what bring it all together. 

Mr. Kyri brings Steve to life as he battles with what he wants and what he needs, creating for the audience a legitimate hope and fear. The rest of the cast take on various roles throughout the show proving their range as actors. Kenn E. Head is able to go from worried father in one scene and instantly transform into hardened criminal in the very next scene. Alana Arenas shines as a hardened assistant district attorney and also as Steve’s well-to-do mother. 

Overall, this play speaks to many themes, but just not the one we thought it might choose. With excellent performances from a dynamic cast, Monster is worth seeing. The overall message may be muddled, and that is the hard part about this adaptation. There is a fine line to walk and only so much can be said in such a short amount of time. There are great pieces out there that continue the discussion of race, but this is not one of them unfortunately. 

Monster is being performed at Steppenwolf Theatre through March 9th as its latest presentation for Young Adult. For tickets and/or more information, click here. 

Marie Antoinette by David Adjmi opens with a spectacular video presentation of the massive gardens and castle of Versailles along with a full on catwalk style fashion show by the queen, her girlfriends and the rest of the royal cast. I loved the staging of this show by a six person design team including Clint Ramos (scenic design), Dede Ayite (costume design), Dave Bova (hair and wig design), Japhy Weideman (lighting design), Lindsay Jones (sound and composition) and Jeff Sugg (projection design). The mirrored stage, combined with giant Vegas style flowers above it and the ever changing video projections worked together wonderfully to give us a glimpse of the largesse and majesty of that time period. Truly, the fashion of the time was something that separated the rich from the poor but also enslaved those able to afford it because it was impossible to dress and style yourself without a huge staff.

Alana Arenas is stunning as Marie Antoinette and does a great job portraying the doomed queen with both biting sarcasm and the occasional childlike grasp of the violent events unfolding all around her and because of her but not within her control at all. She, like the rest of royalty, is completely out of touch with the real world. We really see this as they try to pass as farmers during their escape after revolutionaries have taken over yet they are completely incapable of holding a normal conversation with approaching peasants (worse yet, they actually try to flee in the royal carriage thinking no one will notice them!). It is also very interesting to see the many parallels from Marie Antoinette that exist today, such as the inappropriate distribution of wealth, power in the hands of people that should not have it and the lack of power in those that should.

I like that Adjmi mentions twice in the play that Marie was only 14 years old when she was married to the imbecile King Louis the Louis XVI (Tim Hopper) – because most people assume she was an adult when she entered the realm of marriage and politics which was not true. You can really see in his text how similar the situation is for celebrities and their children today that their every move is first exalted and then diminished and eventually degraded as the social and political climes about them change. It is also pointed out how gross the invasion of privacy is when a human being feels they cannot even leave the confines of their home or do anything normal in public at all without it being analyzed and ridiculed by thousands of strangers whose opinions should not matter at all.

In a way we all have a little Marie Antoinette in us, that confused and excited teenager who is thrust into adult circumstances and is forced to “conform and perform” or sink under the weight of disappointment of family and society around us if we do not produce the hoped for successes in finances and family life, i.e. having children.

I highly recommend this elegant, eye popping and thoroughly modern interpretation of the life of a woman who was born and bred not to have her own life but the life prescribed for her by her parents and their political advisors.

Tickets and information:

When: Now through May 10, 2015

Where: Steppenwolf Upstairs Theatre, 1650 N. Halsted St.

Contact: www.steppenwolf.org