Displaying items by tag: Rita Wicks

I love when I’m surprised by a writer I assume is new to the scene, only to discover she has been honing her craft for years, quietly building a body of work the rest of us somehow missed. I love it even more when that discovery feels like striking gold. Such is the case with Kristen Adele Calhoun. A superior writer—assured, funny, emotionally and culturally precise—whose name, until now, had somehow eluded me. With Black Cypress Bayou, now receiving an unbelievable production at Definition Theatre, Calhoun announces herself (at least to Chicago audiences) as a major voice worthy of far more attention than she has received.

Under the smart, lively direction of Ericka Ratcliff, this production hums with comic electricity and emotional undercurrent. Ratcliff clearly trusts the text, allowing its humor to bloom organically while never losing sight of the deeper currents flowing beneath the laughter. The result is a staging that feels both buoyant and grounded—like the bayou itself, shimmering on the surface while concealing depth below.

The play centers on the Manifold women, and Ratcliff has assembled a quartet of actresses whose distinct comedic styles interlock beautifully. Michelle Renee Bester’s Ladybird Manifold anchors the evening with sharp timing and a steadiness that suggests stern resolve and steel. Bester understands that the funniest lines land best when rooted in truth.

Rita Wicks, as RaeMeeka Manifold-Baler, nearly steals the show with a performance that is riotously funny without tipping into excess. Her physical comedy is precise, her reactions razor-sharp. She seems to ride the rhythm of Calhoun’s language like a seasoned jazz musician, finding unexpected grace notes in throwaway lines. The audience’s laughter often arrives in waves when she’s onstage.

RJW Mays brings Vernita Manifold to life with a grounded warmth that balances the more explosive personalities around her. There is a generosity in Mays’ work—a listening quality—that allows scenes to breathe. Meanwhile, Jyreika Guest’s Taysha Hunter offers a refreshing contrast: contemporary, alert, and emotionally transparent. Guest navigates the character’s shifting loyalties and vulnerabilities with admirable nuance.

What makes this ensemble particularly thrilling is that each performer operates in a different comedic key, yet Ratcliff orchestrates them into harmony. The tonal blend—broad, dry, wry, heartfelt—shouldn’t work as seamlessly as it does. But here, it absolutely does.

In a production centering women both onstage and behind the scenes, there is an undeniable sense of cohesion and purpose. Scenic designer Alyssa Mohn, lighting designer Conchita Avitia, and sound designer Willow James conjure a fishing wharf deep in the bayou that feels at once literal and slightly mystical. Weathered wood textures, humid washes of light, and the subtle lapping of unseen water create a world that breathes. The environment is not mere backdrop; it is an active presence.

The costumes further ground the characters in time, economic reality, and personality. Fabric choices, silhouettes, and wear patterns quietly communicate history. We understand who these women are before they speak.

Ratcliff has described Calhoun as “tragically under produced.” After seeing Black Cypress Bayou, that phrase lands with force. If the rest of Calhoun’s catalog carries even half the wit, structural confidence, and emotional intelligence on display here, then Chicago theatres—and American theatres more broadly—have some catching up to do. Calhoun’s other plays, including works that explore Black Southern life, intergenerational memory, and the elasticity of family bonds, reportedly continue her signature blend of humor and haunting. One leaves this production not only satisfied, but curious—eager to track down everything else she has written.

Definition Theatre has given this play the gift every writer deserves: a production that listens, that elevates, that celebrates. Black Cypress Bayou is not simply entertaining, it is invigorating. It reminds us that discovery is one of theatre’s great pleasures. And sometimes, the most thrilling “new” voice is one who has been waiting patiently for us to catch up.

HIGHLY RECOMMENDED

When: through March 15th

Where: Definition Theatre@55th, 1160 E. 55^th Street., Chicago, Il.

Running time: 90 minutes no intermission

Tickets: Start at $25

312-469-0390

definitiontheatre.org

This review is proudly shared with our friends at www.TheatreInChicago.com. 

In Definition Theatre's production of "Splash Hatch on the E Going Down," Kia Corthron's 1997 work feels unnervingly relevant in 2025. Under Cheryl Lynn Bruce's incisive direction, this story of environmental racism and maternal health transforms from a Clinton-era critique into a mirror reflecting our ongoing, unresolved struggles with environmental justice—struggles that have only become more pronounced in the wake of the Flint water crisis, Hurricane Katrina, and the toxic train derailment in East Palestine, Ohio.

The play revolves around Thyme (Jada Jackson), a pregnant teenager whose self-taught passion for environmental science serves as both her armor and her cross to bear. Jackson infuses raw authenticity into Thyme's arc, as we watch her transform from an idealistic eco-warrior into a young woman confronting harsh realities. Her scenes with Jabari Khaliq, who embodies the role of her 18-year-old husband Erry, are particularly memorable. Khaliq brings a delicate balance of youth and forced maturity to his performance. His natural, unaffected style meshes perfectly with Jackson's intensity, creating moments that pulse with teenage vitality while tackling grown-up challenges. When they share the stage, their connection feels genuine rather than performed – two kids trying to navigate an adult world with nothing but determination and each other. This chemistry transforms what could have been preachy material into something deeply human and affecting.

Bruce, known for her work in Chicago theater, skillfully balances intellectual and emotional elements in Corthron's complex play. Rather than getting lost in scientific data about lead poisoning and environmental racism, she reveals the human story underneath. Through subtle directing choices—a mother's nervous touch, children's fading laughter, Thyme's increasingly desperate monologues, Bruce transforms statistics into lived experiences. This approach feels especially relevant in our post-Flint era, where lead poisoning's effects are no longer theoretical but real tragedies affecting American communities. The production reminds us that every statistic represents actual people, children, mothers, and communities—whose stories demand our response.

The supporting cast transforms this environmental drama into a richly layered exploration of community and health disparities. As Ollie, Stetson Pierre brings nuance to the role of Thyme's truck-driving father, portraying a man caught between providing for his family and confronting the environmental hazards he's learned to accept. Quenna Lené Barrett, a seasoned Chicago performer and educator, infuses Marjorie with quiet strength, while Rita Wicks delivers an outstanding performance as Shaneequa, Thyme's equally pregnant best friend with an usual condition. Together, these characters weave a powerful narrative about Black maternal health that extends far beyond one family's story, reflecting stark realities about healthcare access in America. Their interwoven experiences echo through recent headlines about water crises and pandemic outcomes, making the play's message devastatingly timely.

Brian Sidney Bembridge's set design, though technically impressive, failed to capture the cramped intimacy of a Harlem apartment. The oversized space worked unexpectedly well as a neutral backdrop, allowing Willow James's sound design to truly shine. James created an immersive urban atmosphere through layered audio: subway rumbles, hospital monitors, and children's distant laughter. These sounds, more than the set itself, anchored the production in its Harlem setting.

The play’s educational aspects, which could feel like public service announcements in less skilled hands, become integral to character development here. Thyme’s knowledge isn’t just information dumping; it’s her way of trying to control an increasingly uncontrollable situation. Her scientific facts become a form of incantation, as if understanding the problem thoroughly enough might somehow solve it. But as history has shown—from Flint to East Palestine—knowledge alone is not enough.

"Splash Hatch on the E Going Down" at Definition Theatre is a reckoning. It challenges us to consider how many of the environmental and healthcare issues Corthron identified in the ‘90s remain unresolved. Under Bruce’s direction, this production transforms a historically significant play into an urgent contemporary conversation, proving that sometimes the most powerful way to look forward is to look back with clear eyes. It’s about TIME!

Recommended

When: Through April 13

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

Running time: 1 hour, 45 minutes

Tickets: $25 - $35

definitiontheatre.org

*This review is also featured on https://www.theatreinchicago.com/!