Displaying items by tag: Tamarus Harvell

I try to attend all performances of Babes w/ Blades Theater Company, but I haven’t seen them in this fabulous venue – The Edge Theater, on Broadway – since 2022. That presentation of Shakespeare’s RICHARD III holds a special place in my heart as one of the finest theatrical productions I’ve ever seen. I can’t say THE MARK quite equaled RICHARD III, but it carried a similar stamp of excellence, no doubt due to the high percentage of artists involved in the two shows. Both were directed by Richard Costes, and Line Bower was Technical Director for both; THE MARK’s fight director Hazel Monson was in the cast of RICHARD III, while Maureen Yasko acted in THE MARK and choreographed the fights for RICHARD III. Playwright Jillian Leff wrote THE MARK but not RICHARD III (duh), but she played a major role in RICHARD. Both casts included Jennifer L Mickelson, Jennifer Mohr, Rose Hamill, and … but you get my drift, yeah? The collaborative efforts of these artists – most of whom, not coincidentally, are members of Babes w/ Blades – are outstanding. [BTW, if I missed you in that list please forgive me -- SO not intentional.]

THE MARK is set in a post-apocalyptic dystopian stratocracy. The Mark decides who gets how much of the strictly rationed food and other essentials. Obviously. members of the Army who have earned The Mark are entitled to special benefits, highly valued in this hardscrabble society.

Members in this elite syndicate are distinguished by a red Mark on the face and selected by brutal tests calculated to glean the most aggressive, volatile candidates. Those who fail a test (or aren’t even chosen to compete) are the Laborers, fated to live precariously on meagre rations. Any Laborer who resists is expelled from the district, to … well, no one comes back to report just what’s out there.

M J Handsome plays the protagonist, Raina, who has been raised by her father Jonas (Tamarus Harvell) in his bakery.  When she hears of a resistance brewing among the Laborers, she rebuffs Jonas (as adolescents will do) for not sharing her enthusiasm for it.

Raina is unexpectedly invited to compete for a place in The Mark, where she meets Jack (Whit Baxter Bates), an ambitious and rather bumptious contestant. The vicious test battles are overseen by staff officers: Nicky Jasper’s expertise with stage fighting is amply demonstrated in the character of bellicose Officer Maxwell while Fin Coe’s Staff Officer Peters shows that Mark officers may be compassionate, but such deviance really should be kept under wraps. Maureen Yasko’s stagecraft in her role as Cain is as notable as her stage fighting, and combat expertise is likewise apparent in each of the Ensemble: Matt Chester, Jennifer L Mickelson, Jennifer Mohr, Izis Mollinedo, and Shane Richlen. Amy J Johnson portrays The Commander as totally professional, pro-Army to the core, and a strict disciplinarian, yet shows us she cares about her recruits.  

At the core of THE MARK is the question of change. The Commander is working to bring about change gradually, addressing one quandary at a time, while many of the resistance advocate a more extremist approach, tearing it all down and building a completely new system.

This duality of views is the basic premise of THE MARK: what’s the best way to address a systemic wrong?  a timely issue! And one that Leffer examines by attaching different ideas to separate characters. I found myself identifying with now one, now another set of views – in itself a worthwhile exercise of flexibility. Yet THE MARK doesn’t oversimplify – there is no ‘right’ or ‘wrong’, and people are brought to their various mindsets by their unique experiences and circumstances

The set, designed by Amy C Gilman and skillfully lighted by Laura J Wiley, was simple yet multifunctional: a few basic shapes from which a desk, a hospital bed, or whatever’s needed may be quickly created. Kasey Wolfgang managed to create costumes that indicated military uniforms while remaining, in my case at least, non-offensive and non-triggering (not an easy feat!) And gratitude goes to Ab Rieve for managing to avoid firearms.  

Hannah Foerschler’s backup sound was so supportive and credible that I find I can’t distinctly recall it – ideal, it seems to me. And as Stage Manager… I once asked a more experienced friend “Just what does a Stage Manager do?” Their succinct reply: “Everything.” Grace Elizabeth Mealy, with Assistant Dylan Hirt, did Everything and did it well.  Intimacy Director Becca Schwartz clearly worked closely with Fight Director Hazel Monson and her Assistant Carly Belle Cason. Fighting and intimacy are closely linked and, as with all Babes productions, they meshed perfectly.  Stage combat is, after all, the Babes’ raison d'etere and they do it superbly.

I was a bit confused about time jumps. There was no direct indication that some scenes were actually backstory. Still, once I muddled it out the storyline progressed smoothly. Perhaps this could be simply indicated using costume and/or props. Also, I couldn’t help noticing a couple of misspoken lines, but that’s to be expected at the start of the run.

In essence THE MARK is a relevant and thoroughly entertaining show, an excellent vehicle for the special magic of the Babes w/Blades.

Playing at The Edge Theater through November 22                                                                                                       

Highly Recommended!

Lifeline Theatre’s production of "Native Son," directed by Ilesa Duncan and adapted by Nambi E. Kelley from Richard Wright’s seminal novel, is a masterful exploration of urban naturalism. With powerful performances and an incisive adaptation, the play captures the harrowing tale of Bigger Thomas, a young Black man whose life spirals out of control in 1930s Chicago.

The adaptation stays true to the novel’s brutal honesty, portraying a world where characters are shaped and ultimately doomed by forces beyond their control. Much like Upton Sinclair's "The Jungle," the narrative of "Native Son" is driven by the crushing weight of systemic racism and economic oppression. Duncan's direction ensures that every moment of this production is charged with a sense of inevitability, creating a haunting and immersive experience.

Nambi E. Kelley’s adaptation of "Native Son" powerfully employs W.E.B. DuBois's concept of "double consciousness" by dramatizing Bigger Thomas's internal conflict and the way he is perceived by the larger society. This duality is embodied in the character of The Black Rat, who represents Bigger's internal voice, and his awareness of the limitations imposed on him by a racially prejudiced society. Through dialogues and interactions with The Black Rat, Bigger’s consciousness is split between his self-perception and the identity forced upon him by systemic racism. This dramatization underscores the psychological toll of navigating a world where Bigger must constantly reconcile his personal identity with the dehumanizing stereotypes projected onto him by the white society, highlighting the perpetual struggle and fragmentation described by DuBois.

Tamarus Harvell delivers a riveting performance as Bigger Thomas, embodying the character's internal turmoil and external pressures with raw intensity. Harvell's portrayal captures the complexity of Bigger’s emotions—from his initial bravado and suppressed rage to his ultimate desperation and fear. His interactions with other characters reveal layers of vulnerability and frustration, making Bigger a deeply sympathetic figure despite his tragic actions.

Kamille Dawkins as Hannah, Bigger's mother, brings a poignant depth to her role. Her portrayal of a woman struggling to hold her family together amid relentless poverty and systemic racism is heart-wrenching. Dawkins' performance highlights the generational despair that permeates the Thomas family, adding a layer of emotional gravity to the narrative.

Mandy Walsh’s Mrs. Dalton is a study in benevolent racism. Blind and wealthy, Mrs. Dalton represents the liberal white America that believes in charity but remains blind to the systemic injustices it perpetuates. Walsh’s nuanced performance underscores the dissonance between Mrs. Dalton’s intentions and the impact of her actions on Bigger's life.

Laura Nelson as Mary Dalton and Nick Trengove as her boyfriend Jan play their roles with a blend of naivety and rebellious idealism. Their interactions with Bigger are uncomfortable, filled with well-meaning condescension that reflects their ignorance of the harsh realities faced by Black Americans. Nelson and Trengove adeptly capture the obliviousness of privileged youth, making their characters' tragic fates feel both inevitable and avoidable.

James Lewis, portraying The Black Rat, Bigger’s alter ego, adds a layer of psychological complexity to the production. This character, representing Bigger’s internal struggle and dual consciousness, is a haunting presence on stage. Lewis’ performance is both eerie and empathetic, providing insight into Bigger’s fragmented psyche and the pervasive influence of fear and anger.

Ashli Funches excels in her multiple roles as Bessie, Vera, and Leslie, showcasing her versatility and depth as an actress. Her portrayal of Bessie, in particular, is both tender and tragic, illustrating the collateral damage of Bigger’s actions and the broader societal constraints on Black women.

Gabe Fries as Detective Britten embodies the oppressive force of the law, delivering a performance that is both menacing and emblematic of institutional racism. His interactions with Bigger are charged with tension and prejudice, making the audience viscerally aware of the systemic barriers faced by the protagonist.

Dairyon Bolden’s Buddy, Bigger’s younger brother, brings a touch of innocence and hope to the bleak narrative. Bolden’s performance contrasts sharply with the despair surrounding him, emphasizing the devastating impact of systemic injustice on the younger generation.

The set design by Regina Garcia is both functional and symbolic, creating an oppressive urban environment that reflects the entrapment of the characters. The use of confined spaces and stark lighting enhances the sense of claustrophobia and inevitability that pervades the production. The minimalistic yet evocative set serves as a constant reminder of the harsh realities of Bigger's world. I wish the pre-show had featured music from the late 1930s to better immerse the audience in the play's historical setting.

Duncan’s direction ensures that every element of the production works in harmony to deliver a powerful message about race, poverty, and the human condition. The pacing is relentless, reflecting the constant pressure on Bigger as he navigates a world stacked against him. The use of sound and lighting to heighten tension and underscore critical moments is particularly effective, drawing the audience deeper into Bigger’s harrowing journey.

Lifeline Theatre’s "Native Son" is an important piece of theater, offering a poignant and unflinching look at a society riddled with racial and economic injustices. The stellar performances and Duncan’s incisive direction make this adaptation a must-see, offering a powerful reminder of the enduring relevance of Wright’s work. In capturing the essence of urban naturalism, this production not only honors the original novel but also provokes crucial reflections on contemporary issues of race and justice.

Highly Recommended

When: Through June 30

Where: Lifeline Theatre,  6912 N. Glenwood

Running time: 90 minutes

Tickets: $45 at

773-761-4477 and www.lifelinetheatre.com