Displaying items by tag: Tim Rhoze
Review: Joe Turner's Come and Gone at Goodman Theatre
Director Chuck Smith returns to Goodman with another major August Wilson revival–“Joe Turner’s Come and Gone”. This is the second play in Wilson’s 10-play “American Century Cycle”. Goodman produced the first play in the series, “Gem of the Ocean” in 2022 as well as “Two Trains Running” in 2015. Both directed by Chuck Smith. Returning also is A.C. Smith, a staple of any August Wilson production in Chicago.
“Joe Turner’s Come and Gone” takes place in 1911, in Pittsburgh, where most of August Wilson’s work is set. Staged in a boarding house respectably kept by Seth (Dexter Zollicoffer) and Betha (TayLar) Holly, where their regular lodgers Bynum Walker (Tim Rhoze) and Jeremy Furlow (Anthony Flemming III) keep them busy. When a mysterious man and his young daughter arrive looking for a room strange things begin happening.
Wilson has a gift for turning vernacular into poetry. His world-weary characters speak with a sort of casual beauty that rivals Tennessee Williams. That much is never clearer than when Molly Cunningham saunters into the boarding house. Krystel V McNeil captivates as Molly, delivering every line with seductive authority. The purpose of her character is somewhat ambiguous but she’s a welcomed presence nonetheless.
The mysterious man, Herald Loomis, is in search of his wife Martha who is also the mother of this daughter. Bynum and Seth are skeptical but when supernatural things begin happening, a revelation is exposed that calls into question how free the nation really was in the early part of last century.
As always, A.C. Smith’s commanding performance showcases not only a true talent for reinvention, but a deep understanding of August Wilson’s intentions. The chemistry between director Chuck Smith and A.C. Smith is palpable in everything they work on together.
Wilson wrote epics. And this production feels epic. Though there are thematic overlaps in his play cycle, each are distinct masterpieces in themselves. “Joe Turner” like all of Wilson’s plays feels like classic theater. It combines so many elements from lore to magical realism, but on a Goodman-scale backdrop. What a treat it is to see these works produced to impeccable, if not gold standards complete with dream casting.
Thanks to a special relationship between Chuck Smith and August Wilson, Chicago is a mecca for August Wilson’s plays. Between the Court Theater in Hyde Park and Goodman, you’re likely to see all of them if you stay in Chicago long enough. While each has been presented on Broadway at one time or another, his plays aren’t produced nearly as often as they should. Thankfully Denzel Washington is committed to getting each of the plays in the cycle adapted into a film–so far, also to impeccable standards.
Wilson wrote essential plays that speak for more than just the African American experience, but rather the entire American experience and where it might be headed. Though the last century was full of strife, Wilson finds triumph in every era. His plays certainly don’t shy from the truth, but they always offer a road to hope.
Through May 19 at Goodman Theatre. 170 N Dearborn. 312-443-3800.
Fleetwood-Jourdain Theatre announces 2024 season - celebrates local artists and two of the most significant Black female writers of the past 50 years
|
|
|
|
|
TED WILLIAMS III (writer, 1619: THE JOURNEY OF A PEOPLE), is a performing artist and educator who lives to inspire. He has taught Political Science at Wright College, Chicago State University, and currently is the Chairman of the Social Sciences Department at Kennedy-King College. He holds degrees in Public Policy Studies from the University of Chicago and Rutgers University and is the former host of WYCC-PBS Television's THE PROFESSORS weekly talk show. He has provided political commentary for BET-TV, WGN-TV, NBC-TV, UPFRONT WITH JESSE JACKSON, PRI's SMILEY AND WEST, WVON radio, and a host of additional media outlets.
NTOZAKE SHANGE (writer, FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/WHEN THE RAINBOW IS ENUF). Ntozake Shange (1948-2018) was an American author of plays, poetry, and fiction noted for their feminist themes and racial and sexual anger. 
CARLIS L. MOODY, JR. (writer/performer THE MOODY EXPERIENCE: MUSIC BEYOND THE MARGINS). is Senior Pastor of Evanston's Faith Temple Church of God in Christ and a Grammy Award-winning singer and songwriter who is keeping the spirit of traditional gospel music alive. He has written over 100 songs for traditional and contemporary gospel artists such as, Shirley Caesar, Olanda Draper, Babbie Mason, Melinda Watts, J Moss, Excelsior, and Milton Brunson & the Thompson Community Singers. Pastor Carlis has four Grammy Awards to his credit, one of which is for "Through God's Eyes," two Stella Awards, one Gospel Music Workshop Award, and numerous awards for legendary songs like "I'm Available To You," recorded by the Milton Brunson's Thompson Community Singers.
DAEL ORLANDERSMITH (writer, BEFORE THE FLOOD) is an American actress, poet and playwright. Orlandersmith was a Pulitzer Prize finalist and Drama Desk Award nominee for Outstanding Play and Outstanding Actress in a Play for YELLOWMAN in 2002. THE BLUE ALBUM, in collaboration with David Cale, premiered at Long Wharf Theatre in 2007. Bones was commissioned by the Mark Taper Forum, where it premiered in 2010. She wrote and performed the solo memoir play FOREVER at the Kirk Douglas Theatre, the Long Wharf, New York Theatre Workshop, Portland Center Stage in 2016 and the Abbey Theatre in Dublin.|
|
|
TIM RHOZE (Artistic Director) Tim Rhoze has been the Producing Artistic Director of Fleetwood-Jourdain Theatre since 2010. His directing credits include: THIS BITTER EARTH, THE BALDWIN - GIOVANNI EXPERIENCE, THE LIGHT, AMERICAN S, ON, HOME, TWILIGHT: LOS ANGELES 1992, THE MEETING, FIRES IN THE MIRROR, BLACK BALLERINA (co-writer), NUTCRACKER(ISH), CROWNS, HAVING OUR SAY, FROM THE MISSISSIPPI DELTA, FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF, WOZA ALBERT!, GOING TO ST. IVES, SINGLE BLACK FEMALE, A SONG FOR CORETTA, YELLOWMAN, SWEET, LADY DAY AT EMERSON BAR & GRILL, BEAR COUNTRY, NOBODY, FENCES, PIANO LESSON, AIN'T MISBEHAVIN, K2, THE GLASS MENAGERIE, et. al. Tim is also the writer/director of WHY NOT ME? A SAMMY DAVIS JR. STORY, and MAYA'S LAST POEM, both produced at FJT; and BLACK BALLERINA, produced at FJT and Pittsburgh Public Theatre. He was co-writer and director of A HOME ON THE LAKE, co-produced with the Piven Theatre Workshop.Review: 'The Light' at Fleetwood-Jourdain Theatre
THE LIGHT has a cast of two, placing enormous demands on both actors, but Jazzma Pryor as Genesis and Rich Oliver as her partner Rashad rose to the challenge splendidly. Under the direction of Tim Rhoze, Fleetwood-Jourdain Theatre’s Artistic Director, THE LIGHT is an in-depth examination of heterosexual relationships, particularly those between Black women and men.
THE LIGHT begins on a high and happy note: Rashad has bought an engagement ring to celebrate his and Genesis’ two-year anniversary. The felicitous evening hits a snag, however, when Genesis objects to an event Rashad has arranged for them. In trying to understand Genesis’ demurral, a dark incident from the past is exposed; its toxic influence escalates as details grudgingly emerge. The script is tight and compact, without superfluous elements – unusual for a play that is focused on emotions rather than actions.
Loy Webb’s brilliant script depicts a relationship crumbling before our eyes – and theirs! It’s written from a woman’s point of view, displaying the male animal’s archetypal bewilderment regarding issues of emotion. Women are from Venus, men are from Mars. Everybody knows that.
But THE LIGHT goes far deeper. Webb uses Genesis and Rashad to examine a wide host of emotions: how they arise, how they are perceived, how they are countered – and particularly how they diverge, even contradict, between female and male. Yet despite its gynocentric bias THE LIGHT manages not to browbeat or bully the other half of the species. Men in the audience – the ones I spoke with, any road – did not feel threatened, but acknowledged that Webb’s depiction was authentic and perceptive. Other men may have gone home to stick pins into pictures of their moms. One never knows …
THE LIGHT is also focused particularly on Black couples, emphasizing those flavors of misogyny peculiar to Black men, and the stereotypical images of both women and men in Black culture. Still, I found Webb’s insights to be more broadly applicable – tough to do, but Loy Webb manages in THE LIGHT.
A two-person cast has special challenges for the director as well as the actors, and Tim Rhoze did an exceptional job. THE LIGHT was more than simply a beautiful play; it was contemplative and thought-provoking; even disturbing. It illuminated aspects of my own life and relationships, including some I would rather have left in shadow. This sort of reluctant introspection requires an exceptional script, brilliant actors to bring the words to life, and shrewdly mindful direction to interpret and guide the whole.
The set is, of course, the first thing one notices upon entering the theatre, and I was instantly riveted. Co-Set Designers Tim Rhoze and Shane Rogers used minimal furniture and Costumer Lynn Baber followed his lead with simple clothing. Both measures helped prevent distraction from the stunning background painted by muralist Jess Patterson. Half a dozen abstract women’s faces in shades of blue and crimson set the atmosphere and provided the backdrop for Lighting Designer Hannah Wein to use the lights as almost a third character, particularly during the final moments of the show. Kara Roseborough was Sound Designer, as well as (with Assistant Alexis Harris-Dyer) maintaining global oversight as Stage Manager.
I’ve been consistently impressed by the performances at Fleetwood-Jourdain Theater. FJT has remained committed to its mission: to celebrate Black and African-American experiences through diversity and creative excellence. “Umoja! …. Working Together in Unity” is the foundation upon which FJT has built this exceptional venue. I saw AMERICAN SON in November 2022; my review begins: “You know that breathless moment of silence after the curtain falls and before the applause begins? That moment doesn’t happen often, and it always indicates a truly extraordinary performance.” This magic moment, this ultimate accolade happened again last Sunday at the close of THE LIGHT. Need I say more? HIGHLY RECOMMENDED!
THE LIGHT will play at Fleetwood-Jourdain Theatre through August 20.
Latest Articles
-
'Blue' Holds Mirror to Race in America
Written by Betsy SchmittWhen Francesca Zambello, director of The Glimmerglass Festival, commissioned an opera about race in America, the country was reeling from a spate of police shootings of young African-American men in Missouri, Ohio, Oklahoma, and South Carolina. By the time the… -
Review: 'Falsettos' at Court Theatre
Written by John AccroccoEven 40 years later, the AIDS crisis continues to shape American life. Long before Hollywood brought AIDS stories to the cultural mainstream, the theatre was a safe place for actors and writers to explore their fears and sense of injustice… -
Delightful Send-up of 1930s Musicals, 'Dames at Sea' Nearly Sunk by Bad Sound
Written by Bill EslerOverall Citadel Theatre’s ‘Dames at Sea’ has a smashingly great cast of singers and dancers, perfect for a musical comedy satirizing the over-the-top 1930s movies and Broadway revues that were light on plot and heavy on costumes, dance routine, and… -
Disney's The Little Mermaid at Drury Lane: An Inspiring and Delightful Production Celebrating Girls' Unique Voices
Written by Kimberly KatzI thoroughly enjoyed Drury Lane's enchanting stage production of Disney’s The Little Mermaid from start to finish. While few are overly familiar with Hans Christian Andersen’s original, darker tale of ill-fated romance, the Disney animated film and this stage adaptation,…
Does your theatre company want to connect with Buzz Center Stage or would you like to reach out and say "hello"? Message us through facebook or shoot us an email at This email address is being protected from spambots. You need JavaScript enabled to view it..
*This disclaimer informs readers that the views, thoughts, and opinions expressed in the text belong solely to the author, and not necessarily to Buzz Center Stage. Buzz Center Stage is a non-profit, volunteer-based platform that enables, and encourages, staff members to post their own honest thoughts on a particular production.