While standing in the Jack Theater in Brooklyn, I glanced at the aluminum foil hugging the walls and wondered whether this new production of Eugene O'Neill's "All God's Chillun Got Wings", jointly presented by Ithaca-based Civil Ensemble and Above the Fold, would be any good. Even before it began, I realized I could at least expect it to experiment with the 90-year-old play: I noticed that my program was marked with a star while others were marked with a circle, and when we were asked to sit according to these symbols, it became clear that the audience had been divided by race. Very fitting for a play that tells the story of an interracial marriage that disintegrates.
Directed by Godfrey L. Simmons, an artist whose career has focused on exploring the role of race in American culture and identity through investigative theatre, the ensemble explodes with life and excitement at the top of show as we are brought back to Brooklyn circa 1924. The play begins with the blossoming of the love between Jim and Ella (brilliantly portrayed by Devin Haqq and Barbra Wengerd, respectively), as they touch for the first time, innocently connecting. Only nine years later, this moment is turned on its axis: with the effects of the social climate they're now distant from one another yet still longing for the connection they at first shared. Now Ella, mentally ill and resentful of her husband's skin color, desires to destroy his career as a lawyer.
Watching this play about two doomed lovers, I couldn't help but reflect upon the directors note: "Here's hoping the play can help us understand the work, the discourse, and the healing that needs to happen for the American experiment to truly flourish." With this in mind, I was yearning to hear from the past some lesson that could really change my perspective of the present -- but it seems to me that the play, through no fault in the direction or acting, falls a bit short of Simmons' stated goals. O'Neill's voice reigns, even amongst the amazing sound design of Mark Van Hare who mixes a well known tune in such a way that tracks time, style and tone with every transition, and the stellar performances by the actors. Even the stock characters in this production are brought to life, from the strong black sister Hattie (righteously played with grace and power by the beautiful Lori E. Parquet) to the overbearing jock boyfriend Mickey (the appropriately haunting Jamie Watkins).
As an audience member in 2013, I'm still stuck with this question: why this play, and why now? Simmons' decision to separate the audience might be exploring the life we live unconsciously: maybe we aren't as far along as I would like to believe. Perhaps he wants us to see this, and in that I can see the reasoning behind such a selection.
Brandt Adams, who plays the friendly Shorty, comes out at the end of the play to invite audience members to connect with someone they hadn't come to the show with, in preparation for an open discussion with the cast -- which I quietly snuck away from. Immersive theater is great for those that like it and I probably missed something in my absence; that said, I watched a talented group of actors truthfully live out a time of the past and I think the production alone deserves much praise and a full house.
"All God's Chillun Got Wings" runs until September 21 with performances Tuesday through Saturday at 7:30pm. Check out our full event listing here: https://stagebuddy.com/listingdetail.php?lid=15015
