dance of the holy ghosts: a play on memory
Yale Rep's New Theater, a fairly large black box, serves as a fitting home for inventive, imaginative yet rambling "dance of the holy ghosts: a play on memory." Penned by Marcus Gardley, who graduated from Yale School of Drama a couple of years ago, the world premiere allows each member an extraodinary ensemble of African American actors the opportunity to shine.
Gardley (in what is likely semi-autobiographical mode) moves backward from 2005 to the time of his youth and probably twenty years before that. The leading younger character, Marcus G. (Brian Henry) is richly connected to his grandfather Oscar (Chuck Cooper). Henry plays Marcus G. as he must have been at age ten or eleven; and again as a twenty-seven year old man. In terms of storyline, there is much to cover including Oscar's lack of devotion to his wife, Viola (Harriet D. Foy); the death of Marcus G's mother, Darlene (La Tonya Borsay); schoolgirls Precious (Pascale Armand) and Princess (Borsay) who circle and taunt him. There's Tanisha Taylor (Foy) who "gets" Marcus G. when they are in third grade together. Actor Paul J. Medford is, at different moments: affixed to a wooden cross, accomplishing a quick Michael Jackson slide -- glove and all.....
Gardley draws a complex Oscar Clifton, a man who is far from heroic but compelling, human, flawed, and compassionate. In the role, Cooper shows that he can sing while accompanying himself on guitar; or, near the end of the production, by himself center stage.
The women take on multiple roles and each is fluent, funny, able to shift from one emotion to the next in a flash....impressive stuff.
Scott Davenport Richards composed the music for "dance of the holy ghosts," and the variety, including some exquisite three-part harmony, is wonderfully enhancing. And, there's quite a bit of humor. Viola's sweet potato pie, for example, saves Oscar, who has been felled through a diabetic episode.
It's annoying to be seated amidst a couple of theatergoers who laugh boisterously even when the playwright is not attempting to be funny. Gardley did not write "dance of the holy ghosts" as a comedy.
The play jumps all over the lot but once the viewer gets used to this, it isn't terribly difficult to slide backward and forward with the actors. The flow is not smooth but that's probably not Gardley's intent. Seamless transition would have depleted actors' energy levels. Mini-jolts might be essential to infuse the show with fire and heart.
Cooper is asked to play one man who is really many men. Oscar is (during varying moments) kind, oblivious, caring, absent-minded, sweet, self-absorbed and so forth. The actor's performance is strong, seasoned with a knowledge of at least a portion of the territory. This is a terrific turn.
Cooper has said the play reminded him of August Wilson. I don't share that opinion. The profundity and metaphor within those long, long Wilson plays sets him apart. Gardley is at the beginning of his arc as a writer. Wilson did not really emerge until he was in his late thirties and Gardley (I believe) is not yet thirty. Gardley is developing a distinctive style.
"dance of the holy ghosts" is not continually gripping. But, it is moving, even electric at times. The play serves as a fine vehicle for Gardley. Further, the level of talent evidenced by the six person cast is startling in the most postive sense. The fine director, Liz Diamond, frees the actors while providing some important geographic direction for movement.
This one continues through April 8 in New Haven.
Gardley (in what is likely semi-autobiographical mode) moves backward from 2005 to the time of his youth and probably twenty years before that. The leading younger character, Marcus G. (Brian Henry) is richly connected to his grandfather Oscar (Chuck Cooper). Henry plays Marcus G. as he must have been at age ten or eleven; and again as a twenty-seven year old man. In terms of storyline, there is much to cover including Oscar's lack of devotion to his wife, Viola (Harriet D. Foy); the death of Marcus G's mother, Darlene (La Tonya Borsay); schoolgirls Precious (Pascale Armand) and Princess (Borsay) who circle and taunt him. There's Tanisha Taylor (Foy) who "gets" Marcus G. when they are in third grade together. Actor Paul J. Medford is, at different moments: affixed to a wooden cross, accomplishing a quick Michael Jackson slide -- glove and all.....
Gardley draws a complex Oscar Clifton, a man who is far from heroic but compelling, human, flawed, and compassionate. In the role, Cooper shows that he can sing while accompanying himself on guitar; or, near the end of the production, by himself center stage.
The women take on multiple roles and each is fluent, funny, able to shift from one emotion to the next in a flash....impressive stuff.
Scott Davenport Richards composed the music for "dance of the holy ghosts," and the variety, including some exquisite three-part harmony, is wonderfully enhancing. And, there's quite a bit of humor. Viola's sweet potato pie, for example, saves Oscar, who has been felled through a diabetic episode.
It's annoying to be seated amidst a couple of theatergoers who laugh boisterously even when the playwright is not attempting to be funny. Gardley did not write "dance of the holy ghosts" as a comedy.
The play jumps all over the lot but once the viewer gets used to this, it isn't terribly difficult to slide backward and forward with the actors. The flow is not smooth but that's probably not Gardley's intent. Seamless transition would have depleted actors' energy levels. Mini-jolts might be essential to infuse the show with fire and heart.
Cooper is asked to play one man who is really many men. Oscar is (during varying moments) kind, oblivious, caring, absent-minded, sweet, self-absorbed and so forth. The actor's performance is strong, seasoned with a knowledge of at least a portion of the territory. This is a terrific turn.
Cooper has said the play reminded him of August Wilson. I don't share that opinion. The profundity and metaphor within those long, long Wilson plays sets him apart. Gardley is at the beginning of his arc as a writer. Wilson did not really emerge until he was in his late thirties and Gardley (I believe) is not yet thirty. Gardley is developing a distinctive style.
"dance of the holy ghosts" is not continually gripping. But, it is moving, even electric at times. The play serves as a fine vehicle for Gardley. Further, the level of talent evidenced by the six person cast is startling in the most postive sense. The fine director, Liz Diamond, frees the actors while providing some important geographic direction for movement.
This one continues through April 8 in New Haven.
posted by Fred Sokol at 7:58 AM
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