GENERIC PRESENTS COMPELLING
HOODOO LOVE
Theater
Babe Says: Go . . . But Only If You’re Prepared for the Blatant Portrayal of Adult Themes
There’s little hearts-and-flowers romance in the Generic Theater’s Hoodoo Love; the drama is too gritty, the passion too raw for it to be accurately compared to a Hallmark valentine. Under the expert direction of Le’Royce E. Bratsveen, the strong ensemble cast creates a love story that is compelling, but not pretty.
Written
by young American playwright Katori Hall, who is perhaps better known for her
Broadway show, The Mountaintop, Hoodoo Love tells the story of Toulou, a
poor woman living in depression-era Memphis who dreams of becoming a successful
blues singer. Central to Toulou’s
aspirations is her lover, Ace of Spades, a rambling singer/songwriter who
refuses to commit to her. Toulou
consults and conspires with her neighbor, Candy Lady, to use hoodoo to tie Ace
of Spades to her mystically since he is reluctant to do so voluntarily. The unexpected arrival of Toulou’s brother,
Jib, who comes to Memphis ostensibly to establish a church, further complicates
Toulou’s existence.
In
this play, the plot is secondary to the way the story is told; the melodic cadence of the language and the
blues songs woven into the dialogue are what make the show unique and
memorable. In this production, Ms.
Bratsveen wisely chose actors who embrace the dialect and together they
credibly create a world where taking the advice of a hoodoo priestess actually
seems to be a viable means of dispute resolution.
Toulou
is the pivot around which the plot turns, and Imani-Chanel Ward’s depiction of
the character successfully meets that challenge. Ms. Ward’s Toulou is stubborn, engaging,
determined but unwise, and epitomizes the quiet desperation of Thoreau’s famous
quotation. We like Toulou and because of
Ms. Ward’s fine, nuanced performance, we understand her even as we dislike the
choices she makes. Ms. Bratsveen and Ms.
Ward elect to have Toulou sing largely unaccompanied with a Billy Holliday-like
soulful sound which is faithful to the circumstances, but occasionally causes
the pace to drag. Ms. Ward’s
interpretation unabashedly depicts the dichotomy of the character – Toulou is
so resolute about making her own choices that she is oblivious to the fact that
those choices rob others of their own volition – and that central theme gives
this production as a whole a depth that could be lacking if led by a less
skillful actor.
Wes
Dew presents an Ace of Spades who is charming, handsome, passionate and
talented. We easily understand why
Toulou is so attracted to him, even though Mr. Dew’s exceptional performance
makes it equally obvious that the Ace of Spades is a womanizing drifter who has
no intention of carrying the baggage of a permanent relationship. Ms. Ward and Mr. Dew create a palpable
chemistry and there is a sweetness in their romance that touches us; despite
the obstacles, we want them to be
together. Mr. Dew’s singing voice is
full and pleasing to which is guitar accompaniment is a perfect complement.
George
T. Davis, III, gives a superb performance as Jib. Although in his initial scenes Mr. Davis’
delivery is perhaps a tad one-note – he utilizes a hearty laugh in most every
line – that sameness adds to the sense he cultivates that Jib is not as
harmlessly affable as the character wants to appear. Ms. Ward’s reaction to Jib is perfectly
played and reinforces the unease that Mr. Davis successfully generates even while
he jokes and kibitzes with Toulou’s neighbor.
Although Mr. Davis commits to the complete darkness of his character and
courageously portrays Jib’s perfidy, his best moment may be his entrance
following the climactic scene. Jib acts
as though nothing untoward had occurred and Mr. Davis’ studied carelessness in
that scene shows us that the violence was not unprecedented – and it permits us
to more fully understand what we had previously only suspected about Toulou’s
motivation.
In an
ensemble replete with talented actors, the standout performance is Melody
Harris’ portrayal of Candy Lady. The
character could easily slide into caricature, but Ms. Harris’ respect for the
material results in a thoroughly credible performance: we believe that she believes in her spells and potions, and that is what makes it
work. Ms. Harris’ performance is even more
impressive, however, when she reveals the woman behind the mystique. Her telling of Candy Lady’s life story is gripping
even as we, like Toulou, wonder which parts are fact and which are fiction, and
the moment she explains her most disappointing choice is mesmerizing.
The
set, designed by Edwin and Le’Royce E. Bratsveen, is an artful yet realistic
depiction of 1930s shanties, and the secondary use of Toulou’s porch as the
stage of a local nightclub is both unusual and effective. The costumes, designed by Debi McGill, are appropriate
to both period and character, and enhance the ambiance created by the set.
Hoodoo Love is the debut of lighting designer
Brandon La Dieu, a recent graduate of The Governor’s School for the Arts. The design overall is well-done -- particularly
when Toulou and Candy Lady cast the spell and the warm colored gels add to the
unfettered theatre of moment -- but it occasionally and apparently
unintentionally overemphasizes a single actor, such as during the card games between
Jib and Ace of Spades. The Theater Babe congratulates
Mr. La Dieu for his successful first foray into regional theatre and looks
forward to viewing more of his work in the future.
The
most significant misgiving the Theater Babe possesses about the Generic’s
latest offering has nothing to do with the production itself, but rather
relates to the description presented in the theater’s promotional material
which makes the play sound like a romance touched by mysticism. Nothing in that description prepares a viewer
who may be unfamiliar with the piece for a drama that contains copious profanity
and an explicit portrayal of rape. Those
elements are not reasons to avoid producing the show. They are, however, things that should be
available for the audience to consider before purchasing tickets, especially
since the program notes prohibiting the attendance of children under the age of
8 implies that older children would be welcome.
Bottom
line? Hoodoo Love is an interesting, intriguing portrayal of harsh, adult
themes and the Generic’s production is first-rate and well worth the time and
ticket price.
Performances run thru February
24th
Thursday – Saturday at 8 p.m.
and Sunday at 2:30 p.m.
at the Generic Theater
215 St. Paul's Boulevard,
Norfolk, Virginia
(under Chrysler Hall – access
through lower level of parking lot)
Tickets are $18 with discounts
for students, seniors and military.
Reservations can be obtained by
calling the box office at (757) 441-2160
© 2013 Hampton Roads Theater Babe. All Rights Reserved.