Leftovers, Company One Theatre, Strand Theatre, Boston, through August 18. Pay-what-you-can. Zero minimum, $10 recommendation. companyone.org
No human beings should ever feel like leftovers. Two South Philly brothers-high school graduate Jalil and his younger brother Kwamaine-are in danger of experiencing that feeling as top floor residents in a run-down though structurally sound brownstone building in a poor part of town.
Josh Wilder, a Philadelphia native himself, is probing Jalil and Kwamaine's experiences in "Leftovers," a new play that follows their struggle to overcome poverty and uncertainty about their respective futures. Wilder's play may need some tweaking, but Company One-now a company in residence at the Strand Theatre-is capturing all of his drama's heart and celebration of family ties in a world premiere at once involving and inspiring.
As the play begins, those ties are precarious. Jalil is angry that his father Chris was a no-show at his graduation. Unsure about his future, he has been speaking to a recruiter about enlisting in the air force. Kwamaine wants Chris to land a job that he can keep. He also hopes that his family can be "all together for one day Cosby Show happy."
In the absence of his father Chris-who has problems with alcohol, Kwamaine sees the comedy's television father Cliff Huxtable as his role model. Jalil and Kwamaine's mother has her sons' full respect but finds herself in an unsatisfying cycle of work at her job and at home-a cycle she hopes will end if her lottery number wins. At the same time, she sees Jalil going to college and fears that he could get killed fighting for 'BS' overseas. Complicating the mix is hustler Dijon, whose stock and trade includes CD's and DVD's.
Into this seemingly impossible situation-sharply enhanced by Erik D. Diaz' brownstone scenic design-Wilder introduces a pivotal element of magical realism in the form of a very high dandelion dominating stage right. Undaunted by urban challenge, this high riser grows through pavement and awakens the dreams and deep wishes of the sons.
Wishes are made on pieces dropping from the dandelion. Will the sons actually receive full day passes to Six Flags? Will the family come together briefly or indefinitely? Will Chris become a responsible adult? Will Dijon, working for the city, have a significant impact on the dandelion? Answers will be forthcoming, and eventually the sons will meet Huxtable in a surreal moment of insight. There are stretches that could do with tightening, but Wilder does have affecting things to say about the relationships of siblings, parents and children and spouses.
Under Summer L. Williams' strong direction, those relationships and the difficulties attending them are richly portrayed by a solid cast. Christian Scales is a real find capturing Kwamaine's hopefulness and fervor. Kadahj Bennett, who actually worked at the Strand, finds all of Jalil's competing emotions and concerns. Scales and Bennett have all the warmth and caring of actual brothers. Lyndsay Allyn Cox catches the no-nonsense tenacity of Raquelle, while Colgan B. Johnson convinces as vulnerable Chris. Irvin Scott has the right elusiveness as Dijon. Marc Pierre is riveting in the tricky if flashy role of Huxtable as mentor.
Wilder began working on his play before Bill Cosby actually faced charges for sexual crimes. Still, "Leftovers" has a lot to say about the empowerment of each individual even in the absence of celebrated icons and mentors. In his playbill interview, Wilder reminds theatergoers that parents and any others that raise them are their first icons. "Leftovers" may not possess a full preparation as yet, but Company One's striking presentation makes its savory mix well worth sampling.