Arts

Two for the fall

by Jules Becker
Thursday Nov 4, 2021

This article is from the November 4, 2021 issue of South End News.


Lynsday Allyn Cox and Michael Underhill in the Huntington's production of "Witch." (Courtesy T Charles Erickson)
Lynsday Allyn Cox and Michael Underhill in the Huntington's production of "Witch." (Courtesy T Charles Erickson)  

Elizabeth Sawyer is no witch, though many unseen residents of Edmonton think otherwise in Jen Silverman's 2018 play "Witch"(influenced by the Elizabethan play "The Witch of Edmonton"). Rumors run rampant here—a factor that makes her seem infectious to the semi-rural village. Addressing the audience, Elizabeth declares, "I'm like a disease that only I have caught." This intriguing outsider wonders whether things can get better for her. Along comes a mysterious young devil-in-training named Scratch with offers that may depend on her asking the right questions. Questions become a kind of metaphor for self-examination in a play that entertains in a lively Huntington Theatre premiere even as audiences may question where it is going.
That entertainment involves the evolving fortunes of several very different characters. There is affluent widower Sir Arthur Banks who seems more interested in having a success-minded son than being a devoted father. His flamboyant son, who loves the English folk moves known as Morris dancing, repeatedly resists his father's efforts to find him a wife. Ready to give up his soul, he wants to kill poor rival Frank, a go-getter whom his father favors. The rub is that Frank has secretly married Arthur's servant Winifred.
Silverman's play seems to promise dark, edgy comedy but generally resorts to humor—even a stretch of madcap conflict. Audiences may question why the play does not provide a real back story for and more detail about Elizabeth. Still, the question of where one wants to be in life is always a valuable one, and Rebecca Bradshaw's taut direction makes the characters' respective odysseys worth watching. Lyndsay Allyn Cox makes Elizabeth a properly appealing loner. Michael Underhill makes a dashing Scratch—with a special nod to costume designer Chelsea Kerl for his snappy leather outfit. Nick Sulfaro may camp it up as Cuddy, but his Morris dance sequence is a standout.
An actual Elizabeth Sawyer was hanged as a witch in 1621. Are there villages like Edmonton today? "Witch" is likely to have some audience members looking for answers to their own questions.

Call "BLKS" a New York variation on Chekhov . In Aziza Barnes' savvy, often sweet play, three very different 2015 Brooklyn roommates share a non-biological sisterhood. Accounting consultant June, budding standup performer Imani and independent film screenwriter Octavia struggle with career and relationship. Their respective needs can bring them both joy and sadness, but ultimately they know—as with the siblings in Chekhov's "Three Sisters"—that they can turn to each other for support and understanding.
The beginning of "BLKS" may call to mind the opening lovemaking of Terrence McNally's "Frankie and Johnny in the Claire de Lune" as Octavia and her film director girlfriend Ry engage in sex. The big difference in Barnes' play is that Octavia finds a mole in her clitoris-a discovery that impacts her life and work. Imani, whose father died in Haiti, is trying to present an Eddie Murphy routine that pleased him and fondly recalls watching standup with him. June, who holds a degree in math, continues to deal with the infidelities of her boyfriend Jamal, who keeps coming back to her. Barnes skillfully moves from serious situations to lighter ones—always with affection for the intrepid if sometimes intimidated roommates.
That intimidation involves questions of respect and dignity. Octavia, who wears a George Floyd's T-shirt at one point, contends "They still don't believe we are people." June suffers an assault and generally worries about stalkers. Imani resorts to a spiel about a black survival rate when she meets a naïve white woman. Still, there are moments of joy and humor—especially when a sensitive young black man named Justin protectively follows June and climbs to her window a la Romeo with Juliet. Calling himself "my mother's son," he sports a sewing kit and a first aid kit inside his jacket. Career-wise, June seems the most successful—landing a consulting accountant position with prestigious Deloitte.
Director Tonasia Jones briskly paces most of the roommates' ups and downs. The sisterhood trio possesses real authenticity. Thomika Marie Bridwell catches June's professional authority and her personal vulnerability. Kelsey Fonise brings fine tenderness to Imani's memories. Standout Shanelle Chloe Villegos has all of Octavia's outspokenness. Sondra Seonne Seri finds Ry's caring as well as her callousness. Sharmarke Yusuf has comic talent as quirky but kind Justin. Meghan Hornblower makes the most of somewhat clueless white women.
Jenna McFarland Lord's vivid set design suggests a blend of urban graffiti and African art. Cassandra Queen captures both the casual and the dressy sides of the roommates.
"BLKS" has an adults-only reality that by turns will tickle, touch and trouble audiences. Be prepared to love its heart. SpeakEasy Stage has made it throb with great inner life. `