Arts
’The Good Negro’ brings out the best from Company One by Jules Becker
MySouthEnd.com ContributorWednesday Jan 20, 2010 Do not let the title "The Good Negro" fool you. Admittedly, the name of the Company One year-opening premiere at the Boston Center for the Arts may sound like a demeaning, race-baiting choice. But the important thing to know is that this provocative drama has been written by the very talented African-American playwright Tracey Scott Wilson and that the play is set in 1962 Birmingham, then arguably the most segregated city in the United States. Make no mistake. This is neither a tedious, didactic play with caricatured heroes and villains nor a bland politically correct history tract with nothing new to say. No, Wilson’s play is a timely, complex and absorbing work powerfully staged by Summer L. Williams with one of the strongest casts this season.
Quite simply, Wilson has brought together the diversity of agendas and conflicts that put all black citizens between the proverbial rock and hard place both in Birmingham in particular and in America in general at that time. Particularly telling is the play’s insight about the regrettable sentiment many African Americans felt then that their goodness would not only be tested by their often less-than-virtuous white counterparts but also that they might be evaluated by fellow blacks intent on finding role models to serve the cause of civil rights. This is one of the most disquieting and powerful messages of "The Good Negro." Seen in the light of President Obama’s difficulties with those Americans who question his citizenship, his patriotism or the sincerity of his efforts to fight terrorism, "The Good Negro" carries its cautionary message all the way to our supposedly enlightened 21st century.
At the same time, Wilson is taking to task not only the obvious villains-FBI agents out to frame a Martin Luther King-resembling preacher as a supposed communist or adulterer in the interests of obsessive bureau chief J. Edgar Hoover (here called "The Old Man") and a racist who infiltrates the KKK. The savvy dramatist is even indicting African-American ministers who would exploit respectable "good blacks" to further their own agendas as well as the cause of civil rights. Did innocent children have to be "used" at church rallies, as is a child named Shelley-held at one point by racist police for entering a "white" restroom when the "black" one proved defective-to fire up congregants to the cause of non-violence? In the end, Wilson makes as much of a cogent case against manipulative leaders within the African-American (or for that matter any) community as a strong denunciation of racists (and by extension all hate criminals).
Look for visceral conflict and subtle sub context carefully balanced by Williams’ singular ensemble. Jonathan L. Dent is properly charismatic yet poignantly human as King-like Minister James Lawrence. Cedric Lilly has the right naïveté as affluent Geneva, Switzerland-based but earnest organizer Bill Rutherford. Marvelyn Mcfarlane is smartly understated as Claudette Sullivan, a vulnerable doctor who seems to be the perfect "good negro" until indications suggest that Lawrence is having his way with her. Cliff Olde finds local black leader Henry Evans’ disruptive pride as well as his energy preaching. Greg Maraio is a standout as hateful and sometimes disingenuous racist informer Gary Thomas Rowe, Jr. Best of all is James Milord as Claudette’s raging husband Pelzie, the ultimate conscience of the play. His face off with Lawrence and his cohorts is instantly haunting and heart wrenching.
Company One has demonstrated an ongoing commitment to singular performance of pioneering African-American work like "The Bluest Eye" and "103 Within the Veil." "The Good Negro," as mesmerizingly potent as one of King’s finest speeches, takes that achievement to an even higher plateau.
"The Good Negro," Company One, Plaza Theatre, Boston Center for the Arts, through February 7. Call 517.933.8600 or visit www.bostontheatrescene.com for tickets.
’In the Heights’ worth a second dance
Where "The Good Negro" calls for a united front against all kinds of agendas and factions, the 2008 Tony Award-winning musical "In the Heights" encourages a united stand of Hispanic Americans from such diverse origins as Cuba, the Dominican Republic and Puerto Rico. Concept creator Lin-Manuel Miranda-mixing rap, Latin dance styles, jazz and ballad-has put together a rich Tony-winning score that ultimately embraces a grassroots program of self-esteem, cooperation and enterprise in the face of an uncertain economy and self doubts right at home in the potential-rich home of Washington Heights, New York. While the book’s conflicts are generally familiar-among them a sometimes compelling Romeo and Juliet-like romance without a tragic ending and young residents torn between pursuing their dreams elsewhere or in the Heights-the show benefits from the devotion with which Miranda approached his material and his abiding affection for his roots.
Andy Blankenbuehler’s Tony-terrific choreography remains as high-steppingly exuberant on tour at the Boston Opera House as it was Off-Broadway and as it continues on Broadway. Kyle Beltran may not quite reach the intensity of Miranda as young entrepreneur Usnavi, but he does capture the hopeful store owner’s vitality and genial support of his friends. Yvette Gonzalez-Nacer has the right spunkiness as Vanessa, the woman he adores. Arielle Jacobs seems a bit mild-mannered as university-leaving Nina, but Rogelio Douglas, Jr. sings with deep resonance and moves with fine assurance as ambitious dispatcher Benny. Elise Santora brings good coloring to mentoring Abuela Claudia’s signature song "Paciencia y Fe" ("Patience and Faith"). Dance over to the Opera House for the Carnaval of tuneful caring sailing through "In the Heights."
"In the Heights," tour presented by Broadway Across America at the Boston Opera House, through January 24. Call 800.931.2787 or visit www.broadwayacrossamerica.com for tickets.
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