When I saw that Samira Wiley was in this National Theatre Live production, I jumped at the chance to see it—more Samira Wiley projects in the world will always be a good thing! This is a compelling play that does a fine job navigating the shifts between comedy and tragedy, with a talented cast bringing the characters to life.
Centered on the residents of a pair of neighboring rooms in Depression-era Harlem, we follow impulsive Angel, ambitious Guy, and innocent Delia through their efforts to stay afloat. Angel just lost her chorus girl gig after getting dropped by her gangster boyfriend, and her long-suffering best friend Guy offers her his best tough love as they both brainstorm how they’re going to pay the rent. Across the hall, Delia is a sweet fuddy-duddy who can’t keep up with Angel and Guy’s penchant for nightlife but pours most of her energy into crusading for better birth control access for Harlem women. Throw in Sam, a hard-living and perpetually exhausted doctor, and Leland, a Good Boy who’s just come to town from Alabama, and there’s laughs and sorrow aplenty as the group tries to figure out what to make of their lives.
The play was first produced in 1995, but it has a feel that’s much older than that, and it’s not just down to the period setting. As these characters collide in interesting ways, both comical and desperate, there’s an air of Tennessee Williams about it. We see how life traps them and they try to escape the traps. The show is set entirely in Guy-Angel and Delia’s rooms, or on the street immediately outside the building, but the characters’ conversations, arguments, and drinking sessions cover so much of what’s happening in the world outside their door.
There’s politics, religion, and identity. There’s women’s rights, there’s sexual harassment and homophobia. There’s an idealistic crusade, a last-ditch hustle, and tireless work put towards a dream that hasn’t been promised. Folks get decked out to go to parties where Langston Hughes is rumored to be there, near strangers bond through an open window on a hot night, and the characters struggle to convey what they’re going through in the hopes of receiving commiseration rather than judgment.
Most of the characters are very clear archetypes, but the actors’ performances imbue them with specificity. As Angel, Wiley is loud, self-pitying, and unapologetic, insistently keeping her chin up even as she harbors intense fears about how she’s going to get by. Giles Terera’s Guy is equal parts breezy and grounded, Angel’s supportive but pragmatic friend. Of the two, he’s better positioned to be the “sensible one,” but he also has a tendency to drown out his worries, brushing off dangerous encounters and perhaps naïve in his hopes of big-time costume-making success. Ronke Adékoluejo is a lot of fun as Delia, a sheltered Christian who’s frequently shocked by Angel and Guy’s antics, even as she champions contraceptive access. Sule Rimi plays well off her as Sam, whose even keel pairs nicely with Delia’s sweet blend of timidity and overeagerness. Finally, Osy Ikhile does a nice job as Leland, a country boy whose polite manners draw Angel in despite their very different walks of life. While I wouldn’t say Ikhile has the most difficult job in the cast, it’s neat to watch him gradually shade in Leland’s various angles and realize what bearing it will have on the other characters.
Warnings
Violence, sexual content, language, drinking/smoking/drug use, and strong thematic elements.
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