Introduction
In this critique, I will sum up my thoughts on the Huntington Theatre’s production of August Wilson’s play Joe Turner’s Come and Gone, directed by Lili-Anne Brown. The intention is to showcase the brilliance of this production by discussing its direction, casting, as well as scenic, costume, sound and lighting design. I come to the conclusion that this rendition of Joe Turner’s Come and Gone manages to be period-appropriate, faithful to the source material, and enjoyable.
Direction
It is important to note that this was my first viewing of this play in any rendition. I read the synopsis before viewing, which seems to have helped in understanding what was going on, as well as distinguishing characters. With this in mind, it is not an understatement to say that I thoroughly enjoyed most of the play, for which the credit goes primarily to the director Lili-Anne Brown. The choices she made while overseeing the production resulted in a breathtaking product.
However, it has to be said that I had some issues during my viewing due to blocking. During a climactic moment where the character Herald Loomis (played by James Milord) encountered his lost wife Martha (Patrese D. McClain), his face ended up obscured from my view because of the set furniture. Unfortunately, this key scene was soured for me, as I was not able to fully enjoy Milord’s masterful acting. Nonetheless, this remained the only real flaw that I have encountered in the direction of the play. It is apparent that the cohesiveness of the production speaks for itself regarding the mastery of its director.
Actors
Regarding the cast, the highlights of the production were the duo of Seth and Bertha Holly, portrayed by Maurice Emmanuel Parent and Shannon Lamb respectively. They played off each other and portrayed a married couple immaculately, down to insightful conversations and playful antics. I specifically enjoyed their usage of body language and gestures while interacting. Overall, both were perfectly cast and seemed to belong on the set.
Moreover, another notable performance was that of James Milord as Herald Loomis. In fact, I found his acting to be most impressive out of the entire production. Milord had a strong stage presence, and the emotions he conveyed with his face never failed to capture the audience. His breaking into sweat was especially impressive, and I find he depicted the tragedy of Herald’s fate faithfully. Finally, the child actors Gray Flaherty and Eli Lapaix, who were playing Zonia and Reuben at the time of the showing, very obviously acted to the best of their abilities. While their performance was not perfect, it did not take me out of the show. I consider them to be the weak link in an otherwise great cast.
Scenic and Costume Design
As for the scenic design, it was done by Arnel Sancianco and featured two levels. The first mostly consisted of a dining table with chairs, and the second one of a large, looming staircase. While it caught my eye, I found that the staircase seemed underutilized in the play itself, as most of the action took place by the table. Otherwise, I perceived the set design to be period-appropriate, as nothing stood out. The same can be said regarding the costume design by Samantha C. Jones. The colorful skirts helped to differentiate the many female characters in the play. A specific detail that I noted were the wigs, all of which looked very natural. The hair and wig design were done by Earon D. Nealey, whose work was essential for this production’s authenticity.
Sound and Lighting Design
Among the strongest aspects of the production was the sound design by Audrey Dube. Music is one of the core themes of the play; many characters are musicians, and Loomis is referred to as someone who “lost his song” to denote his depressed state. Having established the importance of music to the play, I felt this aspect was handled in an appropriate manner. It has lingered in my mind as one of the most memorable parts of the evening.
However, the lighting design by Jason Lynch warrants less praise. As the play deals with spirituality, setting the tone was essential for capturing the audience. I have the impression that the lighting design of this play was sufficient to fulfill its basic function of showing differences between scenes, but not much beyond that. Therefore, improvements could be made in order to showcase the spiritual elements of the story in a more creative manner.
Themes and Overall Impression
To sum up my thoughts on this Huntington production, I would say that the play is a great rendition of a brilliant screenplay. It explores its central theme of identity; each character has their own conflict regarding their fate in the changing world. The most important character is Herald Loomis, who has lost his wife and finds himself in Seth Holly’s boarding-house. The characters of Molly, Mattie, Jeremy, and Martha face the questions of choosing their way of life and a companion to share it with. Even the child duo Zonia and Reuben have discussions in the same vein. The theme of identity ends up being embodied by each of them, which contributes to the thematic cohesiveness of the play.
Conclusion
As a whole, this was a truly enjoyable production that I felt extremely lucky to witness. This performance had a great emotional impact on me, and the delivery of the script helped immensely with conveying its message on the importance of one’s identity. It succeeded in intriguing me in August Wilson’s works, and I remain open to seeing more productions based on his works in the future—including any future reimagining of Joe Turner’s Come and Gone.