Some plays tackle a broad swath of time and space (see our favorite Epics). At the other end of the spectrum are small-cast, modest slice-of-life plays that let you live with a compelling character for a little while, often in real time. Here are a few unforgettable gems in that “less is more” category.
(in alphabetical order)
BLKS by Aziza Barnes, produced by Steppenwolf in 2017: Seeing BLKS is like being a fly-on-the-wall in the lives of three young Black women, based on the playwright and her friends. We’d had many theatrical opportunities to observe real-life characters dealing with a range of challenges, but this play was the first to focus specifically on a close-knit trio of women who are Black and (mostly) gay. It was real-time and realistic, but with poetic language and sensibilities (no surprise, since the playwright is a poet, but still striking in their beauty and coherence). The perfect cast, inventively directed by Nataki Garrett, made us laugh until we cried and revel in the women’s indomitable and communal spirit in the face of constraints society has placed on them, simply by virtue of who they are. We loved the characters that we met during this play, and we miss them.
Charm by Philip Dawkins, produced by Northlight Theatre in 2015: Around 2012, Northlight Artistic Director BJ Jones read a newspaper article about Gloria Allen‘s work at the Center on Halsted, and contacted playwright Philip Dawkins to suggest that her story might make an interesting play. Our first experience with Charm was a reading produced by Northlight Theatre (fittingly at the Center on Halsted) in early 2015. Jones recruited an exceptional cast, with Andre DeShields playing Mama. Our reaction at the end of the reading was that we absolutely loved the play, but how could anyone produce it without Andre DeShields in the lead role? Just a few months later, our question was answered, when we saw Northlight’s full production, again under the direction of Jones, with Dexter Zollicoffer playing Mama. He totally inhabited the role and led an ideal ensemble cast in fully capturing this remarkable story. Interesting note: We were subsequently introduced to Gloria Allen at another Philip Dawkins play. As soon as she entered the room, we instinctively guessed who she was because of her striking grace and presence. It was an honor to meet her.
Music Hall by Jean-Luc Lagarce, translated by Joseph Long, produced by TUTA Theatre Chicago in 2015: TUTA’s production of this poetic, charming, humorous, and poignant play appeared first at The Den Theatre and then moved to 59E59 in New York. The play tells the story of a once renowned Josephine Baker-esque “artiste,” clinging to a fading elegance and waning dignity while on tour in the decidedly downhill phase of her career. The narrative is told with grace and gentle humor by the two supporting performers in the artiste’s act. In director Zeljko Djukic’s brilliant staging, a simple set with a mirrored wall, a sliding curtain, a ladder, and a stool represented backstage and on-stage settings for a succession of one-night stands farther and farther from the the artiste’s desired iconic stature. The music, movement, inventive use of props and set, and the unfailing subtlety and sensitivity of the director and actors made this production unforgettable.
