History Keeps Repeating Itself

1919 – Steppenwolf Theatre Company

An exciting, incredibly moving performance piece is being played out on North Halsted for audiences, both young and old. It’s 90 minutes of nonlinear storytelling, based upon Eve L. Ewing’s poetry collection relating a horrific Chicago tragedy, one of many from the Windy City’s history. Dr. Ewing, an award-winning Chicago writer and scholar has, through her powerful words and earnest emotion, detailed the facts concerning the murder of Eugene Williams. In 1919, he was an innocent young Black teenager who was just trying to cool off in Lake Michigan on a hot summer day. Adapted by prolific Chicago playwright J. Nicole Brooks, this performance piece digs back into the city’s past to demonstrate how history, sadly, keeps repeating itself.

This scorching production is co-directed by two local scholars, educators and experienced directors. Gabrielle Randle-Bent and Tasia A. Jones have worked together to shape and mold Ms Brooks adaptation, turning Dr. Ewing’s poetry into a cohesive movement piece. Peppered with emotional performances and expressive sound and music, the story is told through the talents of six young African-American actors. These two talented directors have carefully guided their multitalented cast, as they build the suspense, intrigue and injustice that’s been repeated in so many tragic events over time.

The superb company of gifted actors include Jessica Dean Turner, DeMorris Burrows, Max Thomas, Alexis Ward, Sheldon D. Brown and Sola Thompson. They portray nameless characters, simply called Humans #1-6, who become a number of other individuals and forces throughout history. The framework of this arena production is established as a young woman, casually munching Cheetos, enters and reluctantly sits at her typewriter. Apparently she has a paper to research or an article that she needs to write, but she’s just not motivated. Suddenly another character emerges from beneath the floor, lecturing her about wise nutrition and trying to spark her creativity. When that fails, a group of additional four characters join the space who, we’re told, are the young woman’s Muses. Together they act out the stories of the many Black Chicagoans who were unjustly victimized throughout our city’s history.

The production is performed in Steppenwolf’s new Helen Zell Ensemble Theater, which at first glance resembles a hockey stadium. But on closer examination, and especially as the performance proceeds, we discover that Yu Shibagaki’s scenic design is filled with unexpected surprises, particularly trapdoors and secret compartments from which characters enter and properties are retrieved. 

Jason Lynch’s gorgeous lighting design includes a gigantic chandelier made of blue and green bottles. It hangs above the acting area, and slowly lowers to the stage level as the performance piece begins drawing to a climax. In addition he’s hidden many more bottles in the trapdoors, which the cast bring to the stage. They are all filled with tiny lights of hope. 

The glass containers bring to mind the 17th century superstition of the Witch Bottle, a method of primitive Folk Magic. They were unearthed where slaves, in order to rid themselves of pain, illness and harmful intentions, once filled the bottles with pins, needles and nails. They then corked them and buried them in the earth. Or maybe the bottles are just a lovely, artistic means of illumination. Whatever the inspiration, Lynch has created a beautiful way of providing mood and light to this production.

Steppenwolf Theatre for Young Audiences happily returns to live programming after three years of closure, due to the pandemic. The goal this program is to provide “sophisticated, challenging and vital performances for Chicago teens. As this project returns, there’a even more hope for the series because it’s currently headed by a team of talented Black Women for this show. In “1919,” as in all the plays that follow, Steppenwolf will offer exciting works that will continue to speak to every age group, that will entertain and inspire intergenerational audiences all year long.    

Highly Recommended

Reviewed by Colin Douglas

Presented October 4-29 by Steppenwolf Theatre Company, as part of their Steppenwolf for Young Audiences series, in their in-the-round Helen Zell Ensemble Theater, 1646 N. Halsted St., Chicago.

Tickets are available in person at the box office, by calling 312-335-1650 or by going to www.steppenwolf.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.