Rages Through the Ages

Bust

Theatrical works tend to be put into convenient categories so they can be labeled and discussed. When talking about plays, there are dramas, melodramas, comedies, farces, adaptations of classics, mysteries, horror stories, psychological thrillers, fantasies and science fiction. But last night at the Goodman Theatre a new, World Premiere opened on the Albert stage. Written by Pulitzer Prize finalist playwright Zora Howard, this extraordinary play is unique in so many ways. But, most of all, BUST defies being pigeonholed with any kind of label.

To not spoil future pleasurable, jaw-dropping experiences, like the sold-out audience enjoyed on opening night, the plot will not be divulged here. What can be related is the setup. Retta and her husband Reggie, an older African-American couple, are partying on their apartment balcony when they’re joined by Trent, their high school-aged grandson. The three notice that their neighbor and friend, Mr. Woods, has just driven into the parking lot, but he’s being followed by the police. Two cops emerge from their car and confront Mr. Woods, who’s then directed to get out of his vehicle. Tomlin, the abrasive Caucasian policeman, draws his gun as the three balcony observers watch with rapt attention. So naturally, Trent pulls out his omnipresent cell phone and secretly records the whole encounter. 

Then suddenly, without any warning, it happens. Something totally unexpected. And smart theatergoers will just have to go see BUST for themselves to marvel at, ponder with and enjoy the chain of events that will transpire. Just know that Zora Howard’s new play deals with a people’s rages through the ages. You’ll understand.

Directed by multi award-nominated Lileana Blain-Cruz, one of the resident directors at New York’s Lincoln Center Theater, she’s staged and guided a production that’s funny, dynamic and especially thought-provoking. In trying to provide a handle for Howard’s script, it might possibly fall under the heading of Magical Realism. For theatergoers unfamiliar with this phrase, it’s related to, but differs slightly from, Fantasy. In Fantasy, the audience experiences a strange new world filled with charms, spells and supernatural characters. But with Magical Realism, magical elements simply blend into a familiar, realistic setting, treating the extraordinary as ordinary. That’s the most that can be divulged about this play.

The all-Equity cast is certainly stellar. Many of the actors are making their Goodman debut with Ms. Howard’s play, and they’re all excellent. As Retta and Reggie, Caroline Stefanie Clay (OO BLA DEE at the Goodman) and Ray Anthony Thomas (BETWEEN RIVERSIDE AND CRAZY, at New York’s Atlantic Theater) are absolutely hilarious. They actually feel like an old married couple. Their continual banter and bickering, especially early on, will be familiar to every theatergoer. As their grandson Trent, Cecil Blutcher (Goodman debut) is terrific. He nicely plays all the humor, horror and humanity of a young man trying to wrap his mind around a lot of bizarre occurrences in his life.

Keith Randolph Smith (BLUES FOR AN ALABAMA SKY, at Atlanta’s Alliance Theatre) is a powerhouse performer as Mr. Woods. Even when the audience can’t see him, but simply hears his booming voice, Mr. Smith is unbelievably good. A pair of talented actors portray the two police officers, the bad cop and the good cop. Chicago actor Mark Bedard (A CHRISTMAS CAROL, at the Goodman), plays both Tomlin and Jack, the school security guard. His portrayal is difficult because the two characters are so similar. They’re hotheads without an ounce of kindness nor empathy, especially for anyone who isn’t White. As Latino police officer Ramirez, Jorge Luna is the good cop. In scene after scene, we come to appreciate the way he treats others and understand that he’s the more intelligent and caring of the two cops. If the Huntsville Police Force has a compassionate protagonist among their ranks, it’s Officer Ramirez.

The cast of supporting actors, all of whom do a magnificent job in their roles, play Trent’s classmates and teacher. They include Ivan Cecil Walks, as a very funny, fast-talking kid named Boobie; Renika Williams-Blutcher, as Krystal, always late-to-class, but the smartest problem solver of the group; Victoria Omoregie, as Krystal’s goofy friend, Paige; Bernard Gilbert, as the boys’ buddy, Zeke; and Atlanta actress Caitlin Hargraves, as their no-nonsense, bigoted teacher, Ms. Pinto.

In addition to Zora Howard’s superbly surprising script, brought to life by a talented cast and guided by gifted Director, Lileana Blain-Cruz, there are other behind-the-scenes theatre artists who create the world of this play. Scenic Designer Matt Saunders has fashioned a mobile environment that allows each scene to flow naturally, from one moment to the next. His work is enhanced by Yi Zhao’s intricate, often colorful, Lighting Design that combines the real world with an ethereal setting. Jeremy Chernick’s Special Effects make all the magic seem plausible, while Mikaal Sulaiman’s Sound Design provides a bouncy beat and a dramatic impact.

There’s so much understandable rage in this play, but it’s beautifully balanced with the humor. There’s also a great deal of humanity. Zora Howard’s play defies being pigeonholed, but it leaves the audience, both Black, White and every other ethnic group, with an appreciation for the anger housed inside one group of people. We can all totally empathize, care for and commiserate with Ms. Howard’s African-American characters in this play as we experience their rages through the ages. 

Highly Recommended

Reviewed by Colin Douglas

Presented April 20-May 18 by the Goodman Theatre, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

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