The Devil’s in the Details

Covenant

A term frequently used in a religious context, someone who makes a contract, a solemn commitment or an agreement with another individual is entering into a covenant. It recalls the promises made by Noah, Abraham or David with God. But in COVENANT, a one-act horror-thriller, a rumor persists that a local young man once made such an unbinding contract with Satan. And, let me tell you, in Chicago playwright York Walker’s frightening new Southern Gothic, the devil is in the details.

Very little is known about an early twentieth century American blues musician and songwriter named Robert “Leroy” Johnson. He lived down South in the 1930’s, when this play is set. However, Robert Johnson’s musical talent was apparently so unbelievable that it was said that the African-American artist must’ve sold his soul to the devil in return for his magical musical gift. The rumor about Robert Johnson said that he had a passion for music and an unbridled desire to become a great blues composer and performer. He took his guitar and walked to the crossroads at midnight, and there he met a dark, mysterious man. This ethereal being taught Bobby how to master his guitar, in exchange for his soul. Mirroring the Faust legend, it’s said that Johnson went on to create the blues and became a world-famous, trail-blazing musician. Unfortunately Robert Johnson’s life was cut short and he died at the age of 27. 

In York Walker’s supernatural thriller, handsome and charismatic young Johnny “Honeycomb” James returns to his small hometown in rural Georgia, after a couple years away on the road. Unbelievably, he’s become a very talented and highly sought after guitarist, singer and songwriter. This all seemed suspicious to some and a little shady to others, mainly because the young man didn’t have much talent before. Then the rumors grow, saying that just before Johnny left town he was seen standing alone in the graveyard under a full moon. In his hand he held a red envelope. To the religiously devout, Johnny James had made a covenant with the devil, trading his soul for his miraculous musical talent. And now the young man is back home again, showering his romantic attention on Avery. But the devil may still be lurking where he’s least expected!

Serving as the Goodman Theatre’s BOLD Artistic Producer, Malkia Stampley has been twice Jeff-nominated for her excellence. Here she brilliantly directs this soul-shattering supernatural drama by one of Chicago’s most talented, local playwrights. York Walker’s COVENANT is finally making its much-awaited Chicago premiere. The Southern Gothic debuted three years ago, to great acclaim, at New York’s Roundabout Theatre. Now Chicagoans will get to experience this horrifying and bone chilling one-act for themselves. Ms. Stampley’s nail-biting production is filled with powerful performances, edge-of-your-seat tension, hair-raising horror, terrifying special effects and a climax that will leave audiences breathless.

Ryan Emens’ chilling set design immediately sets the mood for this terrifying tale. A lone weathered wooden building, with one large door and a huge crucifix afixed to the wall, stands in the midst of a field of tall grass. It’s sheltered by an enormous moss-covered tree. The proscenium that frames the scene consists of ominous, eerie-looking, twisted black branches, warning theatergoers that nothing good is going to happen here. The production’s special effects are the collective artistry of Gina Patterson’s masterful lighting design, Dee Etti-Williams’ sound scape and the music direction and original compositions by Mike Przygoda. The worn-out look of the Jim Crow Era is especially evident in the costumes designed by Evelyn M. Danner.

The play’s five-member cast is a multitalented company of magnificent performers. Not only are they gifted actors, the talented quintet possess excellent singing voices, as well. As Johnny “Honeycomb” James, Debo Balogun is mesmerizing. It’s easy to appreciate how this brilliant actor, who’s been seen in MUCH ADO ABOUT NOTHING, at Chicago Shakespeare, and MARY SHELLEY’S FRANKENSTEIN, at Lookingglass, is able to convincingly portray a man with so much power over women. Mysteriously losing his stutter, Johnny has now suddenly become a gifted musician and vocalist. Lovely Jaeda Lavonne (RICHARD III, Chicago Shakespeare Theatre; THE OCTOBER STORM, Raven Theatre) is a revelation as Avery. Her character is bold and alluring and the actress knows how to really charm a man. Whether subtly flirting with Johnny or becoming possessed by potent unseen powers that she can’t control, Ms. Lavonne is terrific.

As the strict scripture-quoting, Bible-thumping, Mama, multiple Jeff Award-winning actress, Anji White (FAT HAM, Goodman; EAST TEXAS HOT LINKS, Court Theatre) is a terror as the no-nonsense matriarch of the family. She rules over her two daughters with an iron hand, as well as with anyone who comes calling. Mama has such strong religious convictions that nothing or nobody can shake them…until secrets and lies begin spilling in the final scene. Ms. White is absolutely astonishing in this role!

Felicia Oduh plays Avery’s meek younger sister, Violet (seen at the Goodman in THE NACIREMA SOCIETY and in Steppenwolf’s NOISES OFF). She journeys from being a soft-spoken young lady to an outspoken frightened, but fearless, individual. Violet eventually discovers that there are stronger forces at work in her small world than she had ever imagined. She eventually finds the gumption to take the reins and stand up to those who hold control her. Violet’s gradual transformation is the energy that propels this story. And, as Ruthie, Violet’s bestie and someone who loves Avery more than we ever imagine, Ashli Rene Funches (IS GOD IS, A Red Orchid; STEEW, Shattered Globe) makes her powerful appearance at the Goodman—and hopefully not her last. She brings a little humor and and levity to the play, especially when it’s needed the most. But Ms. Funches’ young character also undergoes a transformation, especially after the death of her grandmother. Ruthie ends the play as the character we think most about in the aftermath of all the spooky happenings.

York Walker’s 100-minute horror tale is yet another adaptation of the myth and musical story of African-American singer/songwriter, Robert Johnson. His play bears a resemblance to Ngozi Anyanwu’s LEROY AND LUCY, enjoyed in an earlier production at Steppenwolf Theatre. Both plays owe much to the genre of the Southern Gothic and Black Mythology. Mr. Walker’s eerie thriller, however, is filled with professed suspicions, guarded secrets and the effects of gossip in a small town. In that respect, COVENANT may take some inspiration from Arthur Miller’s THE CRUCIBLE, also concerning folks being accused of dealing with the devil. In addition, his play offers a nod to supernatural possession, in horror classics, like The Exorcist. But Malkia Stampley’s pulse-pounding production of COVENANT, with its excellent performances and terrifying special effects, is scary enough on its own to keep theatergoers awake at night and to remind audiences that the devil is in the details.              

Highly Recommended

Reviewed by Colin Douglas

Presented May 2-31 by the Goodman Theatre in the Owen venue, 170 N. Dearborn, Chicago.

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

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

Photos by Hugo Hentoff