Generational Divide

Mud Row

Drop by the Mud Row house in the East End of West Chester, Pennsylvania. Meet lovely, genteel Elsie, a young African-American woman with plans to marry a more affluent man who’s a member of the Black population called “the talented tenth.” While Elsie’s preparing for her hopeful upcoming nuptials, activist sister Frances is getting ready to leave the house for another of many fights for Civil Rights during the 1960’s. The two girls love each other, but there’s a definite generational divide in how they plan to live their lives.

Several years later, two estranged sisters from the same family are suddenly forced to face each other. In the house left to Regine as her inheritance, she and her loving and caring husband Davin stop by to look over the place left by Granny Elsie, before they decided to sell. They’re surprised to discover that the house seems to be inhabited by squatters. When the couple return later that evening, Regine is even more surprised to discover that the illegal dwellers are her younger sister Toshi, and her boyfriend, Tyriek, with whom she’s severed ties. In an instant the generational divide widens once again.

Chicago theaters have a long history of producing and presenting many of the wonderful plays by gifted African-American playwright, Dominique Morisseau. Windy City audiences have enjoyed her dramas, like SUNSET BABY, CONFEDERATES, PARADISE BLUE, PIPELINE, and the National Tour of her musical, AIN’T TOO PROUD, for which Morisseau was nominated for the Tony Award for Best Book of a Musical. A few years ago, I was thrilled to meet Dominique in Detroit, the hometown we both share, and she radiated with the  intelligence, passion and artistry found in her plays. MUD ROW, for which she was named the MacArthur “Genius” Grant Recipient, is just the latest drama by Dominique Morisseau to play Chicago.

Talented Malkia Stampley marks her auspicious Remy Bumppo directorial debut with MUD ROW. She wisely remarks that the play is “a timely conversation about home, identity, family obligations and the reminder that the choices we make and the narratives we hold onto can last for generations.” Generously laced with laughs, Stampley weaves together the ghosts of the past with those living in the present. The drama that tells of two generations of an African-American family, all of whom have made different life choices and taken contrasting paths. But despite the characters being African-American, the family secrets, pain and unhealed wounds are really universal truths. 

The creative and artistic technical support provided enhance this production. Sydney Lynne’s thoughtfully designed house, dressed with the sparse furnishings that have been part of the Jeeter homestead for generations, allows the small home to serve as an anchor for the sisters. It also becomes a vault of family memories and secrets passed down through the years. The production’s inventive lighting, designed by Levi J. Wilkins, is masterful. He’s devised many unusual effects that support the supernatural nature of this play.

This powerful story is told by a truly talented cast. Alexis Janae (CHICAGO LORE(S), Urban Theater Company), who hails from Milwaukee, makes her Remy Bumppo debut as the charming, goal-oriented Elsie. Frances, her strong-willed sister, is played with guts and gumption by Toccara Castleman (CONFEDERATES, Redtwist Theatre). The two share a close, honest sibling chemistry that’s realistic. 

Ayanna Bria Bakari (BIG WHITE FOG, Court; PURPOSE, Steppenwolf; AS YOU LIKE IT, Chicago Shakespeare Theatre) is the incredibly gifted actress portraying Regine. For my money, Ms. Bakari is the best reason for seeing this production. With every entrance, this magnificent actress grabs the theatergoer’s attention and holds on tightly. She’s paired with skilled actor, Brandon Sapp, as Regine’s charming and caring husband, Davin. Together and individually these two actors make a powerful team.

I have enjoyed this young actor in so many Chicago productions. Jabari Khaliq (MA RAINEY’S BLACK BOTTOM, Goodman; THE HOT WING KING, Writers; PURPOSE, Steppenwolf) brings both his accumulated theatrical experience, as well as a strong talent for both comedy and drama, to the role of Tyriek. And lovely ensemble member, gifted Tiffany Renee Johnson (BLUES FOR AN ALABAMA SKY and PASSAGE, Remy Bumppo; the Broadway tour of JAJA’S AFRICAN HAIR BRAIDING) is absolutely magical in the role of Toshi. With seemingly very little effort, Ms. Johnson conveys all the pain and angst of her character, along with Toshi’s desire to bury the hatchet and reconcile with her sister. It’s a performance that audiences will never forget.

Audiences dropping by the Jeeter family home in Pennsylvania, will discover that the ghosts of the past are haunting the living family members in the present. In Dominique Morisseau’s MUD ROW, the playwright takes a close look at the dynamics of family, the rifts that sometimes develop between sisters and how the breakdown of trust can last for many years. Beautifully directed with a delicate touch by Malkia Stampley, this tale of generational divide is told by a talented cast who know their craft. Morisseau’s drama about how a family estrangement poisons and divides its members, until love mends the breach, is a universal story that will touch every audience.    

Highly Recommended

Reviewed by Colin Douglas

Presented October 15-November 15 by Remy Bumppo at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available in person at the box office, by calling 773-975-8150 or by going to www.remybumppo.org.

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

Photos by Michael Brosilow