Originally produced in 1969, taking place in the 1950s, Lonne Elder III’s Ceremonies In Dark Old Men may be an historical chronicle, but it’s not without echoes. It’s possible, not without reason, that African Americans in this country will never be able to completely move on from our disgraceful behavior towards them. Some White citizens continue to believe negative cliché characteristics of race. The playwright shines light on both.
Windows of Harry Feiner’s beautifully detailed Harlem barbershop set- when was the last time you saw a sign advertising Wildroot (hair cream) – reveal a photographic backsplash of Harlem. Stairs are deftly conceived inside and out of the family’s nextdoor residence. The single chair shop feels dusty enough to elicit sneezing.
Jeremiah Packer (Bobby), Norm Lewis (Russell), Bryce Michael Wood (Theo)
Widowed patriarch, former vaudeville dancer Russell Parker (Norm Lewis), has had no work since injuring his leg seven years ago. He spends his days playing checkers with buddy William Jenkins (James Foster, Jr.) and spinning tales. It’s not clear whether Russell ever cut hair. Proud, angry and lost, he’d feel exploited in any available job.
Parker’s sons Theo (Bryce Michael Wood) and Bobby (Jeremiah Packer) follow his example. Neither works. Theo, the elder, comes up with a series of unlikely ideas and professions on which he never follows through. Bobby shoplifts. Both have chips on their shoulders. Like their father, the siblings feel justified looking for a way to beat the system.
The household is supported by stoic sister Adele (Morgan Siobhan Green) as it had been by Russell’s wife before her, and Adele has had it. She gives the men a deadline. As the lease is in dad’s name, one assumes the threat is her walking out.
Morgan Siobhan Green (Adele), Norm Lewis (Russell)
One day Theo bounds in with a solution to their problem. He’s brewed (particularly good) bootleg corn whiskey (Russell’s old recipe) and, partnering with Blue (Calvin M. Thompson), will sell it out of the back room of the shop. The local hood leads an organization ostensibly in support of Harlem’s Black population while running a number of illegal enterprises on the side. Judging by his ensemble, the man is doing well. Isabel Rubio’s costume design is beautifully devised with character specific upgrades and dandyism.
At first righteously reluctant, Russell agrees to the proposition, even drawing Jenkins in as a partner. Theo works hard, barely leaving the shop. Bobby secretly gets involved with Blue’s organized thievery. Every night, Russell goes out determined to make up for lost “fun” time. The older man freely takes money from the till and hooks up with a floozy (Felicia Boswell) he naively means to marry. Adele gets mixed up with bad company. We know something’s going to blow. And it does.
The play’s scenario is credible and effectively frustrating, but too long. A combination of meandering speeches and extended pauses make it tiring instead of gripping. Overall, we don’t feel sympathy for those caught between a rock and a hard place. Of course, this might’ve been Elder’s intention, though it’s A-ttention about which I speak.
Bryce Michael Wood (Theo), Calvin M. Thompson (Blue)
Last time I saw Norm Lewis was onstage at 54Below where he intermittently appears as a popular cabaret artist. Non singing performance for him is a rarity. Lewis does a low key job here, replete with drunk stumbling and a fall. Natural warmth balances pigheaded ego. His Russell is so oblivious, one wants to shake him.
Morgan Siobhan Green creates a well honed portrait of Adele whether infuriated or resigned. Calvin M. Thompson’s otherwise underwritten Blue comes alive in Act II with a long personal speech that erupts with insidious threat. As William Jenkins, James Foster, Jr. is subtle and grounded.
Director Clinton Turner Davis utilizes the many leveled space with verisimilitude. Incidental stage business works well. Several of his actors, however, seem too slick with dialogue. We have no sense of their thinking.
Sound Engineer SDN Broadcast makes everything pristine. Is it responsible for excellent music choices?
Photos by Maria Baranova
Opening: Norm Lewis (Russell Parker)
Ceremonies In Dark Old Men by Lonne Elder III
Directed by Clinton Turner Davis
Theatre at St. Clements
423 West 46th Street
