Review: Creative Arts Foundation’s “Pill Hill”

Testing the Bonds of Brotherhood in Sam Kelley’s  “Pill Hill”

 "Pill Hill", by Sam Kelley, now playing at eta Creative Arts Foundation

The award winning eta Creative Arts Foundation wraps up its 38th season with a sterling production of Sam Kelley’s Pill Hill, a play that explores the journeys of 6 Chicago steel mill workers trying to realize economic and social success. Director Aaron Todd Douglas has honed his actors into a taut and dynamic ensemble. His direction shines at its best when it contrasts the vital camaraderie that unites these African American men with the unspoken truths, rationalizations, and false aspirations that throw each character into isolation.

Pill Hill is the black upper-class neighborhood on Chicago’s south side where these men aspire to live one day as a sign that they have “made it.” As some take their first tentative steps away from the steel mill, others get left behind—Charlie, the senior member of the group, who has worked there since migrating to Chicago from the South and Joe, who cannot bear to turn away from a sure paycheck, even though the mill inexorably grinds him down. Kelley’s play examines the toll that success takes on friendship, while acknowledging that the price of doing nothing is certainly just as high.

There is much to be said about Kelley’s keen eye on friendships between the men of Pill Hill. Most of that dynamic plays out between Joe (Kelvin Roston, Jr.) and Eddie (Anthony Peeples), in the crucible of their desire for a better life. Much as they both share their dreams of getting out of the mill and onto the Hill, more goes unsaid between them about the limits of their friendship when the stagnation of one strains against the overwhelming success of the other.

Indeed, the whole cast, under Douglas’s watchful direction, construct nuanced relationships between their characters, where what is not said matters as much as what is. Therefore, much is made about Joe’s need to move on from mill work, but silence surrounds his encroaching alcoholism; Scott (Cecil Burroughs) gets to revel in his glory days as a prospective football player, but no one confronts him about his descent into drug sales once his potential truly dries up; the guys remark frequently on Tony’s (Corey Spruill) natural abilities as a salesman, but none question his growing lack of a moral center.

Attention, as well as praise, must be paid to the most riveting monologue of the production, delivered by David Adams, as Charlie. It is critical to the play. It grounds it in the recognition that success can never be as simple to African Americans as it is for whites. Success for African Americans bears the awful burden of reflecting full-fledged personhood and first-class citizenship. Tragically, material success may also dangerously expose a black man as being “too uppity.” Charlie relates the time that Southern police officers pulled him over for the crime of driving his new Cadillac around his old hometown. After they have terrorized and humiliated him in front of his family, Charlie drives back to Chicago and puts the Cadillac up on blocks, not to be driven again, until a new sheriff has taken over, years later. Obviously, having more than white bigots think you deserve can get you into as much trouble as having nothing.

While having it all and having nothing contend most dramatically between Joe and Eddie, it’s the internal struggle between the two that wreaks the most havoc with Eddie’s soul. Eddie is the greatest achiever of the group, breaking the glass ceiling as the first black lawyer of a prestigious Chicago law firm. He becomes the group’s living symbol of promise and hope. But one almost wishes Eddie could be a little less successful, but a little more content, as is dear, henpecked Al (Kevin Hope). Peeple’s Eddie is ready to crack under the burden of it all—the success, the compromise that success demands of him, and especially, the childlike adulation of Joe, who is already so broken, no attempt can be made to hide it. Something has got to give. The showdown between Joe and Eddie is searing and unforgettable.

It is my hope that theatergoers who are familiar with the north side will head south to see this magnificent production. Douglas and cast strike the right balance between playfulness and tension, humor and anger, yearning, helplessness, and hope. While some dialogue may be stilted, Sam Kelley’s work truly ranks with other dramas that critique the American Dream, like Arthur Miller’s Death of a Salesman or David Mamet’s Glengarry Glen Ross. Whatever its limits, this play examines something that the previous two works do not. It explores the modern day tests that are put to an African American brotherhood that is, all at once, flawed, endangered, compassionate, and powerful.

Rating:  ««««

Pill Hill runs through August 9th, at the eta Creative Arts Foundation, located at 7558 S Chicago Avenue.  For more info and tickets, call (773) 752-3955.

Thursday, Friday, Saturday at 8:00 P.M.
Sunday at 3:00 P.M. & 7:00 P.M.

 

For more info regarding eta Creative Arts, click on “Read more”

eta Facts

Purpose

eta Creative Arts Foundation was incorporated in 1971 as a non-profit, tax exempt organization to provide training and performance opportunities for youth and adults. In the past 35 years, eta has evolved to become a recognized cultural treasure not only in the city of Chicago, but nationally and internationally. The organization has a commitment to the production of new works-to tell our story in the first voice- and to the development of individual artists.

Program

eta programs are vast and diverse in scope toward the goal of strengthening the community culturally and economically. An extensive training program in the performing and technical arts is provided for children (from age 6), teens and adults. Classes include acting, music, dance, lighting, sound, playwriting, stage management, directing, audition techniques for commercials and video taping.

The professional performance program includes a season of five Mainstage productions (plays which have never or seldom been produced) from September to August each year; a Showfolk series of daytime Productions for school aged children 33 weeks of the year with study guides; a Family Performance Series, which features students-children and teens-each Saturday from January through May.
New playwrights are nurtured through the Reader’s Theatre; the Playwrights Discovery/Development Initiative; and Story Telling Nights in collaboration with The Association of Black Story Tellers to insure that there will be a constant flow of new stories which can be seen on the eta stage.

The Visual Arts Gallery showcases the work of outstanding artists both local and national.

Other programs conducted by eta include the Playwriting/Creative Dramatics partnerships with the Mount Vernon, Paul Revere, Brown, Manierre, Doolittle East, Brownell, McCosh, O’Keeffe and Hearst elementary schools; Brown Academy, and Crane High school with Youth Guidance, and the South Shore High School.
Professional Development Workshops for teachers in the use of various Arts disciplines as a teaching methodology are also available. Lane Credit can be earned by attending these workshops.

eta To strengthen involvement in the school, arts workshops for parents are held at 3 elementary schools and 1 high school.

Since 1992, eta has enrolled 100 six to twelve year olds in “Chicago On The Nile“, a seven week summer cultural arts day camp. Slots are in great demand.
In preparation for facility expansion a number of new programs were initiated in 2002-03. Among them is the very popular Music Mondays, bringing “classical jazz” in a cabaret motif back to the south side; book signings; wealth creation and volunteer development workshops and poetry jams.

Track Record

In the 38 years of its history, eta has produced over 200 productions of new works. Since fiscal year 2000, over 100,000 people annually have participated in eta programs. In any given season, eta contracts with over 190 performers and technical personnel in its mainstage, daytime shows and arts in education programs. Since 2000 over 100,000 have people participated in eta programs.

Structure

eta‘s 27-member Board of Directors is actively involved. Primarily responsible for policy formulation, the Board works through various committees, i.e. fundraising, fiscal oversight, personnel, strategic planning and audience development.
eta has over 500 volunteers not only engaged in fund raising but also serves as a cadre of service supporters-ushers, mailing, hostesses and community representatives. eta is manned by six (6) full time staff and fifteen (15) contracted persons as instructors and special assignments.

One Response

  1. What a fabulous review for a really fine production. Thank you so much for “getting it.” Your insight is greatly appreciated. Readers of your blog might also be interested in knowing that the playwright, Samuel Kelley will be at eta on this coming Friday, the 17th for a post-show conversation.

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