Review: Home (Court Theatre)

       
    

Resonant and timely, yet still flawed

     
     

Kamal Angelo Bolden, Ashley Honore, and Tracey N Bonner in Home at Court Theatre

   
Court Theatre presents
   
Home
   
Written by Samm-Art Williams
Directed by
Ron OJ Parson
at
Court Theatre, 5535 S. Ellis (map)
through Dec 12  | 
tickets: $30-$60  |  more info

Review by Catey Sullivan

Three decades pass within the trajectory of Home, Samm-Art Williams three-character saga of a swath of American history viewed through the lens of an African-American man. The odyssey of Cephus Miles, from naïve, idealistic farm boy to destitute, drugged-out urbanite to prodigal son returned to the land is both uniquely specific and undeniably universal. It doesn’t matter what your race is: The struggle to put down roots can lead to the hellish instability of rocky soil long before a redemptive, fertile ground is found.

Final scene from HOME - Court Theatre - Kamal Angelo Bolden and Ashley HonoreThe piece is flawed, to be sure. Cephus (Kamal Angelo Bolden) seems to be no deeper than his outward actions – a character comprised of action but with little internal nuance. And by playing multiple roles as Cephus’ Job-like travels unfurl, Woman I (Ashley Honore) and Woman 2 (Tracey N. Bonner) provide character sketches that are more amusing than deep. Finally, the happily-ever-after ending that ensues after Cephus’ woeful odyssey of heartbreak, prison, and homelessness seems a bit pat. Williams dispenses with a wealth of endlessly complex societal woes – poverty, racism, and drug addiction among them – with a few deft swipes of the pen.

Wiliams’ text is musical, a rhythmic, lyrical pastiche of scenes that play like movements in a verbal sonata with words that literally sing at times. Hymns, spirituals, chants to make the toil of laboring in the tobacco fields endurable are interspersed through more traditional scenes of storytelling.

The yarns Cephus’ spins recalling his boyhood in Crossroads, North Carolina, are among the plays highlights: Working for the local moonshiner in a backwoods still where the occasional possum fell into the vat and made the brew all the more pungent; ditching church to play craps on Sunday out in the graveyard, escapades with colorful local characters – in the telling of these memories, Home shines brightest.

Cephus’ true love Patti May (Ashley Honore) figures predominantly in the story, with requisite rolls in the hayloft and vivid depictions of the explosive, pent-up sexuality of adolescence. But while there’s no questioning the sweet eroticism that exists between the couple, Patti May herself is all pleasant superficiality rather than uniquely layered character. She’s pretty, but that’s about it – Williams’ text provides little depth to the woman. When she makes a rather predictable final-act re-entry into Cephus’ life, her motivations for doing so seem more like a dramatic convenience (it wouldn’t do to leave poor Cephus stuck in a miserable, unhappy ending) than a genuine turn of events.

Ashley Honore and Kamal Angelo Bolden - Court Theatre Ashley Honore, Kamal Angelo Bolden, and Tracey N. Bonner - Home - Court Theatre
Ashley Honore, Kamal Angelo Bolden, and Tracey N. Bonner at Court Theatre - Home Kamal Angelo Bolden in winter scene in Samm-Art Williams Home - Court Theatre

Tracey N. Bonner has better luck playing multiple characters of marvelously funny and idiosyncratic quirks. As a coke-sniffing, loose-living big-city harlot, she’s a hoot, swanning about in a Scarlett-woman red feather boa like some kind of post-modern Jezebel. She’s equally memorable playing a snootily righteous welfare office caseworker who denigrates a homeless Cephus for being an embarrassment to his race.

This production is Ron OJ Parson’s third time at the helm of Home, having directed the piece for the Madison Repertory Company and New York’s Signature Theatre. He keeps the pace brisk, shaping scenes that are sometimes almost like small choreopoems. The opening scene is particularly effective as the two women hoe under a blazing sun, giving a harsh cadence to words so descriptively you can all but feel the sweat from relentless heat and ache from the back-breaking labor.
But while many of the individual scenes in Home resonate with powerful immediacy, the story as a whole just isn’t as effective – primarily because of that fairy tale, happily-ever-after ending. Williams brings plenty of relevancy to the stage: Cephus’ imprisonment after refusing to fight in Viet Nam is an issue that rings loud and clear as the war in Iraq plods bloodily on. His battles with heroin, homelessness and lost love are also vividly immediate. Unfortunately, his rapid redemption – financially, emotionally and geographically – are not. And his constant refrain throughout – that God is “on vacation in Miami” adds a jarring note to otherwise melodious dialogue.

   
   
Rating: ★★½
   
  

     
     

ARTISTIC TEAM

     
     
  Ron OJ Parson Director
  Jack Magaw Scenic Design
  Rachel Laritz Costume Design
  Heather Gilbert Lighting Design
  Kathryn Bostic Music Consultant
  Martine Kei Green Dramaturg
  Cristin Carole Movement Consultant
  Sara Gammage Production Stage Manager
  William Collins Stage Manager
  Crystal Barnes Assistant Director
  Michael Brosilow Photographer
   
Ashley Honore, Kamal Angelo Bolden, and Tracey N. Bonner in Home at Court Theatre Kamal Angelo Bolden and Ashley Honore in Court Theatre - Home
Tracey N. Bonner in HOME at Court Theatre Scene from Home at Court Theatre - Ashley Honore, Kamal Angelo Bolden, and Tracey N. Bonner

All photography by Michael Brosilow

     
     

One Response

  1. It was an extraordinary performance. The versatility of the actors was a testament to acting. I found myself remembering many “racial-related vignettes” from my childhood in NYC, which I hadn’t understood then, but which became clearer as the play progressed. The anguish in the story was felt by the diverse audience.
    The end of the play got a standing ovation as the lights dimmed. This play should get a 4-5 star rating!

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