Rich and wide-spanning drama in 'Clybourne Park'
By Noah Moore
Lorraine Hansberry's A Raisin in the Sun is an American staple--a story from a specific time that highlights sentiments on race, class, and general comeuppance in the era. That it is so rich makes its quasi-sequel, Clybourne Park, that much more incredible. Mariemont Players' new production makes great use of a thrilling and hilarious script with a razor-sharp cast and a strong artistic vision.
Clybourne Park is a 2010 play by Bruce Norris that tells the story of one home in two separate time periods, 1959 and 2009. As such, when a white family in the house in 1959 discover their home is to be bought by a black family, hidden feelings bubble to the surface. When we flash forward to 2009, following a black couple negotiating terms for the sale of the house to a white couple, the points made are strong and clear. Elements of white flight and gentrification seep through the layers of this well-written Pulitzer Prize-winning play. But like Hansberry's classic, the story didn't go where you'd guess it would.
Buoyed by a thrilling script, director Dan Maloney made clever use of its scenic elements and talented cast. Alicia Friedman, the wife of the 1959 homeowners and the quippy lawyer in 2009, was a clear stand-out. With her razor-sharp timing and gentle aura, each of her battering rants (including a hilarious bit about the real capital of Morocco, which is Rabat...) were side-splitting. Her outrageous demeanor only made the performances of Phillip Latham and Tia Tonae that much more grounded, often presenting the voice of reason...though not immune to infighting.
The show came to a half just before intermission, and not for the snacks--Fred Murrell's the 1959 patriarch exploded, delivering a resonant performance, filled with genuine drama and pent-up rage. Nate Huitger as the Priest Jim, along with Jamie Sivrais' bad-tempered Steve, made for further comedic gold and social commentary, rounded out by Kayla Theis' relatable performance as Lindsey. The cast was simply too sharp to omit anyone.
As curtains opened after intermission, the once-slightly fraying household has become stifled with construction, graffiti, and exposed walls. This scenic change is delivered matter-of-factly, but with the knowledge of the first act, it allows for an impactful start to the second half. This is a testament not only to Dan Dermody's clever set, but Nick Huitger's sharp stage management. In dealing with two eras 50 years apart, Dianna Davis' wig design and Peggy Stouffer's authentic costumes blended in excellently.
This was my first time attending Mariemont Players, and it certainly won't be the last. The intimate schoolhouse-turned-theatre is perfect for plays like Clybourne Park. The characters are mere feet from you--they, in turn, are not mere caricatures, but any one of us. This riveting piece runs through September 22, and tickets are available at https://www.mariemontplayers.com/clybournepark.
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