“Crowns” tells the story of hats, and their connection to the African-American experience. This is done through the journey of a young woman from the streets of Brooklyn NY, Yolanda (Angela Wildflower Polk). As the play starts, Yolanda has been sent to Darlington SC after her brother was shot to live with her grandmother. In the south, Yolanda sees the intersection of her street-developed unique style with the southern African-American rhythm, and the tradition of church hats. This she learns through various stories and experiences told by her grandmother, Mother Shaw (Peggy Ann Blow) and a circle of women (Velma (Sharon Catherine Blanks), Jeanette (Vanessa Bell Calloway), Wanda (Suzzanne Douglas), and Mabel (Ann Weldon)), assisted by a male character (Clinton Derricks-Carroll), who takes on many roles. These stories all connect to the importance of hats in a culture where church was often the only place to wear the finery, and a hat was that unique expression of style. As such, the hat was not a representation of piety and respect that Tevye speaks about, but rather captures the notion that when one goes to meet the king, one wears your best.
The play tells this story not in the traditional structure of characters talking in a living room, but in a space that stylistically represents a number of different churches, all hinted at through the slightest abstractions. As such, it is hard to get into the story at first: you wonder who this rapping girl is, and why there is this vaguely African group going on behind her. As it moves into a service structure (procession, morning service, marriage, funeral, baptism, recessional) the stories start coming. Through most of this, Yolanda seems to be an oddly separated observer: the stories happen and she sings and moves, but it is just going through the motions.
Stories are told of the different morning services and the roles that hats played in the lives of these women. We see the morning service, and how hats gave these women their pride, and something to be proud of. This includes a remarkable performance of “Eye Is On The Sparrow” by Sharon Catherine Blanks. Even more touching is the “Jumping the Broom” scene, where we see the life of a couple and the role that hats play in that life: from when they meet to their marriage, through their children (the wedding shawl is transformed into the baby), and through the husband’s death (and the wedding shawl becomes the funeral shroud) and burial in his hats. It was in this scene in particular that I was really impressed with the acting ability of this ensemble, in particular, the performance of Clinton Derricks-Carroll.
As we move into the funeral scene, we begin to see the transformation of Yolanda and the cracking of the Brooklyn-hard persona. As she tells the story of the murder of her brother, Teddy, and how she wore a special hat to the funeral and was transformed by it, the audience is transformed. During this scene, the acting of Angela Wildflower Polk was just amazing. We then see Yolanda’s baptism in the south, and as she sees the joy of rebirth, her transformation.
I’ve told the story of this musical and described the players in a manner quite different than I normally do. But this is quite a different play. You start out wondering what’s going on around you (like Yolanda), and you get drawn into the transformational spirit that these hats bring. This is a testament to Taylor’s writing (the play is adapted from a book by Michael Cunningham and Craig Marberry) and the infectuous gospel style music arranged by Linda Twine and David Pleasant, with additional arrangements by Eric Scott Reed. As a side note, this appears to continue artistic director Sheldon Epps theme of plays about the African American experience which has been ongoing for many years — in particular, I felt that this play dovetailed quite well with a play in a previous season, “Cuttin’ Up — a story about black barbershops — also by Marberry. Hair and hats have an importance in the African-American culture that is something unfamiliar to me with my Jewish cultural background… and so I learn. It is interesting that Epps is successfully doing this where he is — in Pasadena, California, a town that was shaped by the midwestern Iowans and is traditionally portrayed as lily white. The audience color shift I’ve written about previously was still present, although a bit weaker (it still boggles my mind about why one color audience tends not to go to shows about the other color — good theatre is good theatre). By the way, “Crowns” was a co-production with the new Ebony Repertory Theatre which presented it earlier in the season. The ETR is a new company whose mission is to create, develop, nurture and sustain a world- class professional theatre rooted in the experience of the African Diaspora and shaped by a dynamic perspective that incorporates an understanding of, and respect for, the unique African- American journey to freedom. Given Sheldon’s commitment to this sub-genre, I expect to see more ERT co-productions.
As I noted above, the acting and singing in this production were exceptional. There are a few I would like to highlight. Cinton Derricks-Carroll shined whenever he got the chance in this company of women; Angela Wildflower Polk, Sharon Catherine Blanks, and Vanessa Bell Calloway proved not only to be remarkable actresses but powerful singers. The weakest performance was that of Ann Weldon: although never dropping character, she had a larger than expected number of line hesitations and the occasional start-over that was slightly distracting. All actors are members of Actors Equity.
The set design by Edward E. Haynes Jr. was simple, with a number of floor to ceiling structures just holding hundreds of hats. Simple elements flew down to suggest different churches, and simple prayer benches were moved as necessary to suggest other structures. The lighting design by Lap Chi Chu initially struck me as odd: very dark, with an overuse of spotlights (shakey at that) that made one feel alien. However, this turned out to be just echoing the mood, because as the production progressed the lights became brighter, the spotlights less noticable, and the colors more integrated with the story. The sound design by Southern California sound specialist Cricket S. Myers was what a good sound design should be: clearly audible, with decent sound effects, and otherwise unnoticable. Of course, in a production such as this the costumes are key. Dana Rebecca Woods’ did a nice job with the dresses and an even nicer job with the hats, which came from local milliners Louise Green Millinary, Leola’s Fashion Hats and Accessories (Leola Speed), and One-Of-A-Kind Hats (Sonja Robinson).
The production was directed by Israel Hicks, with choreography by Keith Young. The production stage manager was Gwendolyn M. Gilliam, assisted by Playhouse regular Lea Chazin. The musical director was Eric Scott Reed, who conducted and played piano during the performance, together with Derf Reklaw on percussion and Trevor Ware on bass. Tom Ware was the Producing Director.
“Crowns” continues at the Pasadena Playhouse through August 16, 2009. Tickets are available through the playhouse, and likely through Goldstar and LA Stage Tix. I should note that Erin came with us for the remarkable price of $15 for orchestra tickets. She took advantage of the Playhouse’s student rush tickets, which are available with student ID one hour before the performance for $15. For non-sold-out shows, as they say, “such a bargain”. She was 10th row orchestra, center.
Upcoming Theatre: Although we’re going on vacation, the theatre just doesn’t stop! Our next theatre looks to be Tuesday evening, when at least one of us (I need to get tickets for the other two) will be seeing a staged reading of “Ernest Shackleton Loves Me”, a new Groovelily musical at Palo Alto Theatreworks. The following Sunday sees us back at Theatreworks for “Tinyard Hill” at TheatreWorks in Palo Alto on Sun 8/16 @ 7:30 (there as 1 ticket left on Goldstar as of 824a 8/9, if you want to join us). Sat 8/22 sees us back at the REP for “Beyond Therapy by Christopher Durang. August closes with the Hollywood Bowl on Saturday 8/29, where we are seeing Liza Minnelli. September brings the High Holy Days (Rosh Hashana is the evening of 9/18 and the morning of 9/19; Yom Kippur is the evening of 9/27 and the day of 9/28). The only theatre ticketed so far in September is “The Night Is A Child” at the Pasadena Playhouse on 9/25 @ 8pm. Concertwise, September brings Tom Paxton at McCabes on 9/13. October brings “The Hound of the Baskervilles” at the REP on 10/3 @ 8pm and “Guys and Dolls” at Cabrillo Music Theatre on 10/24 @ 8pm, and should also bring “Parade” at the Mark Taper Forum (HotTix go on sale 9/3; the show runs 9/24 through 11/15). As a reminder, I’m also always looking for interesting productions on Goldstar and LA Stage Tix, so if you have a production to recommend, please do so.
Lastly, remember that a recent study showed that it isn’t possessions that are important — it is shared experiences. So go have one of the best shared experiences there is: go support your local live theatre, and help keep all the people who work at the theatre (from the cast to the technical staff) employed.
