Displaying items by tag: Geno Walker

I was skeptical when I learned that Court Theatre was staging "East Texas Hot Links." The Pulitzer prize nominated play first debuted in Chicago at Onyx Theatre Company in 1995, with subsequent productions in 1998 and a recent one at Writers Theatre in 2019. Although it’s not rare for a play to receive so many renditions, interestingly enough, each production has been directed by Ron O.J. Parsons, who has kept basically the same cast since its premiere. This piqued my curiosity enough that I felt compelled to see the show for myself. After the performance, fellow theatergoers shared this was the finest version of the play they had seen. I would have to agree. This production had me tingling from start to finish.

Court Theatre's production of Eugene Lee's East Texas Hot Links, directed by Ron O.J. Parsons, is an electrifying, poignant reminder of the harsh realities of life for Black communities in the segregated South, in this case East Texas, during the 1950s. Under Parsons' skillful direction, this production transforms Lee's taut, suspenseful character study into a deeply immersive experience that brims with tension, emotion, and tragedy.

Set in a small, rural Texas café, East Texas Hot Links offers a snapshot of a Black community's attempt to survive in a world where racial violence and oppression are omnipresent threats. The café, owned by the strong-willed Charlesetta (played by AnJi White), serves as a sanctuary for the local Black men—blue-collar workers who gather to talk, joke, and seek refuge from the dangers outside. However, as the play progresses, the audience senses the mounting tension, and it becomes clear that this safe space is not immune to the violence brewing in the surrounding white community.

AnJi White's portrayal of Charlesetta is  beautifully compelling. White brings strength, warmth, and an underlying vulnerability to the role, making Charlesetta the emotional core of the community. She commands the café with authority, yet her fear for the safety of her patrons is palpable. White’s performance is a delicate balance of resilience and fear, making her final moments on stage all the more heartbreaking.

Juwan Lockett imbues XL Dancer with an air of mystery, leaving the audience constantly questioning his motives. Lockett masterfully conveys a sense of an underlying threat simmering beneath XL’s surface, keeping the audience on edge. The other characters' scrutiny of XL only adds to the intrigue, with Lockett's performance subtly hinting at hidden depths and secrets the character may possess.

David Dowd's depiction of Delmus Green vividly captures the essence of youthful optimism amidst severe societal challenges. His naivety and idealism are clearly evident in his expressions, bringing a tangible sense of hope to his character. When faced with the reality of his situation, his body and expressions change and it’s a beautiful arc.

Geno Walker's portrays Buckshot as a formidable intimidating character who both commands respect and instills fear within the community. Beneath his tough exterior, however, lies a deep loyalty to his friends and family, as well as a profound concern for the well-being of his fellow community members.

Veteran actor Alfred Wilson excels in the role of Columbus Frye, portraying him as the entrepreneurial spirit of the group. A.C. Smith also delivers a standout performance as Boochie Reed, the town's soothsayer, infusing the character with a mystical, almost prophetic presence that lends an air of foreboding. Wille B shines as Adolph, the blind man whose insight seems boundless, and Kelvin Roston captivates as Roy Moore, adding further depth to this talented ensemble.

The technical elements of the production further heighten the atmosphere of dread and tension. Jack Magaw’s scenic design transforms the stage into an authentic, intimate Texas café, with every detail—from the worn wooden floors to the shabby advertisements on the wall —helping to create a lived-in, familiar environment. The set is both a haven and a trap, capturing a sense of characters hemmed in by the world outside.

Christine Pascual and Janice Pytel’s costume design provides a vivid glimpse into the characters' personalities and statuses, grounding the story in its 1950s setting with period-appropriate clothing that feels organic to each character. Jason Lynch’s lighting design works in tandem with the narrative’s rising tension, using flashing lights and stark contrasts to build suspense to signal the looming danger.

Special effects consultant Jim Guy’s work, especially as firearms coordinator, is crucial in creating the shocking, violent moments that punctuate the play’s climax. The sound of gunshots and the chaos they cause feel visceral, jolting the audience and underscoring the immediacy of the threat.

Ron O.J. Parsons’ direction weaves all of these elements together into a cohesive, gripping production that pulses with energy and urgency. His direction is meticulous, allowing the audience to feel the characters’ emotional and physical entrapment while slowly ratcheting up the tension until it reaches a boiling point. The sense of dread that builds throughout the play culminates in a devastating and powerful finale that leaves the audience shaken.

Court Theatre’s East Texas Hot Links is a searing and unforgettable production that captures the complex dynamics of community, race, and survival. The combination of outstanding performances, atmospheric design, and Parsons’ expert direction makes this a must-see theatrical experience. Regardless of how many times you’ve seen it before…see this now!

Highly recommended

When: Through Sept. 29

Where: Court Theatre, 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $58 - $90.00 Student, Group and military discounts available

773-753-4472

www.Courttheatre.org

Trying to explain what Black Harlem's Renaissance was like is hard. The period was so rich in creative verve, you really have to show it while you tell it. It took me awhile to grasp what playwright Pearl Cleage has achieved - and director Ron OJ Parson has brought carefully to life -  in Court Theatre's Blues for an Alabama Sky.

In this beautifully polished production, we become familiar with the lives and aspirations of five denizens of the abundant cultural life enveloping New York's burgeoning black district in the 1920s and 1930s, driven by waves of aspiring new arrivals during the Great Migration from the South to the North. The period gives rise to the first jazz concert, to international musical superstars like Josephine Baker, Paul Robeson, Louis Armstrong, Fats Waller; to writers and thinkers like Marcus Garvey, Langston Hughes, Countee Cullen, and Claude McKay, who wrote the first bestseller by a black author. 

Cleage has fleshed out each of her characters - a doctor, a singer, a fashion designer, a social worker, and a carpenter - who are much more than archetypes. These are real people, each contributing a seminal thread to this tale. She has also set the timeline toward the end of that golden era, in 1930 after the market crash, as the Great Depression rolled in. 

The storyline seems surprisingly fresh, but it is true to its time: the protagonists here seem a mismatched couple - a flamboyant gay fashion designer Guy (Sean Parris), and his platonic love, Angel (Toya Turner), a gangsters' moll who tries but fails to make a living as a night club singer.  

Abandonedly outré, Guy has worked his way up from stitching gowns for cross dressers, to designing clothes on spec for Josephine Baker. The pair love and support each other as they pursue their dreams, but have no future as a couple; Angel is set on finding herself a big strong man who will take care of her, and pay the rent. Guy wants to make it in Paris.

Across the hall dwells the scholarly Delia (Celeste Cooper), who is launching the first family planning clinic in Harlem. A history lesson makes its way into the plot as the clinic is burned down. Some in the black community suspected efforts at setting up such clinics - led by Margaret Sanger - were really just part of a plot to reduce the black population. Carrying the torch for Delia is Sam, a medical doctor. James Vincent Meredith's performance gives Sam a steady, even temperament - abiding patience, and someone who is tolerant and nurturant. 

Conflict arises as Leland (Geno Walker) a widowed carpenter recently arrived from Alabama, falls for Angel. His ardor cools as he discovers he is not in Alabama anymore. In this Black Harlem, homosexuals are accepted; family planning is a matter of choice.

Each of these characters engenders our sympathy. And in the course of the action they live, die, move on - or remain stuck in place. Though Cleage wrote this work in 1995, it is completely fresh. And it has been given its due in Parson's production. Costumes and set are beautifully period, and lighting brings added dimensions to the staging. Blues for an Alabama Sky now extended through February 19th at Court Theatre.