“Blues for an Alabama Sky” is a play you very much want to like. Though first produced in 1995, the play set in 1930 speaks to many relevant issues of that time that sadly still exist today. Themes like racism, homophobia, women’s rights and abortion are included in the work.
However, the production that is running at Barrington Stage Company, in Pittsfield, MA through August 5, is so flat it is nearly impossible to care for most of the five characters for more than a few minutes at a time. Indeed, it’s so consistently uneven it’s difficult to figure out whether the problem is the material or the performances. This usually means it’s the direction. That there is no life on stage, either physically or internally, suggests the director, in this case Candis C. Jones, has no grasp of the material.
The play, written by Pearl Cleage, has a strong similarity to those written by Tennessee Williams whose work explores the dreams and hopes of characters that we know will end in failure. This means mood and vulnerability of character is crucial for success.
The central dynamic is between Angel, a blues singer and her best friend Guy. He is a flamboyant homosexual, male costume designer, who has dreams of going to Paris to make clothes for Josephine Baker. Delia lives across the hall and is a feminist activist who is intent on opening a birth control center in Harlem. In love with Delia is Dr. Sam Thomas, a humanitarian who spends countless hours delivering babies, many of whom are unwanted.
This is a close group of outsiders who live independent lives that are defined by the poverty of the times - and their own decisions. With the appearance of Leland Cunningham, a stranger from Alabama, things change. He and Angel fall in love and his strong, rigid religious beliefs make her friends uncomfortable.
Clearly the ingredients are there for a fascinating play. The topic of a group of artistic and socially active African-Americans in 1930 uniting to give comfort and support to each other is potentially compelling, especially in today’s environment. Yet at Barrington Stage they seem a random group whose only connection is that they are outsiders who dream of a better future.
The leading character is Angel, a blues singer who works in a nightclub operated by her married gangster boyfriend. When they breakup she makes a scene on stage, getting both her and Guy fired, putting them both in severe financial straits. This is typical of Angel’s uncontrollable behavior throughout the play. Were Tsilala Brock able to find more sensitivity and vulnerability in the woman, her behavior might seem a fatal flaw rather than the schizophrenic actions of a selfish, narcissistic woman.
Except for Brandon Alvion, who creates an endearing Guy, the rest of the cast is non-descript and joyless. Guy steals the show from Angel as a non-apologetic gay man ahead of his time. His determination to have his dream fulfilled is, in my opinion, what makes him the only character who finds the intent of the playwright.
To be fair, each actor creates a genuine character that could be considered faithful to the script, but only Guy lifts the character beyond a dull life absent of joy and passion. They make a dreary lot.
Which brings me to the director. Jones fails to find the vibrancy of the period that was termed the “Harlem Renaissance” and does not find the inner truth of the characters. Too, the blocking is clumsy. Playwright Cleage errs in introducing a gun early in the second act. But Jones stages the moment as blatant foreshadowing. It leaves only the questions of who and when.
To be fair to Jones, much of the blocking issues are caused by the set designed by Sydney Lynne. It is attractive but awkward as it complicates long entrances and exits. It also denies the performers an adequate playing space in front of the apartment building.
“Blues For an Alabama Sky” is a long, disappointing 2 ½ hours. It’s unfortunate, because I believe there is much richness in this play that has been unexplored by the director, actors and creative support.
“Blues For an Alabama Sky” continues on the mainstage of Barrington Stage Company through August 5. For tickets and schedule information call 413-236-8888 or go to barringtonstageco.org
Bob Goepfert is theater reviewer for the Troy Record.
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