Black Theatre Troupe of Upstate New York has a stated mission of telling stories that make people of color visible on local stages. It’s a noble goal that is made even better because the stories they tell are neither shrill nor preachy.
Certainly, their current work, ”Knock Me A Kiss,” playing at Capital Repertory Theatre in Albany through Sunday fits that criteria. It’s a fictional comedy-drama about the actual, complicated love life of Yolande Du Bois. She was the daughter of W. E. B. Du Bois, the famous Black intellectual who founded the NAACP.
On the surface, the work focuses on the courtship, engagement and eventual marriage of Yolande to Countee Cullen - a famous poet who promised to be an important leader in establishing respect for the Black culture of the early 20th century. Everyone believed a marriage between the beautiful daughter of Du Bois and a Black intellectual would further establish the legitimacy of what was known as the Harlem Renaissance.
Using this premise, playwright Charles Smith weaves a tale that tells the story of life for both the famous and the poor Black people living in 1928. For the wealthy and respected Blacks the responsibility to be role models for a collective race placed pressure on the entire family. It also involved personal, behind the scenes choices to be made based on politics.
Though the play is overwritten and takes nearly three hours to complete it rarely lacks interest. Most of this is because of a luminous performance by Angelique Powell as Yolande. A veteran of almost every area theater company, Powell creates a strong independent woman ahead of her time. Yet she finds the vulnerably of a person who is also trapped by her duty, respect for her father and the world in which she lives. It’s a performance that indelibly defines the conflict a person faces when one wrong decision forges a life of regret. It is wonderful work.
An added bonus is the delightful portrayal of Morgan Heyward as Lenora, Yolande’s best friend. Not only does Heyward add a lightness to a potentially heavy play, her work with Powell adds a powerful sense of how two opposite types of people can support each other, even as each travels a different path.
My guess is the playwright would be amazed at the complexity of the relationship these two fine actresses discovered. Along with the insightful direction of Barbara Howard, the twists within the play reveal themselves naturally and emotionally. This is especially important as the revelations should surprise no one. That they do is a tribute to the creative team.
Black Theatre Troupe does not only have a mission of telling truthful stories about the Black experience, they also have the goal of training actors of color in order to populate area stages with more African-American actors.
If the other performers are not the equal of Powell and Heyward, most are very good in their roles. As Yolande’s mother, Jocelyn Khoury is expert as she tenderly fades in and out of reality. She offers a sweet and loving portrait of a woman who is trapped in and by the past.
Hayes M. Fields II as W.E.B. Du Bois captures both the arrogance of a special individual and the passion he has for the equality of all African-Americans. He is especially affecting as he relates his recollections of a brutal lynching and how that experience defined the rest of his life. Though awkward in showing his affection for his daughter, there is little doubt that he loves her.
Hasson Harris Wilcher does a fine job with the musician Jimmy Lunceford. Though important to the story, it’s little more than a skeleton of a role which he fleshes out nicely.
Aileem Penn is a soothing presence as Countee Cullen, but he is a bit too passive for a person described as a savior of Black culture.
Played in the small Lauren and Harold Iselin Studio of Capital Rep it is a very personal space for this subtle play. Director Howard sets a deliberate pace, which adds length, but otherwise she uses the space wisely and avoids having the play appear static in nature.
The proceeding are occasionally slowed by an efficient but inexperienced, understaffed stage crew. It’s a sacrifice of added length we are willing to accept knowing the stage crew are volunteers in training. Like most things associated with Black Theatre Troupe, the future is as important as is the past.
“Knock Me a Kiss” is not “don’t miss theater”, but it is theater you will enjoy if you do go. It runs through Sunday, at 251 North Pearl Street, Albany. Schedule and tickets at capitalrep.org or 518-346-6204.
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
