There is something special about theater companies who produce work based on pure passion. With limited funds and technical support they do not always offer the slickest of theater, however, you rarely regret attending one of their productions.
A perfect example is The Black Theatre Troupe of Upstate N.Y. Through Sunday they are continuing to offer “Skeleton Crew” at the Capital Rep theater in Albany in a small black box studio above the mainstage. It’s a space that the majority of subscribers to The Rep probably don’t even know exists.
Black Theatre Troupe’s mission is to produce plays that speak to all segments of society using material that has special significance to Black audiences. The plays are cast mostly with actors of color.
“Skeleton Crew,” is one such play. Set in 2008, it takes place in Detroit, a city mired in an economic Depression as the automobile industry is closing unprofitable plants. It is excellent story-telling that speaks to the plight of four individuals who live paycheck to paycheck.
Playwright Dominique Morisseau has written a touching human drama about people who are helpless as job security places them in conflict with themselves and the Capitalist system.
The central figure is Faye. She’s been at the factory for 29 years, and plans to hang on for 30, as her pension increases significantly. Faye is the heart and soul of the plant. She’s played as a mother-figure by Regina Robinson, who is much loved by all. She tends to be a bit passive in the early scenes, but when needed she shows a steel-like resolve and meets the challenge.
Thanks to Robinson’s compassionate performance, you are forced to compare Faye to Arthur Miller’s Willie Loman in “Death of a Salesman.” Each were loyal workers, failed by trusted employers who abandoned them at the end of their careers. Indeed, a sub-text of the play is - what does an individual owe a non-feeling corporation?
Another goal of Black Theatre Troupe is to introduce new actors to the stage and introduce infrequently seen actors of color to larger audiences. It is remarkable how this lack of experience can somehow add to the sensitivity of the characters. Director Hettie Barnhill deserves credit for developing a genuine sense of ensemble within the group of four.
Young Dez’s dilemma is deciding if self-preservation is more important than blind loyalty. The character represents those whose precarious existence would make illegal activities a tempting choice. With that in mind, I’d prefer Dez to be played with more edge. This is Frank Wilson’s first time on stage and he does a nice job in capturing the essence of a basically sweet individual who is afraid to dream. He’s charming in his scenes flirting with Shanita.
Dez cares deeply about Shanita, a young pregnant co-worker who is without a husband or partner. Artinces Smith captures the young woman’s sassy independence in a humorous way, especially when bantering with Dez. She also captures the woman’s fears about her future, which are covered by a bold front. It’s solid, comfortable work.
Reggie is the foreman who must run the plant with a skeleton crew of workers who all suspect the plant’s closure is near at hand. Only Reggie knows the truth of how soon that will happen. His challenge is keeping the employees working as long as possible without jeopardizing his position of authority with the plant managers. His concerns for the future of his family at home and in the plant, burden him with stress.
Hasson Harris W. effectively shows how his balancing act of protecting his crew, especially Faye, is adding constant stress to his life. His shining moment is toward play’s end when in rage he takes a stand that has dire consequences. It would have been even more effective had he not relied on a singularly angry tone throughout the play.
Director Barnhill sets a monotone pace in the first act which is mostly concerned with establishing character – until it’s not. Once the conflict comes into play she develops tension by guiding the cast into facing the issue of being at the mercy of those whose sense of morality is defined by profit.
Barnhill uses projections and musical background to great effect. She is also an experienced dancer and choreographer who uses the dynamic Tele (TK) Rabii to mime the tedious labor at the factory. He, by the way, is terrific. Also effective is the simple set of a break room in a factory whose future is as bleak as its inhabitants.
This production, which is both compelling and enlightening, continues at The Rep through Sunday. For tickets and information go to capitalrep.org or call 518-346-6204. Ext 139
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.
