"Stew," another homerun from the Playhouse in the Park, is a magnificently written, beautifully acted, and breathtaking piece of theatre. Zora Howard's script is full of symbolism, rich layers, and surrealism but in a way that allows for broad interpretation.
I was fortunate enough to attend a performance on a night when the playwright was in attendance for a talkback with the artists. Hearing various questions from the audience and the story's emotional impact was fascinating. Sometimes, it was frustrating; many of the comments from white audience members made me wonder if they'd been paying attention.
Without revealing too much, the show is set in a kitchen where Mama, her two daughters, Lillian and Nellie, and her granddaughter (Lillian's daughter) are preparing for an event by preparing a stew. What - on the surface - appears to be a family story is chock full of comedy but also tension. These women live their lives but with an ominous subtext that is revealed at the start and repeated at the end.
I cried a few times.
One of those times was the remarkable monologue from Michele Shay as Mama; she delivers a sad, woeful speech from Shakespeare's Richard III (I promise it's not as out of place as it sounds) with such gravitas that you can't look away. But it's the powerful reveal at the end that really got me. I was sobbing at the plot but also at the remarkable writing. This is theatre art at its best.
All four performances are outstanding. Shay is a seasoned pro, and it shows. Her handling of the comedic bits is stunning, but she does more with a single look than many actors do with copious amounts of words. Sydnie Brown channels her inner girl and brings an innocence to Lil Mama. Maliyah Gramata-Jones, a native Cincinnatian, is as solid and convincing as the rebellious seventeen-year-old should be. At the same time, Shayna Small portrays young motherhood and the problems that come with growing up too fast.
Stori Ayers's direction is impeccable. The overlapping dialogue is realistic and performed flawlessly so that we can hear every word. The blocking and pacing are perfect, and I imagine the folks on the sides of the Shelterhouse had as enjoyable a time as I did in the center. The ninety minutes fly by as we are engrossed in what is happening.
This is the kind of play that would be enhanced by a second viewing, but if you stay engaged and let go of any preconceived notions you have about narrative storytelling, you'll be drawn into a story that is important, moving, and as layered as a good stew should be.
STEW at the Cincinnati Playhouse in the Park is selling out, with limited tickets remaining. It would be worth your time to get a ticket, though. It's a remarkable play. IT runs through April 7th.