PHOTOS BY MAATOLOGY AND PHILLIP HAMER
YOURS TRULY HOLDING A PROGRAM OF THE STAGE PLAY
(PHOTO BY MAATOLOGY)
THE PROGRAM
(PHOTO BY MAATOLOGY)
After seeing Tony Award-nominated playwright Dominique Morrisseau's The Skeleton Crew, which is running until April 16 at the Berges Theatre at COCA St. Louis , it was evident that there's more to the struggles of the black working class than what is assumed, especially when ones personal life is added to the mix.
FROM LEFT: CARMIA IMANI, OLAJUWON DAVIS AND VELMA AUSTIN
(PHOTO BY PHILLIP HAMER)
Staged by The St. Louis Black Repertory Company, The Skeleton Crew, directed by Southern Illinois University at Edwardsville (SIUE) Assistant Acting Professor Geovonday Jones, tells the story of an fledgling auto plant in Detroit in 2008, on the verge of closing and how it affects three of its employees: stalwart and openly gay, Faye (played by Black Rep alum Velma Austin), hard-nosed and dreamer, Dez (played by Black Rep vet Olajuwon Davis) and whimsical and very pregnant, Shanita (played by Detroit native/Black Rep Fellow Carmia Imani) and their by-the-books supervisor, Reggie (played by Peoria, Illinois native/Black Rep Fellow/staffer Brian McKinley) whose late mother was longtime lovers with Faye ever since he was a child.
AUSTIN AND BRIAN MCKINLEY
(PHOTO BY PHILLIP HAMER)
Despite a few minor line flubs from some of the actors during the show's Opening Night (March 31), The Skeleton Crew's actors were solid in their roles especially Austin who embodied the role of Faye with every fiber of her teeny frame involving her angst regarding with her declining health, homelessness and grieving her lover.
What also was a highlight of the production was each characters' dramatic monologues within comedic dialogue which included Faye's tales of her battle scars, Dez 's surviving a near death car accident, Shanita's anxious-ridden life visions and Reggie's dream to kill his boss.
AUSTIN IN A SOLO MOMENT
(PHOTO BY PHILLIP HAMER)
One drawback of the play, however, was trying to figure out the actual time span between Day One when we met the workers until Faye's fate as an employee at the auto shop. It would have been helpful if there were some sense of days past, but the distraction did not interfere with the flow of the story.
Additionally, the set of The Skeleton Crew, produced by Margery and Peter Spack, gave a great sense of realism of a blue collar working class break room--simple and quaint. Plus, the action video of a working factory shown throughout the production on the cyclorama screen gave artistic breath to the stage as well as height and depth.
The music design, produced by Lamar Harris, also was worth merit during each mini--break throughout the production with the music selections. The songs uplifted the story and were congruent to the play's setting especially the songs of Aretha Franklin ("Ain't No Way, " A Deeper Love") which, obviously, were an homage to the Queen of Soul who was raised and lived in Detroit.
A LONG SHOT OF THE ACTORS ON STAGE
FROM LEFT: DAVIS, IMANI. MCKINLEY AND AUSTIN
(PHOTO BY PHILLIP HAMER)
Overall, The Skeleton Crew gave a very biting, unapologetic, urban existentialist perspective of the working class and how the economy can force people to change their lives when their jobs are threatened.
So, be sure that you get the chance and check out this play.
It will be well worth it!
THE ST LOUIS BLACK REPERTORY COMPANY'S
THE SKELETON CREW
UNTIL APRIL 16
@THE BERGES THEATRE AT COCA-CENTER
OF THE CREATIVE ARTS
6880 WASHINGTON AVE.
ST. LOUIS, MO 63130
TICKETS ARE AVAILABLE
OR
BOX OFFICE 314.534.3807
CASH APP: @maatspear
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ZELLE: snaphoney2011@gmail.com
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