THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Thursday, April 11, 1996 TAG: 9604110027
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
TYPE: Theater Review
SOURCE: By Mal Vincent, Theater Critic
LENGTH: Medium: 89 lines
One of the six older women and confidants in ``Shakin' the Mess Outta Misery'' tells us, forthrightfully, that ``the blues ain't nothin' but a good woman feeling bad.''
This play, written by Shay Youngblood, has a great deal of both good women and feeling bad. It, in fact, has a bit too much of everything - enough misery and bitterness for three plays and never any real realization that they can be shaken.
At the center, when the center can be found, is a heartfelt study of black women who are resilient in their survival. At its best, this is a heartfelt memory play but, at its worst, it is more memories than play - lacking a real narrative force that would hold it together. With 15 complicated episodes, it is, to be frank, all over the place. While well performed, the characters are difficult to grasp when we spent such a fleeting visit with each.
Directed by Karen Turner Ward and well acted by a cast made up predominantly of Hampton University students, it is something of an imported entity to the Generic Theater's season of new and adventurous local theater premieres.
Dewotta Moore is cast as ``Daughter,'' the young woman who presumably learns from some six older women when her mother leaves her for the big city. Moore is often too wide-eyed with wonder and naivete at all the world around her - a little more like Alice in Wonderland than a young woman in dire circumstances. Most regrettably, the character of ``Daughter'' doesn't change much during this journey.
Adapted from Youngblood's book ``The Big Mama Stories,'' the play uses music (briefly) and narrative (predominantly) to suggest the effect of some six women upon ``Daughter's'' life. Too often, though, it tells us what it should be showing us. Youngblood's writing is best when she tackles dialogue. When that occurs, it rings with folksiness with real people beginning to evolve. Too suddenly, though, we are switched to the next episode.
Perhaps the most interesting of the ensemble is Big Mama, played by JoAnne Yarbrough Carver. Also giving seriously felt performances are Tia Marie Tyler as Aunt Mae, Shahara Jackson as Miss Shine, Kecia Yvonne Ballen as Miss Corine, Deena Moye as Miss Mary, Lisa Rose Sconiers as Dee Dee and Willa Bost as Miss Lamama.
Given the Generic's cramped staging, the production would have been well advised to use an overall ``mood'' setting rather than trying to crowd three realistic sets into the space. The lighting, attributed to Hank Sparks, fails to differentiate the three different playing areas but does otherwise effectively suggest atmosphere.
Much of the play is too steeped in ethnic stereotypes and familiar platitudes to suggest much individuality - as if the playwright were trotting out varied ``types'' rather than varied characters.
Credibility is stretched, too, when a maid assassinates the governor of an unnamed state by grinding glass into tiny particles and placing it in his daily beverages. Such a melodramatic event involving such a high-placed political figure seems outside the realm of ordinary memory.
The strong influence of religion is effectively portrayed as well as such down-to-earth advice as ``Don't ever go nowhere with a man unless you got some money in your pocket.''
``Shakin' the Mess Outta Misery'' was first produced at a workshop in Atlanta in 1988 and has since had a production in Washington. It's further emergence as a much-needed drama of and about these characters may be hampered by its fleeting treatment of them.
Indicative of this rush is the way, within a matter of seconds, that the writer treats a rape, confinement in a mental hospital and a suicidal leap from a seventh-floor window. This disposal of Daughter's biological mother is an example of how this writer puts in too much drama to be digested in such a brief scene.
There are fine moments, though, that suggest that a feeling for the characters is there. There is, particularly, the scene in which a character asks: ``Why were we different? Why can't we all be the same.''
To this, another character answers, with wisdom: ``Because it would be too dull.'' MEMO: THEATER REVIEW
What: ``Shakin' the Mess Outta Misery,'' the drama by Shay
Youngblood
Where: Generic Theater in Norfolk
When: Thursday through Saturday at 8 p.m., Sunday at 2 p.m., through
April 28
Tickets: $8 on Thursdays and Sundays, $10 on Fridays and Saturdays;
for reservations, call 441-2160 ILLUSTRATION: Color photo by L. TODD SPENCER, The Virginian-Pilot
"Shakin' the Mess Outta Misery" runs through April 28 at the Generic
Theater in Norfolk.
by CNB