Playwright Kirsten Greenidge understands the impact of order: birth order, marriage order, and trying to keep order. In her family drama Our Daughters, Like Pillars, she explores the significance of order in three full acts, allowing her characters to leisurely reveal their affecting histories and conflicting hopes for the future.
This was my third viewing of a Huntington Theater play made possible by their digital insurance policy. These offerings are not films, but rather live capture of a singular experience using 10-12 cameras. While nothing can replicate the energy of sharing a performance with an in-person audience, The Huntington’s digital works offer quality productions to those who remain unable to sit in a venue with strangers. All three had exceptionally clear audio. My first of these was the darkly funny Teenage Dick, energetically directed by Moritz von Stuelpnagel with a first rate cast. This stream was later shared with the Pasadena Playhouse for an extended run. Next was Toni Morrison’s devastating The Bluest Eye gorgeously adapted by Lydia R. Diamond. Director Awoye Timpo’s swirling camerawork allowed home audiences to better view the characters’ movements around a stage poignantly shaped like a chopped tree stump. With Kimberly Senior’s traditional proscenium staging, Our Daughters, Like Pillars uses more expressive close-ups than shifting angles, but it never loses pacing.
The story revolves around the three Shaw sisters who are vacationing in a house rented by oldest sister Lavinia (Seldes-Kanin fellowship winner Nikkole Salter) and her husband. What should be a celebratory time of togetherness turns increasingly tension-filled as Vinny becomes progressively more controlling of her siblings and their mother. Having felt isolated during the first year of COVID, Vinny’s vision is to have the entire family under one roof on a permanent basis. But though she tries tactical cajoling, needling guilt, and outright manipulation, that goal is not shared either by people-pleasing middle sister Octavia (Arie Thompson) or youngest Zelda (Lyndsay Allyn Cox) who has only just taken her first steps towards independence. We gain a deeper understanding of the siblings through their mother Yvonne (Lizan Mitchell) and their stepmother Missy (Cheryl D. Singleton) who are each given profound fourth-wall breaking monologues. Race and class play important but smaller roles in the script.
While the spotlight is clearly on the women — by turns strong and brittle — it is the two men who supply the softness. Genuine light shines from Julian Parker’s Paul King, Zelda’s casual conquest living by his wits who gets caught up in the whirl of family conflict. And Postell Pringle portrays Vinny’s husband Morris with intensity as he tries to rein in his wife’s darker, more destructive instincts. The set by Marion Williams includes several levels which provides a feeling of movement to the dialogue-heavy drama. The family is tightly contained, with the outside world intruding only through the ringing of a telephone. Costumes by Sarita Fellows add essential color and flow while Jane Shaw’s sound incorporates music from Prince to Sam Cooke.
At 3 ½ hours including two 15 minute intermissions, Our Daughters, Like Pillars, indulges in the kind of rolling storytelling rarely seen since March 2020. It is playing at the Huntington’s Wimberly Theatre in Boston through May 8 and On Demand through May 22. Prices range from $25 – $99. For tickets and information visit https://www.huntingtontheatre.org/plays-and-events/.
Danny — a spunky young Puerto Rican musician with a knack for creating earworms — uploads his diss track poking fun at pop phenom Ryan Reed.Stumbling across the piece, the blocked Ms. Reed isn’t so hurt that she can’t seize the opportunity to steal Danny’s best song and recorded it for her new album.Their heated decisions set in motion Original Sound, an engaging and emotional play with music by Adam Seidel. The events were inspired by his previous job as a Chicago-based hip-hop journalist.In order to keep his work to a tight 95 minutes, Seidel can’t completely avoid the inclusion of music industry tropes.Anyone who keeps up with that world will see echoes of recent headlines, from the cathartic 22-years-in-the-making Verve settlement to the unexpected collaboration of Lil Nas X with Billy Ray Cyrus to gain acceptance in a different genre.Yet Seidel also skillfully mines even more interesting territory covering the potentially destructive role of power in the creative process.What happens when your so-called self-expression is no longer your own?
Jane Bruce and Sebastian Chacon in Original Sound; photo by Russ Rowland
The strong back beat of the plot is built atop the complex relationship that develops between Danny and Ryan.Neither is completely in the wrong, which sets up a fascinating dynamic.The supporting characters each heighten important story elements.Danny’s sister Felicia attempts to be supportive.He more easily receives encouragement from his friend Kari, a business school dropout who strives to keep him safe in an exploitative industry.Ryan is backed by her well-intentioned manager Jake and a team of unseen studio producers and executives.A sign of the script’s sophistication is that it is possible to experience both hope and sadness at the end of their shared journey.
Sebastian Chacon brings genuine warmth and exuberance to Danny.(It is fitting to witness the young actor leave the theater with headphones on and a skateboard tucked under his arm.) He is beautifully balanced by singer-songwriter and actress Jane Bruce’s Ryan, by turns stubborn, guarded, and freed by music.Anthony Arkin plays Jake with credible matter-of-factness.Countering is Lio Mehiel’s sensitive interpretation of Kari, though it seems a missed opportunity not to present the character as non-binary. The production’s shortcoming is not providing Cynthia Bastidas and Wilson Jermaine Heredia enough to work with in their critical turns as Danny’s sister and father.
Director Elena Araoz generally keeps the energy high, all the better to shock the audience with quieter moments. The spirited scene is set by Justin Townsend, who cleverly echoes the look of LPsfurther enhanced by lighting designer Kate McGee’s dance floor elements.An array of imaginative t-shirts and power booties are provided by Sarita Fellows.But it is the music that appropriately takes center stage in the production’s design. Both Chacon and Bruce perform the songs live.The catchy hits are written by Daniel Ocanto, Ms. Bruce and Mr. Seidel.An improvised solo was originally created by musical artist Armen Dolelian from diverse influences.Additional sound design is provided by Nathan Leigh.
Like a tune recorded by multiple artists, each player in Original Sound goes through variations of their own central theme.It makes for a stirring experience for lovers of emerging works.Original Sound plays through June 8th in The Studio at the Cherry Lane Theatre in Greenwich Village.Set 3/4 round in this small house, there are no bad seats.Tickets are $55-$85 and are available by visiting CherryLaneTheatre.org, by calling 866-811-4111 or by visiting the Cherry Lane Theatre Box Office.