Howard L. Craft’s New Play at Manbites: More Miraculous than Mundane

Durham playwright Howard L. Craft has leapt to a higher level of prowess with The Miraculous and the Mundane, his new two-act piece now in a workshop production at Durham’s Manbites Dog Theater, in association with StreetSigns. This four-character play deals with a lot of life’s hard stuff, but–although its notes and chords are words and sentences–its affect is much like that of a large complex piece of music. The sounds, the rhythms, the undertones and overtones, the minor chords top-dressed with flowers of laughter, the modulations and sudden reversals of tempi and mood: all are so richly orchestrated that you could just listen to the sounds and get to their purport, if not to the details of this story. It is one hell of a piece of writing, and director Joseph Megel, continuing his multi-play relationship with Craft and his work, knows just what to do with it.

Unlike Craft’s FREIGHT, which manipulates time and space to tell of the sameness of a Black man’s fate in America over many decades, The Miraculous and the Mundane takes place in this here and now. It is set in the Durham of today, and it shows a Black family grappling with a fate unconnected to race: Dementia.

Percy & Chloe 3

Trevor Johnson as Percy and Lakeisha Coffey as his daughter Chloe in THE MIRACULOUS AND THE MUNDANE, by Howard L. Craft, in the current workshop production at Manbites Dog Theater. Photo: Ed Hunt.

 

Percy Nelson, scorchingly played by Trevor Johnson (his most vivid and heartfelt performance to date), along with his best friend Bone, portrayed by the completely charming Irving W. Truitt, Jr. (they “go back like Blacks and Cadillacs”), survived the Viet Nam War, where they fought as Marines–but Percy’s losing the battle with memory. He retreats from one scant cover to another, but finally the only one in denial about the presence of the enemy is Bone. Percy’s daughter Chloe faces the facts first, and in this role Lakeisha Coffey once again excels herself. Ron Lee McGill, last seen at Manbites as the struggling brother in brownsville song (b-side for tray), has developed considerably as an actor, and he gives the frustrated, angry, Junior a frantic kind of stoicism, then cracks him right open in a crucial scene. Joseph’s Megel’s astute direction is in evidence here, forcing us to contend with the uncomfortable reality of Junior, who is kind of a jerk until he’s not. Junior takes up a lot of space and keeps the atmosphere edgy and potentially threatening.

Percy & Junior 2

Trevor Johnson, left, as Percy, and Ron Lee McGill as his son Junior, in Howard L. Craft’s new play THE MIRACULOUS AND THE MUNDANE, at Manbites Dog Theater through April 1, 2017. Photo: Ed Hunt.

 

In addition to chronicling a brave man’s descent into the hell of dementia, and the concommittant downward suction on his family and friend, The Miraculous and the Mundane limns the freedoms and constrictions of a hard-earned middle-class life on Alston Avenue. After the war, Bone started a car repair shop, and Percy a dry cleaners. They have both done well in business. Percy put his two children through college, has a comfortable house, still runs the cleaners. He mourns his wife, who was killed in a car accident a few years previously. Daughter Chloe (Spelman graduate; MBA), having just received another humiliation from her cheating husband, has come home for a while, and it is she who realizes that something is wrong with Daddy. Coffey gives a powerful performance as the secretive wounded wife/daddy’s girl/frightened good daughter/pissed off sister/caretaker of the father who no longer knows her. She literally vibrates with emotion, and often had me in sympathetic tears.

Junior, a unpromoted bicycle cop with the Durham police, refuses to see Percy’s decline, because he’s just about to lose his home due to an adjustable rate mortgage and the self-deluding thinking that led up to taking it out, and he is focused on getting Daddy to lend him the needed money. He is also married to a white woman, whose father wants to bail them out. So Junior, in addition to having all the issues that come with being a strong father’s junior, is in a terrible squeeze. He’s getting no respect anywhere, and getting nagged at everywhere (none of it his fault, of course), he’s got to satisfy the bank, and he absolutely is not going to take the money from a white man, even though the man’s now family. After a devastating scene of father-son sparring, Percy refuses to lend the money and when Junior storms out, Percy tells Chloe, with disgust, sorrow and a kind of perverse pride, “your brother married a crazy white woman when he could have married Black royalty.”

Now this right here is one of the reasons I love to see a Howard L. Craft play. I cannot walk into a room in real life where anyone would say that as long as I was there–that and quite a few other of the choice lines and small revelations that stand out for their verisimilitude, like bottleneck guitar riffs above the rich thrumming of the textual music in The Miraculous and the Mundane. (There is also an excellent soundtrack by Joseph Amodei, who did the smart lighting, too.) Craft did it with Caleb Calypso, he certainly did it with FREIGHT, and he does it here–he takes me to places and understandings that are not available to me outside of art. The wonderful flip side to that is that the same plays show, to other viewers, a world they know but rarely see depicted on stage. I dare to hope that Howard L. Craft will one day be known as a 21st century August Wilson…perhaps there will even be a Durham cycle of plays.

This is theatre at its most miraculous, not stinting on philosophy, but giving us back the mundane, a little polished up so we can see it better–our little lives projected large, with dramatic incidents as overwhelming as we feel them to be in the privacy of our dogged dailiness. Some–a great deal–of The Miraculous and the Mundane is completely particular to Black people (and thankful I am to peer into that reality and even more to listen to it) but the greater part is simply particular to people. It feels honest, it feels real. After the opening night performance, the actors told me, separately, that the familiar realness was partly why they were able to get the workshop production into such an advanced stage of readiness in a mere two and a half weeks. Craft said that he’d written the story using the people and places and speech patterns he knows–“these are my uncles,” he said of Percy and Bone–and from personal knowledge of the terrible progress of dementia through a family. Since the personal is political, this play is political–but it is not propagandistic, theoretical, conceptual, or speculative. The only question is whether you will be able to get tickets for this limited workshop run, or if you will have to wait for the full production, tentatively scheduled at Manbites Dog Theater early in 2018.

Very highly recommended. Through April 1. Tickets here.

Percy & Chloe 2

Daughter and Daddy: Lakeisha Coffey and Trevor Johnson as Percy and Chloe in THE MIRACULOUS AND THE MUNDANE, by Howard L. Craft, at Manbites Dog Theater. Photo: Ed Hunt.

Martha Graham Dance Company, Updated, at CPA

MapleLeafRag1_hi-res_print

A moment from Martha Graham’s frolicking Maple Leaf Rag. Photo: Costas.

 

The Martha Graham Dance Company, like the companies of several other of the great modern dance choreographers, is still struggling to find the right mix of classic works by the late artist and new works by others that will allow the company to continue to live and thrive. The program at Carolina Performing Arts last night–which repeats Friday, March 24–illustrates the dichotomy, and some of the choice-making.

The evening opens with Act 2 of Graham’s powerful Clytemnestra, with its Noguchi set and Egyptian music. Yep, Act 2. The piece really doesn’t work so well without Act 1. I don’t know if the lackluster performance was due to the cast having to plunge in, dramatically speaking, without any lead-up, or for some other reason. The dancing, while correct, lacked passion–it never caught fire. Not even PeiJu Chien-Pott, as Clytemnestra, worked up any feeling as her children prepared to take their bloody revenge upon her.

The program switches gears with Sidi Larbi Cherkaoui’s new work, Mosaic, a co-commission by Carolina Performing Arts. Where Clytemnestra is highly stylized, and makes much use of angular profiles, Mosaic is very fluid, its individual images submerged in the kinetic flow. It was very interesting to see something made of little pieces that was all about the joining together rather than the separate bits. The delicious partnering and fabulous limber agility in the shape-making were inseparable from the swirling stage patterns. It was very lovely, and in retrospect deeply satisfying in the way its form was its content.

Mosaic_Studio 2

A studio shot of Sidi Larbi Cherkaoui’s Mosaic, co-commissioned by Carolina Performing Arts for the Martha Graham Dance Company. Photo courtesy MGDC/CPA.

 

After intermission comes comes Annie-B Parson’s I used to love you, described as a re-imagining of Martha Graham’s comedic 1941 dance, Punch and The Judy, itself derived from the Punch and Judy shows with puppets or marionettes. Parson’s work, more theatrical than dancey, includes everything but the kitchen sink: ergonomic rolling chairs, projections large and small, music, noise, text, radical reimagining–or “updating”–of various subtexts, fabulous bright costumes, and–oh, you guessed it–dancers with microphones. Dancers with microphones who were not experts at using them. Some of Will Eno’s text came through; some of it was irretrievably lost to microphone noise and feedback. Will Eno’s text! It was hard not to be pissed off about this. In fact, I failed. However, the piece is quite entertaining in its way, although it undercut its own cleverness with numerous odd lags in timing, which diminished its funniness. Another issue with the piece came to light while discussing it with a student next to me: he had never heard of Punch and Judy. Part of the interest of this work lies in its layered cultural references, yet younger viewers may not be able to see below the hyper-active surface.

The evening closes with Martha Graham’s last dance, the effervescent, angst-free Maple Leaf Rag from 1990, set to Scott Joplin’s lively Elite Syncopations, Bethena and the Maple Leaf Rag (arranged by Chris Landriau). There is nothing here that is not lovable–Graham even sends up herself, charmingly–and Graham aficionados will recognize many of her striking forms and movement phrases from the course of her career–there are quite a few similarities with the more buoyant sections of her Appalachian Spring, for instance. Some may find Maple Leaf Rag lacking in substance, but you know, joy is an ethereal thing.

MapleLeafRag4_hi-res_print

Dancers at play in Martha Graham’s Maple Leaf Rag. Photo: Costas.

mhdekm

A topnotch WordPress.com site

peter harris, tapestryweaver

TAPestry And DESIgn

Gilbert and Sullivan's "Thespis" & "Trial by Jury" -- Director's Blog

a countdown to the next performance, October 12-15, 2017

Backstrap Weaving

My weaving , my indigenous teachers, my inspiration, tutorials and more........

Social Justice For All

Working towards global equity and equality

Not At Home In It

collections/connections

inkled pink

warp, weave, be happy!

warpologynotufos

Projects finished or in process by the Warpology studio

Peggy Osterkamp's Weaving Blog

"Weaving should be fun!"

SHUTTLE WORKS STUDIO

Studio Life of a Weaver, Spinner, Dyer

This Day in North Carolina History

The people and places of the Tar Heel state day by day.

Linda Frye Burnham

Laissez les bons temps rouler

Art Menius

Roots Music, Culture, and Social Change

Mae Mai

Boldly going where no cellist has gone before...

The Upstager

All the world's an upstage.

Literary Life in Italy

Looking at Italy through literature

The Five Points Star

Cultural criticism, news, schmooze and blues radiating from Durham, NC

Silvina Spravkin Sculptor

A sculptor who makes her art in different media, such as marble, stone, and mosaic, in Pietrasanta, Italy

The Reverse Angle

Just another WordPress.com site

%d bloggers like this: