Review by Katrina “Kat” Reynolds
Stew presented by Playhouse in the Park through April 7th. I attended the March 20th performance.
Sydnie Brown as Lil’ Mama, Michele Shay as Mama & Maliyah Gramata-Jones as Nelly in STEW. Photo by Mikki Schaffner.
Just in time for the season of growth and change, Cincinnati’s Playhouse in the Park is gifting audiences with Stew by playwright Zora Howard. Described as a “story about the relationship between mothers, daughters, and the realities that bind them together” and under the capable direction of Stori Ayers, Stew takes place in the kitchen of a family’s matriarch as three generations prepare for a very important meal.
Set Design by Richard H. Morris, Jr. is impressive and detailed. As indicated by its title, the action of this play centers much around the actual/very well faked preparation of a family recipe. We see working faucets, vegetables being chopped, dumplings in need of rolling – and Mr. Morris’ design supports this culinary choreography quite nicely. My only critique would be that the kitchen is almost too nice in appearance as it is implied in the text that the house has been in the family for some time and its current owner is not exactly flush. I would have liked to have seen a wee bit more “shabbiness” or “wear-and-tear” to its appearance.
Costume Design by Raphael Regan is sharp and simple. Spoiler alert: the characters are in their jammies and the way each character has a very distinct style is appreciated. In addition, the clothing looks natural on the actors and they are able to move around comfortably as one usually does in their house clothes. A seemingly simple ask, but those in theatre know better. Well done!
A show of this nature requires a strong ensemble of artists who can convince us they are a family and Casting Director Stephanie Klapper understood the assignment. This talented group of double-X chromosomed performers includes Michele Shay as Mama; Shayna Small as older daughter, Lillian; Maliyah Gramata-Jones as younger daughter, Nelly; and Sydnie Brown as Lillian’s daughter who is affectionately referred to as Lil’ Mama. While each gives a strong performance, I was particularly impressed by Ms. Small and Ms. Gramata-Jones who not only exceled in their own characterizations, but truly portrayed themselves as sisters in every way.
Final notes are about Ms. Howard’s script: as you know, I’m not a big fan of spoilers, so it is difficult to give highlights without ruining something for someone – but I shall try. I found the script compelling and real, filled with the mix of laughter and tension only family can offer. Unfortunately, the ending was rather unclear and could have benefitted from more information to make it more impactful. It felt, in some ways, like a “choose-your-own-adventure” moment where a key event was evident, but the timeline surrounding it was very much up for debate. I do not feel it diminishes the play’s strength in any way, but I do feel it could be even stronger if things were not as fluid.
In summary, Stew addresses a plethora of important and universal issues while also reminding the non-BIPOC attendees of the privilege not granted to everyone. Few things can be better than a story about black women that is written, directed, and performed by – dare I say it? – black women. It is both entertaining and heart-breaking and you will certainly get your money’s worth during this 90-minute foray into the private lives of these four survivors. In addition, if you listen carefully, you might hear the familiar voice of one of our very favourite Cincinnati performers doubling as a radio deejay (Rob and I are about 99% sure he solved the mystery when I said “I know that voice!”). Hint: if it’s who we think it is, he was last seen at Moe and Jack’s Place in a yuletide romp in multiple roles. <Ahem, Ken Early, ahem.>
For more information, please visit www.behindthecurtaincincy.com/2024/02/01/stew-runs-march-2-april-7/.
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