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ARTSETC.

‘Bluest’ offers purest themes

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Also by Tony Lewis:

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'Jumper' leaps, falls too short (February 18, 2008)

by Tony Lewis

Monday, March 3, 2008

Without the precise integration of production elements, even the most emotionally moving story will come to a standstill once it hits the stage. It takes a perfectly mixed palette of acting, scenery, sound and lighting to paint the kind of theatrical masterpiece that captivates an audience. Luckily, such a masterpiece can currently be seen right here on campus.

Mitchell Theatre’s presentation of “The Bluest Eye” is a vivid portrait highlighted by an entire ensemble of lively performances and an effectively dramatic atmosphere. With his masterful take on the play, director Derrick Sanders not only gives the audience an altogether satisfying experience but also provides a powerful message.

“The Bluest Eye,” adapted by Lydia R. Diamond from Toni Morrison’s novel of the same name, takes place in the racially tense American Midwest during the Great Depression. The story follows a year in the troubled life of a young black girl named Pecola Breedlove and her relationships with her family and community. Told from five different perspectives, the play focuses on the concepts of beauty, specifically those related to racial characteristics.

The tension between the poor black community and the affluent white population in this small Ohio town is brought about by these concepts of beauty. Pecola, as well as the rest of the black community, feel inferior due to their lack of “whiteness.” Pecola believes that she is ugly and wishes her eyes would turn blue so she might be accepted by her community.

Sanders expertly keyed in on this tension in order to get across Morrison’s strong themes of race and beauty. But this message is only as powerful as the actors conveying it, and it is fortunate that the play’s strong chain of performers does not contain one weak link.

Dominique Chestand (Pecola) captured the vulnerability and tribulations of her character with perfection. She tragically moved about the stage hunched over in such a way that the audience could almost see the burden of a distraught family and community weighing her down. At times her presence was overshadowed by other more dynamic performances, but as soon as Chestand moved downstage center to hauntingly read from the book “Dick and Jane,” which contrasts a blissful white family with Pecola’s life, there is no question as to who is in command. In the end, Chestand’s effectiveness in portraying Pecola’s heartrending progression toward ultimate insanity was crucial in delivering the play’s message about the cataclysmic effects of racism.

Equally effective was James Macon Grant’s portrayal of Cholly Breedlove, Pecola’s abusive father. In Morrison’s novel, Cholly’s destructive transformation from a charming young man to an emotionally confused alcoholic is vital to understanding how one racially driven incident in the past can haunt and destroy a man’s future. Grant excelled in his ability to create this transformation onstage in a way both believable and rightfully disturbing.

The most compelling performance of the evening came from Olivia Dawson, who played the narrator and Pecola’s friend, Claudia MacTeer. Whether it was with chilling overtones or jovial lightheartedness, she successfully manipulated the audience’s moods toward the direction the next scene would be taking. At the same time, Dawson’s energetic chemistry with Keysha Monique Mabra, who plays Claudia’s sister Frieda, and dark humor skillfully clashed with Chestand’s Pecola, created the central contrast between the MacTeer and Breedlove families found in Morrison’s novel.

While some scenes suffered in their tendency to drag on at times, designer Matt Sherwin’s exemplary use of sound kept the play moving. The switch between eerie and mirthful music aided in setting the atmosphere for the scene, as well as added needed suspense to some of the otherwise boring and repetitive tangents found in the dialogue of other scenes.

The scenic design was nothing out of the ordinary, yet its simplicity accurately established a visual representation of the dilapidated black households found during the Depression. More impressive, though, was the lighting that brought this scenery to life. Not only did the application of texture illustrate the changing seasons but the changes from dark to warm colors magnificently set the mood of the play. Enhancing the drama for one of the most important scenes of the play, the stunning use of a single blue light directly above downstage center created the visual image of Pecola standing in the pupil of a large blue eye.

Director Derrick Sanders’ rendition of “The Bluest Eye” is easily a riveting and dramatic masterpiece worth seeing. With the help of a diversely talented cast and skillful designers, he brings together all the crucial elements to a theatrical production and leaves a captivated audience hanging off every word of Toni Morrison’s compelling message.

“The Bluest Eye” runs through March 15 at the Mitchell Theatre. Visit utmadison.com for information about tickets and showtimes.

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