Cracked Southern Belles

Plantation! – Lookingglass Theatre

 

Miss Lillian, the genteel, widowed Texan matriarch, has three lovely, but spoiled daughters. She’s gathered them together one afternoon for a somewhat mysterious family meeting. Together, for the first time in a long while, are Kimberly, Kara and young Kayley. Their mother has some exciting news that may prove to be a bit earth-shattering for her girls. First, Lillian asks them if they could change anything, for the good of mankind, what would it be? When their answers are less than what Lillian expected, she brings up their wealthy family’s long history as the kings of Texan cotton.

She announces that, upon her husband’s death, Lillian began going through a trunk of his old papers. There she discovered some very interesting information. It seems that their great-great-grandfather, who owned many slaves throughout his lifetime, had become romantically involved with one of them, in particular. Her name was Sarah, and together they had a child. Employing the help of the internet and social media, Lillian did some research and was able to track down three sisters from Chicago, who were Sarah’s descendants. And—surprise!—Lillian has invited these long-lost relatives to spend the weekend with her girls at the plantation. Upon hearing this, the Southern belles begin to crack.

Cleverly directed with broad, comic strokes by TV, film star and Lookingglass Theatre Company member, David Schwimmer, Kevin Douglas’ new, 95-minute one-act play is quite hilarious. But, with his serious message, it’s comedy at a cost. The playwright is addressing the often volatile subject of race relations in the United States by focusing on reparation. Left in the shadows of the magnolia trees are other important issues like poverty, poor inner city education, violence and gun control and tense relationships with white supremacists and power-hungry police officers. But what Mr. Douglas is asking in his play is what can we possibly do, both individually and collectively, to make up for decades of oppression and slavery?

To detail everything that happens in this rollicking one-act would be to deny future audiences of all the fun and surprises that Kevin Douglas and David Schwimmer have provided. Suffice it to say, that this piece plays out like a thought-provoking, side-splitting situation comedy. It’s full of unexpected twists, turns and character revelations that offer one cotton-pickin’ evening of fun.

The cast is flawless, unerring and wildly hilarious. Led by Janet Ulrich Brooks as Lillian, we’re treated to another performance by one of Chicago’s finest actresses. Known for her terrific performances with TimeLine (“The Audience”), the Goodman (“Vanya and Sonia and Masha and Spike”) and just about every other theatre in this city, Ms. Brooks is a steel magnolia in this play. She’s a tough mama with a heart of gold. Ms. Brooks is a woman out to right the wrongs of her family’s past, even if it means that her daughters and herself will have to suffer a little in  reparation. But Miss Lillian is determined to make it up to the three young women from Chicago. She’s fantastic in this role.

As Lillian’s mollycoddled kids, Louise Lamson, Linsey Page Morton and Grace Smith are very funny as Kimberly, Kara and Kayley. Each actress creates a unique character with her own agenda and selfish reasons for not wanting to share their wealth with their long-lost cousins. Ms. Lamson grabs most of the limelight as the eldest and most indulged and self-entitled of the siblings. She becomes ruthless in her desire to keep the plantation home in their immediate family, and to drive these usurpers back to Chicago. Ms. Morton is the more inept sister, whose failure at love and running the family business create some of the biggest immediate problems. As the youngest family member, Ms. Smith effectively plays a young woman whose self-medication has taken over her life and is setting her on a downward spiral.

As the lovely ladies from Chicago, Lily Mojekwu winningly plays eldest sister, London. She’s a life coach, a tough cookie who overflows with affection and empathy for everyone. She’s also not about to be pushed around by a spoiled young white girl who can’t see the forest for the trees. As Sydney, the middle sister, artistic associate Ericka Ratcliff is a revolutionist and a poet. As this explosive young lady, Ms. Ratcliff is a firebrand who demonstrates strength and attitude as this character, both with Lillian’s girls and her own sisters. As Madison, the pretty, young sister, who’s more like her Caucasian counterparts than she’s willing to acknowledge, Tamberla Perry is magnificent. She’s stylish and sophisticated with an eye on the media. Ms. Perry is delightful and brings an air of fun to the party.

Diana is Miss Lillian’s maid for this weekend, filling in for her vacationing mother. Played with comedic skill by Hannah Gomez, this may be the character that audiences remember most. The outstanding Ms. Gomez brings a delicious, deadpan delivery to Diana, a minor character who might’ve faded away into the background, in lesser hands. But Ms. Gomez is a master and she knows how to use dry humor to her advantage, making this put-upon young woman one of the funniest individuals in this production.

Schwimmer’s production is expertly staged within Courtney O’Neill’s sumptuously detailed, two-story scenic design. This sitting room of Miss Lillian’s plantation is gorgeous and serves the story well, dominated by a giant portrait over the mantel of Great-great-grandfather. Beautifully lit by Christine Binder, with original music and sound by Rick Sims, Mara Blumenfeld’s lovely costumes are perfection. Of particular mention are her “Gone With the Wind” inspired taffeta ballgowns. And that special moment of camaraderie, when each of the ladies make a musical entrance in these dresses, is perfection.

While there are some strange, awkward moments that occur toward the end of this play, and the ending is a little contrived and pat, this is still a play that offers lots of food for thought and plenty of laughs. There’s no stereotypical goodness or evil in this production, although there are a few “Oh, no you didn’t” moments. Kevin Douglas’ new play offers similar themes as his previous premiere at Lookingglass, “Thaddeus and Slocum: A Vaudeville Adventure.” It’s an evening of nonstop hilarity that also supports an important, honest message. This production will send audiences out of the theatre sparked with some brand new ideas about race relations.

Highly Recommended

Reviewed by Colin Douglas

 

Presented February 21-April 22 by Lookingglass Theatre, located inside Chicago’s historic Water Tower Works, 821 N. Michigan Ave., Chicago.

Tickets are available at the box office, by calling 312-337-0665 or by going to www.lookingglasstheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.