Well Worth the Climb

We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as South West Africa, From the German Sudwestafrika, Between the Years 1884-1915 – Steppenwolf Theatre

Steppenwolf’s Theatre for Young Audiences is “dedicated to creating work that is both provocative and drives us to think harder and deeper about who we are and the choices we make.” If this theater company has ever been successful at achieving this lofty, admirable goal, it’s in this current production. Jackie Sibblies Drury’s play is a look at how the creative process works in theatre. And, while the comic drama postures as a rehearsal for an upcoming, scholarly lecture about the first known genocide in the early 20th century, the play gradually evolves into an uncomfortable, shockingly realistic depiction of racism in America.

Ms. Drury’s comic drama was first seen in Chicago as a 2012 reading at Victory Gardens Theater. It later went on to play Off-Broadway at Soho Repertory, as well as at other theatres around the country. This production is tightly co-directed by Hallie Gordon, Steppenwolf’s gifted Artistic Director for their TYA program, and talented guest director Gabrielle Randle, whose work has been enjoyed at many of Chicago’s finest theatres. Together they’ve chosen to steer their production to appear as if the theatrical collective that we see rehearsing Ms. Drury’s production is a high school drama club. The six young, nameless actors involved in this presentation are devoted to bringing a particularly horrific, long-forgotten historical event, to light. The actors are all identified by numbers and only called White Man, Another White Man, Black Man, Black Woman, etc. One actress, however, is given the actual name of Sarah. Similar to Pirandello’s, “Six Characters in Search of an Author,” the audience beholds the creative process involved in making theatre happen. However, what transpires during this open rehearsal ultimately turns into an emotional sucker punch to the gut.

The play opens with actress Jennifer Latimore, identified only as Actor 6/Black Woman, who appears to be the student leader of the drama group. In what seems like an improvised performance, although it’s actually scripted, Ms. Latimore explains to the audience what they will be seeing on this stage. She begins reading from a series of accidentally mixed-up notecards, explaining that prior to the presentation there’ll be a short lecture, which will be preceded by an overview of the topic. The actual presentation, however, is never really delivered. 

Instead we witness every level of the creative process during this rehearsal session. Actors and directors in the audience will recognize and chuckle at the tongue-in-cheek methodology Drury uses in her play. The theatergoer hears a lot of facts and details researched by the students, often delivered through a variety of visual aids. We observe how the individual and collective personal dynamics of the six young actors affect each other and the company’s total improvisational experience. Feelings get hurt, tempers flare, the ideas offered by certain actors are praised while others are discarded or stomped into the ground.

The presentation is supposed to be a dramatization about a horrific, largely forgotten incident from Africa history. It involved the Herero and Namaqua tribes. Between 1904 and 1907, Namibia had become a German colony. But when the Germans began to steal the African’s tribal lands, the Herero people, understandably, revolted. The play that these actors are trying to create is about the unspoken genocide inflicted by the German soldiers that resulted in the deaths of over 65,000 innocent Africans. The actual 90-minute production that the audience experiences is how these six actors try to create the presentation and the manner in which they respond to the information they’re trying to present.

Jackie Sibblies Drury’s play is interesting but somewhat controversial. The piece seems to get lost in the actors’ creative process. The playwright includes a lot of theatrical jargon, deep-revealing emotional exercises and seemingly juvenile theatre games; but the constantly changing relationship between the six actors is the real heart of this piece. As the rehearsal process struggles forward, the reality of the terrible historical incident, and how it differently affects the African American actors, versus the Caucasian actors, dredges up hidden feelings. The improvisation rages out of control, and the actors start forgetting their humanity and sensitivity during the role playing. Some of the actors unexpectedly unearth their buried cruelty and react with sadistic violence. Then, before the young people realize what’s happening to them, the N word gets brandished and is used to cut to the quick. It’s in the final fifteen minutes of this play that will theatergoers will find themselves devastated and aghast.

The cast is uniformly fantastic. Jennifer Latimore stands out as the principal guide and participating actress of the play-within-the-play. Trying to keep her fellow actors on track, she earns the audience’s sympathy. It resembles the proverbial analogy of herding cats, with Ms. Latimore trying to steer the actors’ egos and ambitions and keep them on task. As the only other female of the company, Taylor Blim plays Sarah, an actress constantly trying to make her ideas and voice heard. Whenever she attempts to add her two cents worth, she’s drowned out by the four male voices. At one point, however, the young actress gets to display her beautifully trained singing voice, and it’s in this moment where Ms. Blim truly rises to the occasion.

Terry Bell, called Actor 2/Black Man, is a standout in the role of a young African American actor who finds himself constantly struggling to bring to light the relevance of this tragic, forgotten moment in African history. As he gradually evolves into the antagonist of the piece, the audience’s empathy grows for this kid. By the end of the play, the urge to hold and comfort this actor becomes unbearable. Michael Holding and Will Allan play two likable young actors, respectively named White Man and Another White Man. We continually enjoy these two characters, who bring humor to the production with their dorky banter. Their realistic portrayals of two young thespians is funny until their emotional journey takes them to a particularly horrible place. Jeffery Owen Freelon Jr. completes the cast as Actor 4/Another Black Man. He’s the supporting actor who helps rearrange the props around Arnel Sancianco’s rehearsal room scenic design. But Freelon also brings much warmth and humanity to his role. Even after the other actors have fled the stage at the end of this experience, the young man continues to try restoring some physical order to the space where emotional chaos just tore this “safe place” apart.

Steppenwolf’s production, which is deftly co-directed by Hallie Gordon and Gabrielle Randle, shows so much sensitivity and guidance. The play itself, however, is a mixed bag. Some theatergoers will enjoy being witness to the creative process that’s often employed in bringing a play to life. Others may find the spectacle confusing and frustrating. These patrons will wonder when they’re going to see this “Presentation About the Herero of Namibia,” because the production doesn’t seem to support the play’s title. Traveling the choppy waters between art and real life can be tricky; maneuvering betwixt the past and present, is also sometimes a slippery slope. But, when we finally reach the last scene of this play that emotional pinnacle is well worth the climb.

Highly Recommended

Reviewed by Colin Douglas       

Presented March 2-23 by Steppenwolf, in the Upstairs Theatre, 1650 N. Halsted, Chicago.

Tickets are available at the box office, by calling 312-335-1650 or by going to www.steppenwolf.org.

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