Cruelties of Our Shameful Past

Relentless – TimeLine Theatre

The pandemic has changed our lives for the foreseeable future, and restrictions have loosened up a bit. We’re allowed to gather in groups once more but we have to show proof that we’re fully vaccinated and wear a mask that covers both our nose and mouth. These measures help protect both ourselves and others from possible exposure to Covid. But, thankfully, the opportunity to attend a live play or musical in person has returned. Why do we enjoy going to the theatre so much? The reasons are many, but it usually boils down to a desire to get together and share entertainment and/or be enlightened in some way.

After almost two years, TimeLine Theatre, one of the shining jewels in Chicago’s theatrical crown, has finally returned to live performances. Once again a new production roars onto the stage with typical TimeLine passion and power. This exquisite theatre company, whose mission is “to present stories inspired by history that connect with today’s social and political issues,” certainly satisfies both our longing for an entertaining diversion, while enlightening or educating its audiences.

Tyla Abercrumbie is a company member and has appeared onstage, not only at TimeLine, but in prestigious theatres all over America. But this multitalented artist is also a prolific playwright, as well. Here she demonstrates the power of her pen with this extraordinary drama that had its first public reading four years ago, as part of TimeLine Theatre’s First Draft Playwrights Collective Festival. However, just as rehearsals for a fully staged production were about to commence, the pandemic struck two years ago and theatres closed. At last “Relentless” has been brought to life on the stage, and the wait was well worthwhile.

Set in Philadelphia during the summer of 1919, this is a shattering story of family secrets. It’s a tale of two African-American sisters and how their own personal history mirrors this country’s continuous, centuries-long struggle for Black Equality. After the death of their mother, Janet, a professional nurse, has joined her younger sister Annelle at their beautiful Victorian family home. While sorting through Annabelle’s belongings, the sisters come upon a trunk filled with their mother’s diaries. 

Annelle argues that these journals are her mother’s personal sentiments and perceptions, and shouldn’t be read; but Janet feels differently and finds herself mesmerized by their content. As she sits up at night reading them, the often tragic events from Annabelle’s past, particularly her childhood, come to life. Janet suddenly learns more than she ever dreamed about her dear mother’s struggle to survive in Antebellum Maryland. She discovers that her mother was a slave, a part of the abhorrent system whereby African-Americans were considered the property of white families. Eventually the Civil War made this practice illegal. But Annabelle’s stories of her younger years spark an urge in Janet to engage in the fight for racial equality. The sisters, however, discover themselves at odds with each other in their relentless crusade for Civil Rights.

Gifted and much-honored director, Ron OJ Parsons returns to TimeLine, where he’s also a company member, to guide this production to perfection. He’s reunited two brilliant actresses for this play from his critically acclaimed “Too Heavy for Your Pocket”: the magnificent Jaye Ladymore, as Janet, and the incomparable Ayanna Bria Bakari, as Annelle. These two sensational actors own the stage whenever they appear together. The first part of Act I almost entirely explores the two sisters’ relationship. In the second act, we learn a great deal more about these two siblings as the events of the day transpire. Janet continues to read her mother’s journals, while the playwright gradually draws out the sisters’ individual ideologies and personal feelings, always coating their differences with an unwavering, relentless love for each other.

The story of the girls’ mother plays out before our eyes in a series of flashbacks. Demetra Dee, who audiences recently enjoyed in “The Last Pair of Earlies,” is young Annabelle Lee, an orphan whose mother actually named her Zhuukee. She’s simply extraordinary and heartbreaking in this role. Ms Bakari is double-cast as Zhuukee’s Mother, the grandparent that Janet and Annelle never knew. Talented Rebecca Hurd, who’s been seen on almost every major Chicago stage, is terrific as Mary Anna Elizabeth, the young white daughter of Annabelle’s owner. Despite the world in which she was raised, Mary Anna develops a deep love for the young slave girl and attempts to right the wrongs inflicted by Annabelle’s father. Their story alone will reduce the audience to tears, but there’s even more poignant events ahead in this lovely play.

The cast also features handsome Xavier Edward King as Franklin, a light-skinned African-American entrepreneur whose fortune has been made in wine production. Mr. King makes a strong foil for Ms Ladymore, as the two spar and flirt, while enjoying a bottle fine wine. When the actor reappears in Act II, however, recent events on the national stage have driven Franklin to anger. King absolutely burns down the stage with his rage and determination to help right the wrongs created by the 1919 Chicago race riots. His passion is entirely understandable. Like King, Travis Delgado is good-looking, debonair and graciously sophisticated as Marcus, Annelle’s physician husband. He’s a bit more playful and ostentatious at first, but, at heart, Marcus nurses the same needs and desires as the others. More than anything, Marcus would like to have a son to love and carry on his name, but Annelle isn’t receptive to bringing a child into a world that’s so filled with hatred toward their own race. Therein lies more conflict.

The production is greatly enhanced by the scenic splendor of Jack Magaw’s sumptuous Victorian drawing room. The set is dominated by an imposing fireplace, over which hangs a large mirror, an alcove lined with window seats and pillows and a staircase that leads up to the second floor. All the gorgeous furnishings of this room reflect the era and taste of the fine lady who once lived in the home, while running her midwifery practice from it. Designer Christine Pascual has crafted and created a gorgeous array of costumes for her cast. They immediately transport the audience back and forth between 1919 and the mid-1800’s. And the characters don’t simply live the entire time in one outfit; as in real life, they all change clothing as the days march on. Heather Gilbert’s lighting helps delineate the changes in time and place, and the original music and sound design by Christopher Kriz bring mood and authenticity to the production.

Except for the need to trim a bit of repetition from the first act, particularly the long initial scene between the sisters, this play is quite wonderful. It stirs our souls and reminds us that we’re all different, and yet basically the same under our skin. It’s a production that lives and breathes and, just like an organism, it develops and grows. The play certainly has moments of lightness and whimsy to contrast with the drama and seriousness of the primary story. But the main plot mourns the cruelties of our shameful past, while it illuminates and condemns a contemporary society that hasn’t changed over centuries of senseless hatred and cruelty. It’s a reminder that, in spite of society’s constant evolution, some things just unfortunately remain the same, no matter how much we try to amend.                        

Highly Recommended

Reviewed by Colin Douglas

Presented January 21-February 26 by TimeLine Theatre at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available in person at the Theater Wit box office, by calling 773-281-8463, x6, or by going to www.timelinetheatre.com.

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