Tension in the Rust Belt

Sweat – Paramount Theater

As the restrictions inflicted by the Covid pandemic lessen, there’s excitement in the air as a new theatre venue opens its doors. We enter the sleek, newly renovated Copley Theatre, Paramount’s intimate new venue for their season of more modest productions, and we’re immediately taken by the polished, professional look of this space. This glitzy, beautifully-furbished space, located just across the street from from the glorious Paramount Theater, is a state-of-the-art studio space that’s a wonderful addition to the growing Downtown Aurora Arts District. 

Once inside the theatre, we’re immediately struck by the authenticity of Jeffery D. Kmiec’s realistic, meticulously-detailed blue collar bar scenic design for Lynn Nottage’s Pulitzer Prize-winning drama. Featuring a variety of familiar illuminated beer signs, a fully-stocked bar and a working jukebox, any audience member would feel right at home in this Reading, Pennsylvania bar, on a chilly Spring evening. However, given the dramatic events that will transpire over the course of the evening, this pub will soon become the scene of lots of tension, here in the Rust Belt.

The prologue of the play opens on a parole officer conducting his exit interview with two ex-convicts. One is Jason, a young, white skinhead, covered in offensive tattoos; the other is Chris, a soft-spoken, well-groomed young black man, holding a Bible. We don’t know too much about these young men at this point, such as their relationship or what sent them to prison. But by the end of the play, we fully understand what brought these two young men to this crossroad in their lives.

Then, the play opens, and it’s eight years prior to the first scene. We meet three women, all machine workers in the Reading factory, who’ve been close friends since they were children. Cynthia, Tracey and Jessie have worked on the floor of the steel plant for over twenty years. Together they’ve shared their observations, aspirations, problems and complaints, along with their relationships with their children, an estranged husband and the management and co-workers of the factory. Stan, the affable bartender, was once employed at the company. However, in an unfortunate accident, he suffered an injury that prevented him from returning to his job. A wise adviser for his customers, Stan cautions the three women, along with Cynthia’s son Chris and Tracey’s son Jason, that “You know, you could wake up tomorrow and all your jobs are in Mexico.” No one takes him seriously, but this casual comment becomes a soothsayer’s warning to the entire group.

This gritty, adult play is the first offering in Paramount’s Bold Series. It examines the souls of the common, hardworking men and women who keep this country humming. The playwright balances each character’s personal struggle to earn a decent living and trying to make ends meet, with jealousies, suspicions and trying to keep relationships alive. All of this is set against the political challenges of our continually evolving country, especially since the 2000 election, in which George W. Bush became our 43rd President. Sound designer Jeffrey Levin weaves together each scene with is finely researched audio of the America’s political history during this time period. The play becomes a tribute to all the forgotten people who twice voted Bush into office, hoping that the nation’s economy would improve. In Lynn Nottage’s stirringly realistic drama, laced with moments of gut-wrenching truths and hard-hitting humor, we experience the havoc that has continued to divide this nation.

Lynn Nottage deservedly won the 2017 Pulitzer Prize for Drama for her mesmerizing and revealing play about race, economy and humanity. The background for the writing of this drama is almost as fascinating as Ms. Nottage’s play, itself. In 2011, the playwright began interviewing residents of Reading, Pennsylvania, which the US Census Bureau had declared as one of the poorest cities in America. Through this extraordinary drama we see the faces and hear the voices of these real people who suffered from the de-industrialization of America and who continue to struggle, just to survive.

Directed with grit, passion and an understanding of these hard-workers and the world they inhabit, Andrea J. Dymond fires up the audience with her gut reaction and guidance, bringing Ms. Nottage’s story to life. Shariba Rivers is magnificent as Cynthia. She makes us understand the pain and helplessness her character feels when placed in the uncomfortable, unenviable position of having to supervise her friends and co-workers during a difficult economic situation. She’s caught between a rock and a hard place: her desire to finally improve her own economic situation contrasted with her devotion to her longtime friends. Cynthia’s relationship with Brucie, her ex-husband, nicely played with raw emotion by Joshua L. Green, shows a woman who knows her own strengths and won’t be seduced into compromising her standards by a smooth talker. In addition, Ms Rivers also portrays the loving, caring mother of Chris, her hardworking, goal-mindedson, who’s played with humor, intelligence and dignity by the gifted actor, Emmanuel K. Jackson. 

As Tracey, Linda Gillum plays a foulmouthed force of nature. She deals with everyone, particularly her son Jason, in a way that lets them know they’re not going to walk all over her. She’s not a woman to be crossed or compromised; her Tracey is one tough cookie who’ll stand up for her rights, as well as for those of her family and friends. However, as tensions mount at the factory, and Tracey’s seniority is passed over for a promotion, suddenly her true colors begin to show. Racism rears its ugly head and the subject truly becomes black and white, in more ways than one. With longtime relationships becoming tense, Ms Gullum turns into a ferocious lioness fighting for her very life.

Tiffany Bedwell is a treat in any role she plays. As Jessie, the third Musketeer in this trio of good friends, Ms Bedwell plays that buddy who listens more than she contributes to a conversation. But Jessie seems to be on her own road to destruction, burying her pain and disappointment in a cocktail shaker. From what Tiffany Bedwell shows us in this play, she can convincingly play an inebriated character with plenty of dignity and humor.

Jeff Award-winner Randy Steinmeyer, a veteran of so many Chicago theaters, is absolutely terrific as Stan. For the majority of the play, Steinmeyer’s character is a bit understated, but very understanding. He’s a likable guy’s guy, serving up beer and gimlets, while going easy on the personal advice. That is, until tensions escalate toward the end of the play and Stan tries to help his friends, tragically ending up in the wrong place, at the wrong time.

Gage Wallace is very good as Tracey’s mild-mannered son, Jason. It isn’t until much later in the play that audiences realize that this is the same young man who would eventually become a radical skinhead in the prologue. Bryant Hayes is appropriately tough and unbending as Evan, the parole agent who deals with Jason and Chris in the prologue. He set the tone for the rest of the play with his no-nonsense approach to this role.

Jordan Anthony Arredondo plays one of the most likable and sympathetic characters in Lynn Nottage’s play. As Oscar, Stan’s young Columbian bar assistant, we go through much of the play merely observing this kid hard at work, taking out the empties, scraping gum from under the tables and running errands for his boss. He’s almost forgotten—practically an extension of the set dressing. And then, wisely, Ms Nottage writes a stirring, 11th hour scene for him, wherein we learn so much more about this admirable young man. By the final scene, our understanding of and feelings for Oscar have grown so much that the image of him that we take from this play is unforgettable.

In this exciting, Pulitzer Prize-winning play, Lynn Nottage shows why she’s earned the title of one of the finest living contemporary playwrights in America. Staged with empathy and energy by master director, Andrea J Dymond, this talented cast reminds audiences of how our blue collar population continues to struggle to survive, while constantly being slighted. In this play, we have names and faces to go with all the statistics that inform us that this country’s economics have changed…and not for the better.

Highly Recommended

Reviewed by Colin Douglas           

Presented March 9-April 24 by the Paramount Theatre in the newly renovated Copley Theatre, 8 E. Galena Ave., Aurora, IL.

Tickets are available in person at the box office, by calling 630-896-6666, or by going to www.paramountaurora.com.

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