Another Glass of Sherry

The Nacirema Society

Imagine a play that’s actually a clever mashup of a blithe British farce and an American comedy that addresses serious issues, like race, class and gender. Picture a laugh-out-loud play that’s set in Montgomery, Alabama during mid-1960’s, staged on a drop-dead gorgeous setting, clothed in beautiful period costumes, makeup and wigs, and starring a large, almost entirely female cast of Chicago’s finest African-American actors. This is just a taste of the banquet of delights that await the savvy audiences at the Goodman Theatre. 

Growing up in the 1960’s, prolific author and playwright Pearl Cleage’s writings are quite naturally shaped by the Civil Rights Movement and the Feminist Revolution. Remy Bumppo’s excellent production of Ms. Cleage’s “Blues For an Alabama Sky,” is now playing at Theater Wit, and shows another side of this talented playwright’s dramatic skills. But, like many of her works, “The Nacirema Society” (which, by the way, is American spelled backwards) is a comedy, not another heavy drama about Black families struggling with poverty, violence, depression and addiction. This lighthearted play focuses on the self-entitled upper class of African-American society, but it’s also a commentary on women’s rights and individual identity during the turbulent 60’s. But contrary to how serious that might sound, this is a play that’s guaranteed to make your sides ache from laughter.

Skillfully directed by one of Chicago’s finest theatrical professionals, Lili-Anne Brown is the perfect artist to guide this highly enjoyable comedy. She skillfully keeps all the plates spinning in this delightfully delirious drama while still focusing on Cleage’s fascinating, memorable characters. The play follows the lives of several African-American women who are members of Montgomery’s exclusively prestigious Nacirema Society. This  club for the African-American elite is celebrating its centennial year with the much-awaited social event of the season: the Cotillion and Coming Out Party for wealthy, young Debutantes.

As the play opens, the undisputed Queen of Montgomery society, family matriarch Grace Dubose Dunbar (an exquisitely regal and absolutely commanding and hilarious, E. Faye Butler) is delivering some last-minute advice, edicts and instructions to Gracie (Demetra Dee, in an exceptional performance), her bubbly, independent-minded granddaughter. Much to Gracie’s chagrin, the young lady has had her life all planned out for her: graduate with honors from high school, marry Bobby Green (a handsome and likable Eric Gerard), her childhood friend and the grandson of  Grandmother’s bestie, the wealthy, influential and slightly ditzy, Catherine Adams Green (played with joy by the always great Ora Jones). It’s been decided that Gracie will go to Fisk University, the school where all her family’s studied for decades, and then become a doctor. However, the effervescent and strong-willed Gracie is about to ruffle Grandmother’s feathers with her own news. She confides to Marie Dunbar, her mother (played by the lovely and gifted Sharriese Hamilton) that she’s secretly been accepted to and plans to attend New York City’s Barnard College, in order to pursue her passion and become a writer.

But there’s a bigger problem waiting to infect the spirit of the Dunbar household. Alpha Campbell Jackson (deliciously played by Tyla Abercrumbie), is the adult daughter of Grace Dunbar’s late, former maid. In order to afford the college tuition for her  equally independent daughter, Lillie (a terrific Felicia Oduh, making her auspicious Goodman debut), Alpha needs over $4,000. (Remember, this was in 1964 when schooling was a little cheaper!) She decides to raise the funds by blackmailing Grace Dunbar for the money, by claiming that the late Dr. Dunbar, Grace’s much-respected husband, was her real father. 

Add to this impressive nine-member cast Janet Logan (believably portrayed by a bespectacled Jaye Ladymore), a probing reporter from the New York Times, who’s been invited to stay at the Dunbar manse while she writes an article about the Montgomery Nacirema Society’s 100th anniversary Cotillion. And last, but definitely not least, the always incredible Shariba W. Rivers gives a knock-out performance as Jessie, the Dunbar’s personable maid. Without ever saying a word, Ms. Rivers almost steals the show with her comical facial reactions and body language. But, throughout the play whenever the going gets rough, there’s always another glass of sherry!

As the audience enters the Goodman’s Albert Theatre, there’s unanimous reaction to the magnificent scenic design provided by the gifted Arnel Sancianco. The elegance and attention to detail in each of the rooms can be heard uttered by everyone in the theatre. This is the ancestral home of Dr. and Mrs. Dunbar. There are two grand staircases, an abundance of stained glass, and throughout the house are beautiful and tasteful furnishings, befitting a wealthy doctor’s estate. The whole house is framed by a false proscenium depicting the house’s cupola and the surrounding gardens. 

But there’s more. Following an early scene, the house pulls upstage and a full kitchen unit, belonging to Alpha Campbell Jackson, slides silently into the vacated downstage area, followed by a table and chairs that rise from beneath the stage. Tastefully lighted by Jason Lynch, and featuring a jaunty, uptempo ’60’s sound design by Willow James & Stephanie Farina, the production feels absolutely authentic. Lili-Anne Brown’s masterpiece convinces patrons that this is indeed 1964. Add to this Samantha Jones’ splendid and stylish wardrobe and wigs and you have a true feast for the eyes and ears.

 As part of Chicago’s citywide celebration of all things Pearl Cleage, “The Nacirema Society” is a textbook example of how theatre can both entertain, enlighten and educate the audience. The farcical comedy is filled with witty dialogue, extraordinary characters portrayed by a cast of brilliant actors, providing plenty of laughs and just a modicum of drama. To delight the senses there’s a banquet of beauty to behold, thanks to a brilliant creative team of talented theatre artists. But there’s also some not-so-subtle social commentary to give theatergoers something to discuss on the way home. The Goodman Theatre once again has given Chicago audiences a winner that’ll be talked about for years to come.

Highly Recommended

Reviewed by Colin Douglas

Presented September 16-October 15 by the Goodman Theatre, in the Albert, 170 N. Dearborn, Chicago.

Tickets are available at the Goodman box office, by calling 312-443-3800 or by visiting www.goodmantheatre.org.

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