Jones, who uses everything from vaudeville styles to stylized forms of acting to help his hugely talented cast tell their stories. In fact, the whole show is infused with some delightful theatrical touches by director Darryl V. It is a device that goes back to ancient Greek drama, but gets an engaging new twist here. and Reginald White) who serve as sort of commentators on the passing scene. The abuse continues, even though it has been noticed by the Men on Joe Clark’s Porch (Hosea L. (Sykes) comes home, and, often as not, beats her. Kelly Wright), whose work over the wash tub doesn’t end until her longtime husband, Donald E. Like all three tales, “Sweat” begins with Blues Speak Woman (Kim Nalley) and Guitar Man (Rodney Street) setting the tone musically for the entrance of washerwoman Delia (C. ![]() While she may have been a folklorist and academic, here, anyway, Hurston never lets anything get in the way of spinning a good yarn.Īnd, under the theatrical hand of Wolfe, the stories are decorated with dance and music to reveal themselves as complete theater pieces, beginning with, “Sweat,” the most disturbing of the three stories. Her characters are ordinary people, caught at critical moments in what could be some of the most revealing reportage to come out of the era.Īt the same time, there is nothing stuffy about the stories. Hurston’s stories are small slices of daily life in the black community, 70 or 80 years ago.
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