Last week Layon Gray’s Off Broadway hit, Black Angels Over Tuskegee completed a brief but very successful showing in the nation’s capital during the National Urban League’s conference on Thursday July 29th. Gray’s play is based on true events in which six men explore their collective struggle with Jim Crow vis a vis their intelligence, patriotism, dreams of an inclusive fair society, and brotherhood-- as they become the first African American fighter pilots in the U.S. Army Air Forces.
Using every inch of the grand stage at Warner Brothers Theatre in downtown D.C, the mostly original cast pulled out every conceivable stop, eliciting spontaneous laughter and intermittent clapping from a highly charged and reactive audience which seemed only to elevate the Angels performance into the stratosphere.
Thom Scott (Abe) was simply extraordinary and seemed to have a direct connection with audience. Scott may arguably have been the audience’s favorite character that night—his intensity seemed to ratchet up as he fed off the audience‘s palpable connection with him (and what footwork this man showed as his character skillfully slips and slides at points on stage ).
Demetrius Grosse’s (Perceval) “Africa” scene was exceptionally well timed and truly funny. Grosse’s experience and stage presence amplified the play’s message at many key moments. Grosse‘s magnetic presence had the audience hinging on his words. Grosse seemed to elevate other actors around him as well. He has a deceptively agile range and improvisational ability that is clearly missed when he is not on stage (as I have written before). In this role, Grosse is in a galaxy of his own (period)—what a pleasure to watch this scintillating super nova perform.
Also shining brightly the inimitable, David Wendell Boykins (Theodore) exploded on stage. Boykins’ exquisite sensitivity always gives the play just what is needed at the right time—every time! A master of facial expressions, Boykin’s provided emotional intensity and comic relief using verbal and non verbal cues with amazing fluidity. He also doubles as lighting director and was in DC earlier than the rest of the cast to work on the set—he is a powerhouse on and off stage!
The very likable, Lamman Rucker (Tyler Perry’s Why Did I get Married and Meet the Browns ) in the role of Elijah has a quiet appeal. Quite comfortable on the big stage and in the big moment, Rucker was loose and free flowing-- not at all egotistical. Unlike some film stars who have hard time transitioning to live performance, Rucker showed talent and ability. He did not have to rely on his celebrity status or star power to make the role work. He fine tuned his character to fit in with the cast. Rucker is obviously a confident pro.
Steve Brustein who plays the commander and Derek Shaun (Jeremiah), the most emotionally troubled of the Angels provide the tension. Though he only makes a few cameo appearances, Brustein is always fresh and energetic as the highly credible commander. The play always heats up when Brustein walks out and the men snap to attention-- as he barks in disgust. Though Brustein plays a convincingly abrasive, no nonsense commander, he is never over the top which is refreshing. Brustein skillfully allows his tough-nosed character to show just enough empathy/ He breaks from his rigidity to momentarily encourage the Angels at difficult moments. Given the complexity of the relationship between Burstein and the Angels as demonstrated by the exchanges between him and Boykins, the audience is left wanting to know more about this enigmatic commander. (Perhaps Gray would consider expanding this role on Broadway? lol) Without Brustein’s volcanic performance the play certainly would have been too soft, and perhaps predictably sentimental.
Without question the most intense and complicated of the characters on stage is the smoldering Jerimah Jones played by the gifted, Derek Shaun. Sullen, troubled, purposefully withdrawn, and internally focused, Shaun appeares most affected by Jim Crow. His psychologically absorbing portrayal of Jerimah essentially forces the audience to grapple with the tragic emotional and personal injuries many of the Tuskegee Airmen suffered even before becoming Airmen. Often standing aloof and apart and in direct contrast to the camaraderie that is seen on stage, Shaun is not immediately likable. Nonetheless, he brilliantly tackles the huge task humanizing the at times offensive Jerimah. Shaun also masterfully manipulates his silences for long stretches of the play while maintaining a powerful connection with his fellow pilots and the audience through a well-timed glance, grimace, or a gesture. How Shaun is able to hold and communicate the various shades of meaning and levels of inner complexities associated with this vexing character defies description. Backstage, after the play, several people could be overheard saying to (the very personable) Shaun that they were either scared of him or didn’t think he could even smile.
Black Angels’ evocative and emotionally charged ending always generates audible sniffles. This was true of the DC crowd as well--- with several folks drying their eyes as Gray (Quentin) and Scott, whose relationship form the emotional heart of the play, engage in a riveting dialogue that is sure to tug at the heartstrings.
The thousand plus DC audience was standing on its feet well before the play was finished as Thaddeus Daniels, the play’s narrator extraordinaire, brings it all together with a poignantly communicated monologue that spellbinds the enthralled listeners. Daniels’ smooth delivery and emotionally evocative style has the effect of eliciting any emotion he wants from the audience. Literally, folks were leaning over to absorb each word from his lips. His disarming folksy narration is the play’s voice and glue—this guy is so good at setting mood and atmosphere that he has been likened to the lighting and set design! (No lie- at tiems Daniels is simply standing on stage during the action and you forget that he is there until he starts speaking again). Daniels is the secret weapon in Gray’s formidable cast.
In the front row of the DC performance last Thursday night sat the original Tuskegee Airmen (the true American heroes).They were clearly impressed and moved by the play. They all received awards and acknowledgement in a moving tribute on stage at the end of the play.
The original Airmen also bestowed the cast with a medal of honor that night- --the exchange signified a magical moment when art and reality coalesced. Kudos to the Layon Gray and the Black Angels. Keep rising fellas!
BAW
