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The play dramatizes well the tension between community and competition—which is always part of schooling, often to debilitating effect. The play does a lot to tarnish Paulina. These two have mastered the art of public face—for Paulina, in line with her edicts—and private face—for each other, dispensing succinct shade. The early going of the play is refreshing in how it pokes fun at everyone, and at both the vanities of teens and the entire genre of teen comedy. As Headmistress Francis, Alexandra Maurice delivers the spot-on manner of the teacher—both steely and lovable—who cares deeply for her students. Will Paulina get a comeuppance, and what form will it take? Ohio, specifically who has come to finish her last year of schooling in Ghana where her dad is a big cocoa tycoon. She is lovely and seems thoroughly guileless and that may be the hardest combo for Paulina to best. Amphonsha wants Ericka because her fairer skin will make her competitive against all those very white countries that set the standards. And yet. Bioh knows that school both forms and deforms character and she lets all her characters have a chance at improving. Betts, works the material to rich effect. Bailey, Alex Vermilion, and Evan Hill. So when he smashes the radio so as not to hear pronouncements about the newly instituted government, no one confronts him. Eugenio comes again to tell him of a miracle: the child was immediately healed. At the heart of the dramatic situation is the question of atonement and forgiveness, and how wounds to the social body cannot be healed any other way, though it is more typical to expect that whoever has the upper-hand will exact whatever price satisfies the lust for revenge. This is not a realistic tale that strains credulity, but rather a fable about war and love, about hatred and desperate need. The four main characters have both a genuine specificity and a generic quality. The male roles are difficult due to the extremes the actors must evince. We have to believe in these characters as persons caught up in events beyond their control and then see them as figures of ultimate nemesis. The fascinating ensemble, with expressive choreography by Jake Ryan Lozano, creates the manner of a people struck to the heart by the story it must tell for the sake of its souls, the individual members wearing haunted looks that stay with us beyond the wrenching outcome. Cast: Brandon E. Yale School of Drama December , People mourn in different ways, true, but one of the tasks of surviving someone is having to dispose of all their stuff. This can be an emotionally fraught act, even more so when the partners on the job are estranged half-sisters, born over a decade apart, who have rather different takes on their late mother. There she finds a glam jacket that immediately conjures up a memory of Mom played here by Jahava as a bitter, chain-smoking live-wire, almost feral in her fierceness. This is going to be tough, we readily assume. Jahava plays Nancy as a bundle of nerves, with so much energy that watching her is almost exhausting. She moves with the abandon of a child who seems not to take the physicality of objects seriously. Both sisters are lesbians and Nancy wonders aloud whether it was the lack of men in their lives that clinched the predilection. What Nancy—ultimately—has to give Midge is the use of selfishness. When—after airing griefs enough—Midge and Nancy set the glam jacket on a sofa with boa and cigarette, then kowtow, the sense of being fully on the same page is joyous. Finally, even straight-laced Midge lets her adolescent self loose. Review of as U like it , Yale School of Drama. There might be a future imaginable that would redeem all that is unbearable in our current world, beginning with the binaries that govern our sexual identity, our politics, our way of being in the world. Perhaps not. But if it could, how would you draw it up? But first, that court. Its status as a prison-culture is underlined on every front. The audience sits regimented in seats as if waiting their turn at Motor Vehicle Services. The closed-circuit television randomly scans the crowd and puts our faces onscreen, behind all-capital declarations like on SNL. The loud drum loop is a call to martial glory, a downer deadening to any chipper bonhomie. He wants answers, he wants results, he wants to browbeat everyone, including his somewhat vaporish daughter Celia Eli Pauley and her scrappier bosom buddy Rosalind Amandla Jahava. Charles Erickson, Rosalind becomes enamored of Orlando Hudson Oznowicz , a Leo-like hero who reacts to her interest as if he just got tickets to a sold-out show. Rosalind, glad to be banished from this total bummer, invites—nay, exhorts—us to go with her, now dubbed Ganymede, and her sidekick Celia, now called Aliena. And we do, traveling down a short hallway to a new world unfurled. Here there are bowers and closets of to-die-for accoutrements, there are strolling players inviting us to paint our faces, tattoo our bodies, and get to know one another NSA. Putting on the show means moving props and that sectional catwalk to places as needed, and it also means the principles have to be on spot in the different regions of Arden to deliver their additions to the new plot, which is—of course—all about eros. The thinker of this utopia is Dyke Senior Kineta Kunutu , dressed like a kind of psychedelic revolutionary, spouting—as revolutionaries will—earnest slogans from texts meant to liberate as they berate. She dwells in her Lesbian Colony where patriarchy is the source of all woe and sex-by-penetration an act of violence. Phebe, a professed top, finds himself entertaining notions of bottoming in abandon for Ganymede, a butch Rosalind in leather and hose and attractive facial hair. Orlando loves Rosalind and vice versa, and Jahava enacts the aggressive damsel well, full of androgynous machismo. Dalloway in which Clarissa contemplates Sally Seton, recited by the ever-eroticized Celia. The attentive will catch an array of allusions, quotations, borrowings and such throughout. Til death do us part. A fantasy, a celebration, a provocation, as U like it is also a lesson in how to rise and risk against a repressive status quo for the sake of joy and fun. The play is a dynamic rendering of their struggle with their desires, their dissatisfaction with their roles, and their willingness to use, abuse, and maybe even—if it were possible—love one another. It has long been a staple of classic theater for its exploration of two people caught in an intense situation. As the play opens, John is clearly tired of his subservient role and believes the time is right to assert claims of independence and equality. Julie becomes for John both a goad to overcoming any sense of social inferiority as well as a provocation to his manhood. And she plays to both urges, as well as exulting in the fact that he has had strong feelings for her ever since her mother—a distraught and neglectful woman who ultimately took her own life—brought the infant home. A further dramatic element is the presence throughout the play of Ukhokho Amandla Jahava , an ancestor spirit who acts as a kind of silent Greek chorus. Her interactions with the action take many subtle forms, and her mere visual presence is enough to make us feel how haunted the relations between John and Julie will swiftly become. The sense of past injustice is significant, but there is also something perhaps mythic in the land as well and Sophia Choi's costumes and Fufan Zhang's set create a compelling overlap of eras. Farber deliberately evokes a sense of ties that extend well beyond a particular historical eventuality. And, of course, the force of love and lust extend well beyond social forces. Director Rory Pelsue boldly lets sexuality play the part it must, and Botha and Udom bring off the scenes of coupling, so necessary to the physical dimension of their struggle, with great finesse. Her blonde whiteness seems the anomaly it has always been, but even more so in this context. Her efforts to humiliate him when he takes liberties have a charge that seems to chasten her in the same instant. As John, James Udom is fierce and strongly intelligent. He simply chooses to ignore his mother and his duty when it suits him. As Christine, Kunutu delivers her second very fine performance this summer at the Cabaret. Christine sees what there is to preserve—the land and the duty to the ancestors. The force of the future colliding with the past shapes the choices these characters confront. Bailey Cast: Brandon E.

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