It is a daunting task
putting a show like this into words -- fitting it all into this one review. Too
often stories like this are passed over, forgotten, and made ‘unclear’, but
when one person spreads the word we keep the memories alive. However, the fight
for equality is still ongoing, and as the community moves towards its future we
must remember the lessons of the past. Struggling to find acceptance in the
world of 1969, members of the gay community in Greenwich Village, New York
break out in riots of chaos and passion, and although reports of those nights
in particular are ‘unclear’ we are exposed to those who stand up loud and
proud, screaming, “ I WAS THERE!”
The action focuses on
one night within the week of the Stonewall Inn Riots, June 27-28, 1969, the
same night in which the city suffered some of the hottest days that summer and
the funeral of idol Judy Garland. Following several intertwining stories, the
play exposes the discrimination against gays at this time and shares those
souls who were brave enough to speak out at the boiling point.
The Barrow Street
Theatre, which has the home field advantage of being located in the historic
Greenwich Village, provides an intimate arena stage. Aesthetic distance is
non-existent as the audience becomes both participants and observers in this
slice of history. The enclosed space allows for raw vibe that surrounds the
audience and makes them feel as though they themselves are knee deep in the
danger that surrounds them. The stage is set in Christopher Park and inside the
Stonewall Inn. It is dressed with two double doors, back lit with a red wash.
Two side-by-side windows with an amber backlight and blinds and a classic
1960’s sign that reads “Stonewall Inn Restaurant”.
The lighting fixtures
remain general for most of the show, the design reflecting the underlying
themes of seclusion, discrimination, and isolation with a rustic practical
light above the inn’s entrance and within the inn – serving as police
headlights bright, unfiltered lights blind the audience and add to the
authentic sense of fear of persecution that seeps in and light focused on
specific acting areas as they are in use. A prime example of this simple but
effective design is the “Bathroom” scene, in which two characters are tortured
and sexually molested. The soft, dull wash of the lights only adds to the
jarring experience of witnessing such an event. Yet, the “riot” sequence is
when this light design really shines, (get the pun?). Using colors similar to
those used in an underground club -- saturated blues, reds, and purples, this
scene provided a chaotic atmosphere that added a sense of freedom and was
topped off by a strobe light which helped emphasis movement within the show.
Carolyn
Michelle Smith opens the show as Roberta, an outspoken women’s rights activist
with a commanding presence. A proud “dyke” who believes in owning her labels
Roberta provides the initial introduction to the rhythmic language of the play.
Smith posses a vocal quality that not only sounds supported by is also
inviting, which as the opening of the show remains a most important factor. As
she becomes more intertwined within the show Roberta becomes a key voice in
this machine and Smith does wonderfully.
A
true compliment to the contemporary vibe of the show lies within Arturo Soria (Tano) and Gregory Haney (Mika). These two partners in crime offer
quick wit and a modern tonality in their language which helps to propel the
characters and action forward. Soria, who is reprising his original role from
the world premiere of “Hit the Wall” in Chicago, and Haney have a truthful and
raw quality. Both actors prove to explore a deep space within their characters
of how at this time one’s safety is always in jeopardy. Yet, in an otherwise
serious drama, Soria and Haney offer a comic relief as well as a dramatic
performance that keeps the audience invested.
Nick
Bailey offers a fresh innocence to the cast as Newbie. Bailey plays the new kid on the block, a rebel without a
cause, a young man who learns to be what he is. “YOU WERE THERE—THERE WAS MUSIC
EVERYWHERE … EVERYTHING I JUST SAID IS EXACTLY WHAT HAPPENED.” Throughout it all, Bailey offers a perspective
of a young man comfortable with who he is. The theme of hiding in not apparent in
the Newbie, on the contrary, a nude
streak in the middle of the “riot” scene points toward the opposite end of the
spectrum. Bailey is brave and a joy to watch.
In
direct opposition to Bailey’s innocence comes Nathan Lee Graham’s character
Carson. With the air of someone who has experienced much, Carson gives out a
fragile air yet surrounds herself with a strong persona. Carson is a cross
dresser, and on this night, the night of her idol’s funeral, Carson dreams of
saying goodbye in her true self. Yet, with persecution and disdain around every
corner she is forced to hide. “LOOK AT ME.” Graham transforms into a tragic
character that undergoes great suffering – her suffering becomes one’s own as
the audience is drawn into to Carson’s very real struggle. One is able to ride
this emotional, turbulent, rollercoaster with a sense of great sadness. Graham’s
work is good and it shows.
Peg,
a “stone butch” lesbian, played by Rania Salem Manganaro, offers a look into
the true unheard horrors of those nights. Manganaro puts forth a vulnerable
young lesibian who is just looking for a way to make it on her own. Surrounded
by the same discrimination engulfing her peers Peg is the first to speak out
against the forces that suppress her. “NO MORE WATCHING.” Her spiritual and
physical trails not only draw the audience in, but they also drag the audience
down into the dark pit that most of these characters are forced to deal with in
the week of these famous riots. Manganaro delivers a memorable performance that
will stick with her audience for years to come.
Rounding
out the cast are the incredibly talented Jessica Dickey (Madeline), Ben Diskant (Cliff),
Matthew Greer (Alex McArthur), and
Sean Allan Krill (A-Gay). Also,
providing life underneath the show is the Stonewall Band which includes
Jonathan Mastro, Ray Rizzo, and Indigo Street. In an ensemble based show each
character plays an intricate part in telling this incredible story. “I COULD
NEVER LOVE YOU ONCE I KNEW – WHEN DID WE LOSE YOU?” “YOU DIDN”T LOSE ME, NOT
ONCE. YOU LEFT ME!” “IT’S NOT OVER.” “CAN’T STOP, WON’T STOP.” “OUT OF THE
CLOSET, INTO THE STREETS.”
Yet,
every show is only as good as its language. Holter provides a rhythmic,
contemporary poetry in his dialogue that sets “Hit The Wall” apart from all the
others. A modern tonality flows throughout this incredible production and its
cast as they explore “reading” each other. “Reading”, according to Nathan Lee
Graham, is a duel, a battle with words – an honorable combat between worthy
opponents. However, along with “reading”, the music of the language gives it
life and its poetic scheme lends a raw reality to this 1960’s atmosphere.
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