Dallas Theater Center presents Trouble in Mind
Trouble in Mind
by Alice Childress
Directed by Tiana Kaye Blair
Assistant Director Edmund Simpson II
Scenic Design Melpomene Katakalos
Costume Design, Hair and Make-Up Design April M. Hickman
Lighting and Projection Design Driscoll Otto
Sound Design Claudia Jenkins Martinez
Dramaturg Kamilah Bush
Production Stage Manager Ruth E. Kramer
My thoughts on Trouble in Mind or… a mile in her shoes justified
Trouble in Mind by Alice Childress
Directed by Tiana Kaye Blair
There are so many lessons to be learned and situations to ponder in Trouble in Mind, that it would most likely take two viewings or more to completely appreciate all that Alice Childress writes about in this backstage comedy/drama written in 1955. It is an indictment of racism in the entertainment industry and specifically the impact of that racism on Wiletta Mayer (M. Denise Lee).
Mayer, a seasoned actress, has tolerated the racism inherent in the system that has had black women and men playing maids and servants since the beginning, but it is not until the rehearsals for the anti-lynching drama “Chaos in Belleville” that her tolerance is pushed to its limit. At first, it appears that Wiletta will keep “going with the flow” as she laughs with the elderly Irish doorman Henry (David Coffee) and instructs the up-and-coming young actor John Nevins (Zachary J. Willis) that white people only like “Happy Negroes” and to play the game if he wants to succeed. Another actor and old friend of Wiletta’s, Millie Davis (Candace Marie Woods) warns Nevins to keep his distance from Judy Sears (Claire Greenberg) the young white female in the cast. Wiletta trades half teasing, half serious barbs with fellow actors Millie and Sheldon Forrester (Bradley Atuba) about the mammies and Uncle Toms they have portrayed. There is a genuine camaraderie between the black actors and the humor and “insults” come from a place of shared experience. The play seems fairly lighthearted until the appearance of the brash director Al Manners (Jeremy Rishe) and his stage manager Eddie Fenton (Mac Welch). It is Manners and his refusal to acknowledge his own racism and the absurdity of the racist stereotypes and situations in the script that eventually cause Wiletta to speak her mind. And although there is some ambiguity about the ultimate outcome of Wiletta’s remarks to the director, it is established that she, like playwright Alice Childress herself, is a woman of principles and unwilling to compromise her beliefs.
Director Tiana Kaye Blair subtly, but deftly, directs her cast of superb actors making every scene from comedy to intense drama feel authentic. There is some superb staging here, especially the scenes where the characters are just talking casually in small groups. Blair brings out the individuality of all the characters and makes them so real that I felt at times as if I were eavesdropping.
Biil O’Wray (Bob Hess) opens Act II rehearsing as the head of the fictional family in “Chaos in Belleville” making the character a bit of a blowhard do-gooder and self-important. When Hess transitions to the character of O’Wray, he reveals the character’s racist attitude in a much less bombastic manner. Hess makes O’Wray, a soap opera actor, smooth and charming, which only adds to the sliminess of his racism.
I admired Mac Welch as stage manager Eddie. Welch’s facial expressions displayed his frustration with the attitude and antics of his boss, and you could feel the good guy inside of him trying to get out.
Claire Greenberg scores as both the Yale drama grad Judy Sears whose white privilege and wealth prevent her from noticing the racism surrounding her and she is hilarious as the constantly fanning Southern Belle in the play being rehearsed.
Bradley Atuba, an understudy, was on in the role of Sheldon Forrester on the night I attended. Although Atuba is probably close to forty years too young for the role, he captured the movements and mannerisms of a much older man perfectly and Atuba’s monologue describing Forrester’s witness to a lynching was one of the most genuinely moving scenes in the play.
Candice Marie Woods is humorous as the fashionable and sassy Millie Davis relating how in one play all she said was “Lord have mercy!” over and over. Woods is a most appealing actor and brings warmth to her character who is seemingly forever doomed to play stereotypes.
Zachary J. Willis is John Nevins, a character some sources say is based on the playwright’s friend Sidney Poitier. Willis is pure stage energy in the role. His Nevins is focused on his career, and you can read the determination on his face. Willis lets us know that his character is unstoppable and has all the talent necessary to fulfill his dreams.
Jeremy Rishe makes director Al Manners one of the most loathsome characters I have seen on stage in quite a while. Manners is a hypocritical racist and misogynist and Rishe portrays him as a frantic authoritarian. Rishe is almost always in motion as Manners like some sort of worrisome hornet. Manners demands that his actors “justify” their actions and emotions constantly while there is absolutely no justification for his own actions. He’s a truly despicable character that Rishe portrays with almost chilling conviction.
In contrast to Manners, David Coffee is the lovable Irish doorman Henry who shares a special bond with Wiletta. Coffee makes Henry the most endearing character in the play. He’s a man who seen a lot in his 78 years and Henry is not up for taking guff off of anyone. Coffee does not have to speak a word to let Henry’s feelings be known. This fine actor can do it all with a look.
M. Denise Lee gives a powerhouse performance as Wiletta. i was amazed watching her take the character from still water to simmer to boil to overflow. Wiletta is a woman who has sublimated her feelings for so long, that when she finally rages at Manners, it is cathartic for the audience. Wiletta is a woman of power and intelligence who has been held back and down for too long and refuses to let it continue. Lee is a commanding force on stage as Wiletta, whether she is sharing pleasantries with Henry or giving Manners the berating he more than deserves.
Trouble in Mind, although set in the 1950’s, addresses so many issues of race that are unfortunately still relevant and unresolved today. Just as there is no definite resolution to the situation at the end of the play, there is no resolution to racism in 2022. I left the Kalita Humphreys Theater wishing there were more Wilettas and Henrys in the world. I think somehow, they would find the answer.
