Bridgette Hayes, Elle Borders, Shawna M. James, Obehi Janice, Brandon Green & Brooks Reeves in "An Octoroon" |
The play An Octoroon is the definite article,
even with the slightly altered title from the play on which it's
based, The Octoroon, the 1859 five-act melodrama by Irish
playwright Dionysius (also known as Dion) Boucicault. This revision
is currently being performed as a co-production by ArtsEmerson and
Company One Theatre at the Paramount Center black box theater.
Revised by Playwright Branden Jacobs-Jenkins, author of Appropriate,
it shared the 2014 Obie for Best New Play. The original
Boucicault work was an antebellum melodrama second only to Uncle
Tom's Cabin in popularity. It remains to be seen whether this
version will find similar acceptance. Whatever its reception, it must
be said that it is the definite article, a melodrama, with all
that this classification entails.
In the playbill for this production, the question is
asked, “why melodrama?”. The proposed answer to this query is
that perhaps this is the only theatrical form that can hold the
emotions so deeply felt in our country at present. The danger of
utilizing this type of theater, with its absurd heightened reality,
broad brush and intentionally exaggerated acting, is that a form that
is already a parody to modern eyes doesn't lend itself easily to
further satire. Thus we have a nearly three-hour marathon that,
despite a few brilliant sparks, becomes more like camp, which can
really be excruciatingly boring, rather like a vastly over-extended
SNL skit.
Boucicault adapted his play from the novel The
Quadroon, stirring up debates between pro-slavers and
abolitionists, as well as controversy as to whether theater ought to
have any role regarding politics. The earth is not so pretty at
Plantation Terrebonne in Louisiana, even though a branch of the
Mississippi still runs right through the estate. George (Brandon
Green), heir to what he calls the “ruins of Terrebonne” left
after his late uncle lost ownership of the estate, exclaims about the
threat made by the evil overseer of the property, Jacob M'Closky
(also played by Green) to sell off the estate and auction the slaves.
Soon he meets and falls in love with the slave Zoe (Shawna Michelle James),
who reminds him they cannot marry legally as she is an octoroon, that
is, one-eighth black. Other characters include a Whanotee
Indian chief (Brooks Reeves), the slave auctioneer LaFouche (also
played by Reeves), The Playwright (Reeves again), and the slaves
Minnie (Elle Borders) and Dido (Obehi Janice). Also in the cast are a
mute Br'Er Rabbit (Kadahj Bennett, who also plays Ratts), Pete (Harsh
Gagoomal, who also plays Paul), Dora (Bridgette Hayes), and Grace
(Amelia Lumpkin). It may be of interest that none of the five women
double in roles, but all four of the men do; seems it was then even more a man's world than it is now.
There are moments of insight, with reference in this
land of cotton, to the impossibility of racial intermarriage (not
legal countrywide until 1967). Late in the show, there is a brief but
effective (though entirely predictable) video presentation. As helmed
here by Director Summer L. Williams, most of the cast falls into the
trap of lack of any restraint. While melodrama is hardly known for
its subtlety, it can still be overdone. And the excessive frequency
of f-bombs and the n-word are both offensive in different ways, the
former losing its impact with such overuse, the latter at first
shocking but soon apparent that it was just universally used. The
creative team efforts include Scenic Design by Justin and Christopher
Swader, Costume Design by Amanda Mujica, Lighting Design by
Christopher Brusberg, Sound Design by David Wilson, and Vocal/Dialect
Coaching by Karen Kopryanski.
Jacobs-Jenkins has stated that, in the past, melodramas
gave audiences a sense of seeing something new and novel, but that
today the theater is no longer a place of novelty. This is
debatable, and, at least in this production, remains an open
question.
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