By Shari Barrett
A fabulous production of Angry, Raucous, and Shamelessly Gorgeous, written by Pearl Cleage and directed by three-time Tony Award nominee LaTanya Richardson Jackson, produced in association with Black Rebirth Collective, is continuing at the Geffen Playhouse through July 12. The cast features Denise Burse as Betty Samson; Olivia Washington as Precious “Pete” Watson; Deborah Joy Winans as Kate Hughes; and Charlayne Woodard as Anna Campbell, an actress in her 60s whose heyday came years before with a piece of performance art in which she protested the silencing of Black females by performing monologues from August Wilson plays – in the buff!
Having spent significant time as an expatriate in Amsterdam sharing her acting talent (as well as her performance piece) to appreciative audiences, Anna has now returned to her hometown of Atlanta with her dedicated assistant Betty Samson (Denise Burse), whose line “Theater people are already strange” earned much laughter. And after not working for two years and being short on cash, while Betty was in the hospital Anna signed a contract to perform “Naked Wilson” as the opening act of a women’s theater festival outdoors in Atlanta – or so she thinks. But when Anna finds out from the festival’s promoter, Kate Hughes (Deborah Joy Winan), that she’s been invited simply as a guest and that her piece will be performed by Precious “Pete” Watson (tall and curvy Olivia Washington) even though her only experience has been in burlesque and porn, sparks fly in this sharp-witted and soulful new comedy about art, activism, and aging on your own terms.
The play is an ode to women willing to cross barriers to perform for the public on their own terms. A few such free-thinking pioneers include Isadora Duncan who created “free dance” by rejecting traditional ballet shoes and corsets for natural, expressive movement, and actress Margaret Hughes who made theater history by becoming the first woman known to perform on an English stage in 1660. These two women, among so many others, were willing to take a stand and not take “no” for an answer when it came to expressing their artistic vision.
Early Black female theater stars broke massive barriers by starring in minstrel shows, vaudeville, and ground-breaking Broadway productions. Their success forced doors to open for future generations of performers, especially women willing to take a stand, speak their minds, and showcase their talent on their own terms.
Such is the lesson taught to Anna about her place in the history of outspoken women in the theater world after she accepts that she has aged past playing the role for which she is best known. But in order for that to happen, the younger Pete must prove she deserves to grab the mantle and run with it as the next generation of talented performance artists. But how does she accomplish this seemingly impossible task? After climbing atop of one of the most artistically significant homes on Atlanta’s Peachtree Street in the middle of the night, dressed in a gorgeous form-fitting red satin gown, Pete performs an important feminine monologue from an August Wilson play – and then sings a song of importance to both women.
And when the video of her impromptu performance goes viral, Kate makes sure both Betty and Anna see it to open their eyes to Pete’s ability to now take over the in-the-buff role which made Anna famous.
To seal the deal, Kate brings the now-emboldened Pete into Anna’s hotel room where she immediately sets the record straight about her right to perform “Naked Wilson” at the festival. And during Pete’s extraordinary monologue, Olivia Washington earns the respect of every audience member, as well as Anna’s, for her star-making performance. After thunderous applause, and Anna’s agreement, Pete asks the older-and-wiser Anna to teach her everything she knows about theatre.
Of course, Anna accepts, realizing what an honor it is to be the inspiration for the next generation of actors following in her bold footsteps, which makes both women feel more of a “star” than ever before. And as they both leave the stage to rehearse, knowing her place in theatre history is secure, Charlayne Woodard expresses Anna’s joy with an extraordinary around-her-body raincoat fling worthy of any bullfighter! Exit stage right… with the entire cast earning a truly-deserved standing ovation!
Director LaTanya Richardson Jackson keeps the action moving at a fast clip and the comedic dialogue sharp and perfectly timed, with each of the four talented actors’ portrayals absolutely real and attention-grabbing. Scenic Designer Beowulf Boritt had created an upscale Atlanta hotel room with a private outdoor garden patio, inaccessible due to constant rain (yes it continues to fall throughout the play), Costume Designer Emilio Sosa whose creations perfectly suit each of the women and their roles to a tee, with the continuous storm created by Lighting Designer Lap Chi Chu, Sound Designer Jeff Gardner, and Projection Designer Hana S. Kim. And kudos to Casting Director Phyllis Schuringa, CSA, for securing the four brilliantly talented actors, each perfectly matched to their roles.
Angry, Raucous, and Shamelessly Gorgeous continues through July 12 in Gil Cates Theater at Geffen Playhouse, 10886 Le Conte Avenue, Los Angeles 90024 with performances on Wednesday and Thursday at 7:30 p.m., Friday at 8 p.m., Saturday 3 p.m. and 8 p.m., and Sunday at 2 p.m. and 7 p.m. There will be no performance on Saturday, July 4 at 8 p,m,, with an added show on Tuesday, Tuesday, July 7 at 7:30 p.m. Run time is 1 hour and 40 minutes, no intermission
Tickets are priced at $36 – $139, available online at www.geffenplayhouse.org or by phone at (310) 208-2028. Rush tickets for each day’s performance are made available to the general public one hour before showtime at the box office for $40 General/$20 Student. Please note: This production contains profanity, and all Geffen Playhouse productions are intended for an adult audience; children under 10 years of age will not be admitted.
