Detroit ’67 tells the story of Chelle, her brother Lank, and their friends Bunny and Sly, their dreams and struggles as black people in 1960s Detroit. The group must deal on a day-to-day basis with economic and political marginalization and harassment by racist cops. On top of this, a mysterious white girl drops into their laps, and they must navigate the personal and public minefields of her presence among them, just as the city begins to burn, riots break out, and the police and National Guard role into the neighborhood. With the riots of July 1967 as the background, the play is a timely examination of America’s past and a comment on America’s present.
Playwright Dominique Morisseau has put together a well structured, traditional, realistic drama. The stakes in the story are high, the characters well drawn. However, the action unfolds too slowly to convey any sense of urgency. The traditionally structured exposition is doled out over much of the first act, making one wonder when the playwright is going to get to the point.
Staged by director Kym Moore, the production is likewise well-structured, correctly staged with good use of stage space, and with well-balanced casting. But it’s all very stodgy. Pacing is glacially slow, with the show clocking in at 2 hours and 50 minutes. Moments between scenes are too long, with too many unfilled silences. Acting is suitably realistic but too tamped down. Even when the riots are in full swing, it all feels far away, not nearly as immediately dangerous as it should, until the very end of the show.
The set, designed by Yijun Yang, the lights, designed by Jasmine Lesane, the costumes, designed by Michelle J. Li, and the sound, designed by Aaron Landgraf, are all professional and appropriate. The set is well-built and stable. The costumes are pristine with lovely details and a subtle sense of humor. There are no surprises or surprising uses of space, nor are any called for with the staging of the piece. My only argument with the design is the choice to have a red light sweeping out through the audience at the beginning of the riots. Since there are no other moments when the production breaks the fourth wall in any way, this one intrusion feels out of place.
Most of the cast are about 10-15 years too young for their roles, which is always a bit awkward, reminding us this is a university production. The actors often step on each other’s lines, disrupting the rhythm of the show. But, in spite of this, and in spite of the emotionally muffled nature of the production, the cast give good, steady performances. Gena Sims as Chelle is appropriately strong and ram-rod straight. Safiya Harris as Bunny is particularly charming, displaying a delicate, subtle sense of comedy. Antonio Jeffries likewise rides the line between comedy and tragedy well, creating a sympathetic, slightly too-slick Sly. Carmen Flood as the inconvenient Caroline takes the stage with confidence. Chelle’s, Bunny’s, and Caroline’s interactions are just the right amount of tense and clever. The stand out performance is Kameron Kierce’s Lank. Kierce has a dynamic stage presence; he is sensitive and the most emotionally available of all the actors on stage.
Detroit ’67 runs for one more week, from November 27-December 1, 2018 at the Philip Chosky Theater, Purnell Center for the Arts on CMU’s campus. For tickets, visit https://drama.cmu.edu/box-office.
Helen Meade got her first theater job at age 17. Over the many intervening years she has worked professionally as an actor, singer, director, producer, administrator, production manager, stage manager, lighting designer, technician, fundraiser, and board member. Through it all, one thing has always remained true: Helen loves live theater. Some of her favorite projects include her educational adaptation, Supernatural Shakespeare, for Pittsburgh Shakespeare in the Parks and the Pittsburgh Cultural Trust Arts Education Department, directing Romeo and Juliet for PSIP, and directing the world premiere of composer Jeremy Beck’s The Biddle Boys and Mrs. Soffel for Tuesday Musical Club.
Categories: Archived Reviews