The Black Rep’s ‘The African Company Presents Richard III’ Looks Back at a Pivotal Moment in Time

The Black Rep’s ‘The African Company Presents Richard III’ Looks Back at a Pivotal Moment in Time

By Lynn Venhaus

Bigotry is an ugly thing to witness, even in the context of 1821. It’s expected, but always unsettling, no matter what period.

So, when the first scene of “The African Company Presents Richard III” opens with a condescending and arrogant white supremist shutting down a competing Shakespearean production, that sets the tone for a battle between right and might.

As Stephen Price, the haughty and cruel producer at the Park Theatre, Eric Dean White will make your skin crawl. He is threatened by their success and will use his influence to get the powers-at-be to make it hard on them.

While our sympathies lie with the performers in The African Company, they are having their own conflicts to deal with from within that threatens their existence too.

This 1994 play within a play by Carlyle Brown is a provocative showcase for compelling artists in The Black Rep’s latest riveting work. And opens the Black Rep’s 46th season in fine fashion.

Based on a true story, Brown’s drama is set in pre-Civil War New York when two productions of Shakespeare’s “Richard III” are vying for audiences. Slavery was not outlawed yet, but there were more free blacks living there.

Shakespeare famously said, “The play is the thing,” and The African Company, through the Black Rep’s hard-hitting production, shows you why art can break barriers, and all the challenges are worth it.

Cameron Jamarr Davis as James Hewlett as Richard III. Photo by Phillip Hamer.

The first black theatre in the U.S., The African Company of New York was a downtown theater growing in popularity with not only black audiences, but white audiences too. Their satires drew crowds, particularly when it was about the status quo white society. And the unenlightened were outraged those blacks had a voice. How dare they tackle the Shakespeare and other British classics!

William Henry “Billy” Brown had turned his home’s backyard into The African Grove, where blacks could socialize as society became increasingly segregated, then he expanded to theater, founding The African Company.

Price’s company has paid a renowned British actor, Junius Brutus Booth (father of John Wilkes Booth), a pretty penny and a sweet contract promising a full house, so they want a return on the investment, more revenue, and will not play nice.

The black theater doesn’t have the luxuries afforded the other theater, and most of the actors work as domestic servants or as laborers or in other roles.

“We all charade one great role of the happy, obedient Negro,” says character James Hewlett, the first black Shakespearean actor in U.S., and is playing the lead role.

Some of the cast is worried about the police shutting them down. What if they are taken to jail?

Director Ron Himes keeps the tension simmering both in racial friction and the tussling actors. He ensures that the company’s commitment to art is a focal point, while he laces this distinctive history lesson with humor and music.

As Hewlett, Cameron Jamarr Davis is passionate about the work, and doubles-down on his conviction, despite mounting odds – and a complicated romantic entanglement.

Ann Johnson, the actress playing Lady Anne, is exhausted by her day job and feelings that don’t seem to be reciprocated in equal measure. She is confused by the part and the play’s action, and not afraid to say so. Coda Boyce gives a fierce performance as someone speaking up for herself, and not compromising in a world that expects her to be subservient.

Alex Jay is a strong Sarah, who tries to keep things going smoothly, and is an accomplished seamstress. Costume designer Andre Harrington has beautifully captured the period and the royal costumes.

Olajuwon Davis is tough and tenacious in his portrayal as the dedicated, steadfast promoter Brown, who tries to not let what he calls “silly” views of white people grind him down. He channels his anger into action.

In real life, Brown wrote “The Drama of King Shotaway,” which is considered the first play by an African American and was about the black Caribbean war of 1796 against white settlers. Somehow, it’s been lost. However, what he did for blacks in theater will never be forgotten.

Papa Shakespeare is trying hard to keep them together. He’s quite a storyteller, a repository of history and wisdom – and colorful, as played by Wali Jamal Abdull. As the racist constable, Dustin Petrillo is a despicable meanie.

The simple set, designed by Jamie Bullins, doubles as a rehearsal hall and a theatrical stage, well-accented by Jasmine Williams’ lighting design.

This well-acted, well-staged play is a noteworthy moment in time that will resonate with modern audiences, for its power is timeless.

The Black Rep presents “The African Company Presents Richard III” Sept. through Sept. 25 at the Edison Theatre on the campus of Washington University. For more information, visit www.theblackrep.org

Photos by Phillip Hamer

‘Flanagan’s Wake’: A Raucous, Raunchy, Ribald Romp

‘Flanagan’s Wake’: A Raucous, Raunchy, Ribald Romp

By Connie Bollinger
Contributing Writer
Full disclosure: I ordinarily don’t enjoy audience interactive productions However, “Flanagan’s Wake,” playing now through March 21 at the Playhouse at Westport Plaza, proved to be a delightful exception.

Part improv, part scripted, part interactive,”Flanagan’s Wake” tells the story of an Irishman’s funeral and the family and friends who come together in an Irish pub to toast him on his way to paradise.  

Already a long-running smash hit in Chicago, Emery Entertainment has moved the interactive play to St. Louis, where the locals memorialize his passing with plenty o’ pints, zany sing-a-longs and witty tales.

There’s a priest, of course, dear Father Damon Fitzgerald, played by Alan Knoll, whose penchant for sacrilege and gambling is well presented. Knoll tells a thumping good story about the deceased and about an unknown Apostle named Kevin.

Alan Knoll as Father Fitzgerald. Photo by John Flack

Mother Flanagan is there, an ancient, salacious, Gaelic speaking old blister, played to perfection by Bill Burke. Mayor Martin O’Doul (Lynn Berg) hosts the gathering, as it’s his Pub after all.

Brett Ambler is Brian Ballybunion, a fun-loving handsome young man with big dreams. Dustin Petrillo plays Mikey, Teresa Doggett is Kathleen Mooney, the Irish Pagan, and Jennifer Theby-Quinn is Fiona Finn, Flanagan’s long-time fiance.

Music Director Charlie Mueller commands the pub piano, accompanying some of the most surprising songs we’ve ever heard, and three patient bartenders (Janelle Pierce, Sean Seifert, and Matt Billings) round out the cast, along with Patrick Blindauer playing the accordion.

The assembled audience are the cousins and friends come to participate in Flanagan’s send-off.

A romp of this magnitude requires a talented director and an equally skilled stage manager. Luckily, Director Lee Anne Mathews and Stage Manager Emily Clinger are up to the challenge, keeping the action moving along at a break-neck pace but never giving us the feeling of being rushed. 

The cast of “Flanagan’s Wake” are Improv wizards. Brett Ambler creates a wonderfully funny song out of thin air right before our eyes. Theresa Doggett’s Pagan Kathleen tells a  tale of a visit from the “Little People”  that is both surprising and, I’m sure, mostly improvised.

The Mayor, Lynn Berg, also spins a yarn about Flanagan that incorporates audience suggestions and never misses a beat; but for me, the favorite is Jennifer Theby-Quinn’s Fiona, the long suffering, hard drinking, short-tempered fiance whose Banshee;like wails of grief will literally make your ears ring. Fiona throws herself on Flanagan’s casket at every opportunity, causing brother Mikey (Dustin Petrillo) to have to wrestle her off kicking and screaming. 


Some of you may remember Ms Theby-Quinn in Westport’s production of “Avenue Q,” where she played Kate Monster and Lucy the Lounge Singer. Indeed, much of the cast of “Flanagan’s Wake” have St. Louis connections.

Teresa Doggett (Kathleen) recently appeared in “Pride and Prejudice” at the Rep and is also the resident Costume Designer for the Union Avenue Opera.

Jennifer Theby-Quinn as Fiona Finn. Photo by Jack Flack

Bill Burke (Ma) comes to the Playhouse from St. Louis’ own Stray Dog Theater where he recently played in “The Tempest” and “Macbeth.”  Patrick Blindauer has appeared in movie and television productions as well as several productions at the Muny.  Brett Ambler played Brian in “Avenue Q” last year at Westport, and  Dustin Petrillo’s St. Louis credits include Myriad Productions’ “Heathers the Musical” where he played JD.

“Flanagan’s Wake” is irreverent, loud, sarcastic, and delightful — just like family.  

The Playhouse @Westport presents “Flanagan’s Wake” Jan. 24 through March 21. Performances run Thursdays, Fridays and Saturdays at 7:30 p.m., with a special Tuesday, March 17, St. Patrick’s Day performance. Tickets are available at www.metrotix.com or at the box office one hour prior to show time. Groups of 10 or more should call 314-616-4455 for special rates. The Playhouse is located at 635 Westport. Visit www.playhouseatwestport.com for more information.

Theresa Doggett and Dustin Petrillo dance. Photo by John Flack.