"IN THE BLOOD" at Next Theatre
BY LUCIA MAURO
Pulitzer Prize-winning playwright Suzan-Lori Parks’ rhythmic and allegorical play, "In the Blood," entwines Brecht’s "Mother Courage and Her Children" with Hawthorne’s "The Scarlet Letter." It then fast forwards these works of obstinate determination against the hypocritical masses to a modern urban wasteland. But instead of a mere contemporary reinvention, Parks creates a heartbreaking story of societal indifference, as well as a main character who is both a heroine and a victim – and her own worst antagonist.
This much-anticipated work, receiving its world premiere at Evanston’s Next Theatre, features an intimately operatic performance by Karen Aldridge as Hester, La Negrita – a homeless, illiterate mother of five children from five different men.
Under Lisa Portes’ gutsy and economical direction, the cast (consisting of five actors who play Hester’s children and the adults responsible for their conception) moves seamlessly from innocent curiosity to a self-justifying remorselessness. The adults – from a mistrustful street doctor to a vain social worker – all discuss their sexual connection to Hester (the only quality these cowardly predators exploit to their advantage).
So a great deal of "In the Blood" centers on how the people in whom Hester places her trust fail her in the most vicious ways. Yet, apart from the drama belaboring its point in the second half (although some may argue that "flaw" accentuates Hester’s own chronic emotional battering), it does not so easily play the victim card. Hester, whose pent-up rage manifests itself tragically, is the only character who stays true to her convictions. It’s her hope and naïve trust in others that do her in.
In a deft twist of linguistic acumen, Parks shows how Hester is the true survivor only when she relies on her own powers of resilience and compassion. After all, those appointed to take care of her only bring her pain.
The image that keeps playing back in my mind is that of the indomitable Hester scraping whatever she can find to feed her children – like a mother bird filling a whole row of gaping beaks. There’s never anything left for her at the bottom of the pot. And hunger becomes her closest companion. Even when she is about to indulge in the rare pleasure of a half-eaten egg-salad sandwich, one of her daughters awakes and complains of hunger. Hester, once again, sacrifices her nourishment for that of her children – her "five treasures; five joys."
It becomes clear that the pit at the bottom of her stomach will later well up in rage. And it’s her perpetual giving of herself that makes Hester so noble – almost a spiritual being, yet of the earth. Rather than burdens, or "mistakes" (as she later calls them), Hester’s children remind her that she’s alive. And, even though their needs suck the life force out of her, they are the only true fuel that allow her to endure her existence.
In addition to Aldridge’s achingly soulful performance, Cassandra Bissell delivers a no-nonsense turn as Hester’s treacherous hooker friend, Amiga Gringa; and Celeste Williams is particularly deceitful and sympathetic as Welfare and Hester’s child, Bully, respectively.
Apart from a tendency to force his delivery, Phillip Edward VanLear captures the corrupt Reverend’s self-serving double standards (his speech on the more glamorous aspects of taking on certain kinds of poor causes is brilliantly on the mark). Bill McGough exhibits an exhausted – and hopeless - sort of neediness as the Doctor; and Steve Haggard moves seamlessly from Hester’s sensitive first-born Jabber to his delusional, cold-footed father, Chilli.
Richard and Jacqueline Penrod’s surreal-suggestive set – a concrete-and-graffiti hole under a viaduct – is topped by a chain-link fence that gives new meaning to the concept of hitting the glass ceiling. Hester is enclosed on all sides by steel-reinforced dead ends. Jaymi Lee Smith’s lighting adds a menacing touch to the production; Kristine Knanishu’s costume for Hester emits a tattered-triumphant sheen.
Parks has crafted a stunning and disturbing heroine who hovers in a gloomy-gray area. Hester is the offspring of Charles Dickens’ Ignorance and Want. And that pain in her gut arises not just from physical hunger but from fragments of her heart breaking off with every monumental disappointment.•
"In the Blood" runs through March 9 at Next Theatre in the Noyes Cultural Arts Center, 927 Noyes St., Evanston. Tickets: $18-$29. Call 847-475-1875 or log onto www.NextTheatre.org.
