In the right hands, even a half-century-old play can seem fresh and relevant. Example: the powerfully moving production of Trouble in Mind at Milwaukee Repertory Theater.
Let's cover a bit of history first. The 1955 play by Alice Childress comes with a distinguished lineage. Trouble in Mind won the first Obie Award for an African-American woman. The play is also known for the true story behind its proposed move to Broadway. Childress, much like the main character in her play, stubbornly refused to compromise her script. The producers, who believe the play's original ending won't be upbeat enough for audiences, quickly backed out.
Trouble in Mind is a backstage comedy-drama that opens when Wiletta, a mature, well-known actress, shows up early for the first read-through of a new script. Slowly, the other characters assemble. There are both African-American and white cast members, and we learn their stories one at a time. Things start off on a bad note and worsen from there. The actors discover that this play is a well-worn retread of African-American stereotypes. Wiletta is torn between keeping her mouth shut (and, thus, keeping her job) or voicing her own opinions (and possibly being ejected from the cast). She locks horns with the play's director, Al, and refuses to be sweet-talked into submission.
Actor Lee Ernst is outstanding as Al. Ernst and Stephanie Berry (as Wiletta) play off each other with waltz-like precision. Their interactions sizzle with tension.
Also notable in the cast is Ernest Perry as Eddie, another cast member. Old, tired and resigned to playing the game with his white director, he pleads with Wiletta to behave. Eddie just wants to pay his doctor bills. The cast's younger members, Wayne T. Carr and Kelsey Brennan, strike up a friendship. Carr's character cannot understand why the other African-American cast members frown on his innocent "familiarity" with Brennan, a white woman.
Rounding out the cast are Rachel Leslie as the captivating, high-spirited Millie and James Pickering as Bill, an older white actor. Adding comic relief is the aging stagehand, Henry. When he recalls seeing Wiletta in a show many years ago, he treats her with the respect one would have for a celebrity. Halverson creates a gem of a character as he gives Henry dignity, charm and a devilish glint in his eye.
Throughout Trouble in Mind, the director clearly makes his point that the racial problems of the 1950s aren't so different from those we face today. Interestingly, the play ends with more questions than conclusions. The audience doesn't know whether the show will go on or not. It's also questionable who will remain in the cast. The playwright leaves that decision up to us.
Production values are typically superb. The set recreates the backstage area of an older, dusty theatee, full of folding chairs, props and battered furniture. The authentic-looking set is also beautifully lit, and costumes reinforce the time period.
