Sycamore Rouge will close its doors for good at the end of this month. The professional theatre company will donate its belongings to non-profit organizations in the region, and will grant its funds to a Petersburg community non-profit organization.

Sycamore Rouge had investigated and discussed opportunities with many area theatre groups to continue the work of the theatre on its stage in Old Towne Petersburg. “In the past few months, we explored various opportunities and many partners came forward; however, we ultimately realized that the long-term resources and leadership just didn’t exist to maintain what Sycamore Rouge does,” said kb saine [sic], Producing Artistic Director of Sycamore Rouge.

“While we are sad that there is not a solution in place right now, we are hopeful that other groups may look to the space, stage and theatre infrastructure that we are leaving and build a new live arts opportunity in Old Towne Petersburg,” said saine.

As Sycamore Rouge closes on July 31, saine is equally proud that the company’s remaining items and funds will be donated to important, local community-based organizations. “Over the years, we’ve amassed quite a useful stock of costumes, props and set pieces that we know will be helpful assets for our peer theatre companies. In addition, we hope that our office equipment and business assets will help strengthen other community-based non-profits,” explained saine. “Furthermore, I’m thrilled that our Board chose to ensure that all of our funds will be donated to a significant Petersburg organization,” saine added.

Sycamore Rouge was founded in 2002 and began programming in 2006. Since then, the company has produced hundreds of mainstage plays, smaller productions, classes and other events. “I’m so proud of what all Sycamore Rouge has done in the past seven years — from the contributions to the arts community to the revitalization efforts of Old Towne,” said saine. “We’ve been told so many times what an impact we’ve made on Petersburg, and how our plays and productions have made a difference to people, and that’s the best thing we could hope for,” concluded saine.

The mission of Sycamore Rouge is to use the performing arts to promote creativity, to help revitalize Petersburg’s downtown area, to strengthen the communities we serve through communal arts experiences, to stimulate the hearts and minds of the community, and to educate the community and its children.

OK, confession time again. My last contact with Tennessee Williams The Glass Menagerie was back in AP English in 19….. a long time ago. Sycamore Rouge’s current production has made this old classic more approachable and relevant with some effective acting, directorial and technical choices. These choices made the usually dark and depressing drama fly by.

Among the innovations; director kb Saine splits the role of younger brother Tom into two roles: an older Tom, who serves as the Narrator, played by Dean Knight and a younger Tom “back then” two decades earlier, portrayed by Deejay Gray.

The two actors bear a strong resemblance to one another which helps this device work. As Tom the Narrator says; the entire play is based on his memory. The narrator lurks in the shadows throughout the entire play, helping the audience visualize the author’s mind’s eye. Knight’s dead pan, almost stiff delivery of the facts without emotion are reminiscent of Rod Serling or Alfred Hitchcock. In opposition to Narrator Tom, Gray provides all the emotional depth to Tom. Gray displays Tom’s restlessness and longing for adventure as well as his deep seeded rage and anguish from years under his mother’s thumb.

Terry Menefee Gau brings energy, variety and empathy to that overpowering mother, Amanda Wingfield. Gau’s presence is commanding as she both strives for love and attention, yet also tries to critically help her children. Gau brings a touch of Blanche Devereau’s southern charm mixed with Mama, from the old Carol Burnett show’s caustic abrasiveness. Amanda is intelligent and articulate and never at a loss for words, however numerous and biting they may be. However, Gau manages to also bring through Amanda’s softer side, her love behind her correctiveness and her pain and loneliness behind her anger and her tears.

McLean Jesse brings nervous energy and simple childlike innocence to daughter Laura. Laura is crippled both physically and emotionally and, much like her collection of glass figurines (her glass menagerie) is fragile and just one move away from being broken. Jesse carries Laura’s nervousness and emotional fragility well, but at times loses her physical disability. This could be in part because of the smallness of the stage, or it could be a directorial choice to see Laura as her “gentleman caller” Jim sees her; with the physical disability unnoticeable, simply amplified in Laura’s own mind. Jesse’s one other flaw, as my guest for the show, Morgan, pointed out, is that she does at time rely too much on a “sing-songy” style of dialog which could use some more variation.

Matt Bloch rounds out the cast as Jim, the gentleman caller and Tom’s High School friend and current co-worker. He is suave and calm as opposed to Laura’s social awkwardness. His empathy for Laura help guide the audience to feel the same way for her.

The set, the theater and even the city of Petersburg are all perfect for the 1930’s St. Louis apartment; cramped yet full of memories of better days gone by in the Old South. A curio cabinet/window holds a giant screen with changing messages controlled by Narrator Tom stylized like a 1920’s silent movie narration.

The furnishings of Keith Saine’s multi-level step up set of a parlor, dining room and fire escape correctly give off the atmosphere of the play. As Narrator Tom points out, E. Tonry Lathroum’s lights are appropriately dimly lit to give the feeling of shaded memories. There are also nice touches with sunlight and candlelight.

McLean Jesse doubled as Costume Designer and provided fitting wardrobe to the characters and period (although one of young Tom’s shirts irked me as looking like a bowling shirt!)

Director Saine keeps the dialog crisp and flowing and the actors keep the energy high which keeps the audience entranced with this masterful emotional presentation.

Photo Gallery

Dean Knight (left, sitting) as the older Tom and Deejay Gray (right, standing) as the younger Tom	Dean Knight as the older Tom, McLean Jesse as Laura, Deejay Gray as (younger) Tom, and Terry Menefee Gau as Amanda
McLean Jesse as Laura, Deejay Gray as Tom, and Terry Menefee Gau as Amanda

Photos by Dave White

The Cast

• Amanda: Terry Menefee Gau
• Laura: McLean Jesse
• Tom (then) Deejay Gray
• Tom (now) Dean Knight
• Jim: Matt Bloch

The Crew

• Director: kb Saine
• Stage Manager: Kelsey Cordrey
• Set Designer: Keith Saine
• Lighting Design: E. Tonry Lathroum
• Costume Design: McLean Jesse

Disclaimer: Sycamore Rouge provided two complimentary media tickets to ShowBizRadio for this review.

As I begin my fourth month of reviewing theater in the Richmond area for showbizradio.com, I am still amazed by just how blessed this area is with its vast and diverse theater offerings. And blessed is an excellent term for the shows I will be reviewing this month. Sixteen theaters are presenting 18 shows as a part of the “Acts of Faith Festival.”

Among them is Before It Hits Home by Cheryl L. West (a Co-production of Richmond Triangle Players and Sycamore Rouge). Winner of the Helen Hayes Award for best new play, Before It Hits Home tells the story of a black bisexual jazz musician whose life on the down-low endangers both himself and his loved ones.

Themes include seeking faith and strength from God, warning people to be careful how they “weigh a man,” and thinking for yourself in regards to morals and values. The play poignantly portrays how certain prejudices are still sadly socially acceptable. For instance, even in an African-American family which would be incensed if someone used the “N-word,” it is ok to joke about “fags.” In a society where classism is frowned upon, it is still ok to look down on and fear those with AIDS.

The entire cast did an excellent job in both their pacing and characterizations, creating a truly believable family unit, and very realistic supporting characters. Delvin Young, as the main character of Wendal, was best when displaying Wendal’s anger, confusion and denial. My only suggestions would be to try to show more of his softer side and vulnerability early in the play to make Wendal a more empathetic character. Also, as he becomes more comfortable in the role, hopefully transitions both in emotion as well as his coughing fits will come more naturally.

Toney Cobb was very strong as Wendal’s father Bailey. At times, he was a comical, almost George Jefferson-like father, but by the end, his emotional range in showing the pain and anguish of a father was excellent. Belinda Todd as Wendal’s mother Reba seemed a bit nervous at times and struggled with some of her dialogue, but also admirably showed Reba’s range of emotions and core beliefs. Young and Cobb hit some rough spots in their dialogue as well, especially in scenes where multiple action was juxtaposed in two separate scenes with overlapping dialogue. I am sure this will continue to improve as the run of the show continues.

My theater companion for the evening, Brent, pointed out that some of the strongest performances were actually reserved for the supporting actors. Carolyn Mohr, Jasmine Hammond, and Todd Patterson all added great energy to each scene they were in. Thomas E. Nowlin was especially strong in his emotional range and pain as Wendal’s secret lover, Douglass. Jennifer Krisch showed great range in mixing the Doctor’s humor and dedication with her anger and exhaustion. Karla Brown was a scene stealer with her effervescence, comedic timing and strong singing voice (I’d love to see her in a musical!)

Director Shanea N. Taylor deserves major praise for her utilization of the small stage to effectively delineate separate scenes. The play’s pace was energetic despite its heavy themes and plot, and the blocking never became stagnant or contrived. Her work was well enhanced by Philip Milone’s set and Andrew Bonniwell’s lighting. One minor suggestion would be to perhaps add an afghan or throw blanket on the couch that was used for multiple sets, to distinguish it when being used in the family’s house. Directed by Shanea N. Taylor, the cast includes: Karla Brown, Toney Cobb, Jasmine Hammond, Jennifer Krisch, Seth Lyons, Carolyn Mohr, Thomas E. Nowlin, Todd Patterson, Belinda Todd and Delvin Young as “Wendal.”

The show runs through February 9th at RTP. Show times are Thursday, Friday, Saturday at 8PM. Before It Hits Home will then move to Sycamore Rouge on February 22 and run until March 10, 2013. Show times at the Rouge are Friday and Saturday at 8PM; and Sunday at 4PM.

Before It Hits Home is one hit you won’t want to miss.

The Cast

• Wendal: Delvin Young
• Simone, Mrs. Peterson Jasmine Hammond
• Douglass: Thomas E. Nowlin
• Reba: Belinda Todd
• Nurse: Carolyn Mohr
• Maybelle: Karla Brown
• Doctor: Jennifer Krisch
• Bailey: Toney Cobb
• Dwayne: Seth Lyons
• Junior: Todd Patterson

The Crew

• Director: Shanea N. Taylor
• Managing Director (RTP): Philip Crosby
• Artistic Director (RTP) : John Knapp
• Stage Manager: Sharon Gregory
• Production Artistic Director: kb Saine
• Set Designer: Philip Milone
• Lighting Design: Andrew Bonniwell
• Assistant Lighting Designer: David White
• Costume Design: Margarette Joyner

Disclaimer: Richmond Triangle Players provided two complimentary media tickets to ShowBizRadio for this review.