In the Red and Brown Water
at Duke Ellington School of the Arts

Reviewed on April 10, 2015

Lydia Gompper
George Mason High School
Submitted for publication to Washington Post - DC

It is rare to walk into a high school play and find cast members already onstage, dancing and interacting with the audience. Yet that is exactly how the Duke Ellington School of the Arts began their performance of "In the Red and Brown Water", filling the room with tangible energy and enthusiasm that they maintained throughout the rest of the show. The cast had the audience hooked from the moment the doors opened and never let them go, delivering a stunning experience to rival that of professional performers.

"In the Red and Brown Water" was published in 2010 by Tarell Alvin McCraney as a part of a three-play series based on his own youth in the projects of Miami in the 1980s. It tells the heartbreaking tale of a young girl who, after very nearly becoming a successful runner, finds herself stuck in her home neighborhood, entwined in unhealthy love affairs and wishing to have a child - to "see herself reflected." The play utilizes several unorthodox story-telling methods, such as the reading aloud of stage directions, to create an utterly unique, thought-provoking experience.

Standing out onstage as the only cast member in purple clothing, surrounded by a sea of white - a smart choice on the part of the show's costume designers - was Jayme Lawson, who brilliantly portrayed the lead role of Oya. Lawson's acting skills were far beyond those of the typical high schooler. She expertly handled complex emotions, naturally transitioning from quiet, suppressed sadness to intense anger to momentary carefree happiness. Her physical expressiveness could only be described as beautiful, and her dedication to the role was clear. The audience bestowed her with thunderous applause during curtain call, and it was well-deserved.

In such a tragic play, the comic relief can be of vital importance, and the Duke Ellington School delivered it in heaps. The audience was constantly exploding with laughter, and much of it stemmed from Tierra Burke, who played Oya's strange, snarky, and oddly sage Aunt Elegua. Burke's knowing smirk and well-timed one-liners added some much-needed lightness to the performance. From the moment she stepped onto the stage, clad in brightly colored beads and making sexually suggestive remarks to a much younger man, Burke was a favorite of the audience.

Other standout performers include Calyx Clarkson as Oya's Mama Moja and Thomas Booker as Shango, the unsavory, yet charming, object of Oya's infatuation. Although Clarkson passed away as Mama Moja relatively early in the show (to return in the second act as The Woman Who Reminds You), she shone both as a comically overbearing mother and as a touchingly loving one, alternating smoothly between the two. Booker, while playing an unlikeable character, held a magnetic energy and had incredible chemistry with Lawson, making their affair completely believable.

Considering that "In the Red and Brown Water" is a play, rather than a musical, it was pleasantly surprising that the dancing was one of the show's many strengths. The cast shone in this area, displaying their talent both during loose, unchoreographed party scenes and ethereal, dream-like sequences.

The Duke Ellington School of the Arts delivered a mind-blowing performance. The actors and actresses accomplished feats of physical and emotional spectacle that would be unimaginable to most teenagers, ensuring that no audience member would walk away without being hugely impressed and deeply touched. They deserve every possible accolade.

Kristen Popham
Chantilly High School
Submitted for publication to Washington Post - DC

A young girl is illuminated at the center of an ecstatic mass, pumping her arms with vivacity, legs elongating wide and swiping the ground with such intensity one can almost make out the metaphoric dirt swept up beneath her feet. She's different from the rest. Her eyes are ablaze with the spark of commitment, a spark of juvenescence. She is Oya. Her journey of love, heartbreak, self-discovery, and severe tragedy took center stage in Duke Ellington's production, "In the Red and Brown Water."

Written by Tarrel Alvin McCraney as part of the "Brothers/Sisters Plays" trilogy, "In the Red and Brown Water" explores a complex and artistic approach in reflecting the harsh life McCraney experienced in the 1980s among the African American community. The story surrounds the life of Oya, whose running career is challenged by the illness of her mother, and whose entire existence is redefined by many tragic setbacks. Uniquely, the play is inventively written so the characters dictate their thoughts and stage actions out loud. This contribution allows more connectivity among the audience and performers.

Most imperative to the success of the show was the joy radiated through each cast member. Whether dancing elaborate and euphoric numbers or harnessing relationships with their counterparts, the pleasure with which the actors told the story was sensational.

Oya, portrayed by Jayme Lawson, drove the action of the show with ease, evident ability, and absolute integrity. She brought life and spirit to every scene and unfailingly portrayed the multifaceted aspects of a human being. The difficulty of this task is inexplicable, and few high schoolers are capable of committing so fully to all fragments of a person's emotions: when tears turn to laughter, when love spurs to a lack of satisfaction, and when desperation accompanies utter hopelessness. Lawson incorporated the artistic challenges of the play with proficiency.

Lawson's relationship with actress Tierra Burke as Aunt Elegua was particularly notable. Lawson's connection with Burke was primarily comedic, offering one of many lighthearted removals from the heavy subject matter of the play. Burke and Lawson played off each other harmoniously. Burke's comedic contributions to the play were remarkable, maintaining a jovial dialect through the duration of the production.

Additionally, Lawson's relationship with Thomas Booker as Shango, balanced amusement and tragedy. Booker exuded an entertaining cockiness, but an earnest fascination with Oya.

The lighting of the show contributed to the performance, but did not overshadow the otherwise simplistic experience. Costumes were uncomplicated, but noteworthy, with the ensemble dressed in all white, supporting the purple-clad Oya. Overall, the technical aspects were minimalistic, which provided enhanced focus on the story.

Every person can learn from Oya's tragic and impactful story. Her honorable perseverance among unspeakable odds is a genuine characteristic of the strongest human beings. Duke Ellington's production of "In the Red and Brown Water" was truly awe-inspiring, as they brought her complex story to life.

Caitlin Spiegel
Oakton High School
Submitted for publication to Georgetowner

Set in the Louisiana housing projects, "In the Red and Brown Water" is the second play of Tarell Alvin McCraney's The Brother/Sister trilogy. It tells the story of Oya, an aspiring track star who refuses a scholarship in order to care for her ailing mother, only to find that years later she has fallen into a spiral of poverty and lost opportunities.

Oya's story is moved by a diverse array of characters, including two love interests in Shango, a man she is deeply passionate about, and Ogun, a man who is supportive but controlling. Her neighbor, Elegba and her Aunt Elegua act as comic relief but also tireless support as Oya navigates a life that does not reach beyond her front stoop.

Taking place in modern day but enriched with Yoruba mythology and folk tales, "In the Red and Brown Water" challenges audience's expectations. The students of Duke Ellington School of the Arts masterfully combined this production's unique cultural and thematic characteristics to create something truly memorable.

Jayme Lawson, as Oya, engaged every part of her face and body to express the joys, frustrations, and heartaches experienced by her character. Kenya Harrison as Shun, and Kayce Wilson as Nia, also distinguished themselves. The actors were confident and professional, even when addressing the mature language and content of the play. The ensemble remained on stage for the entirety of the production, extending their characters from scenes of dialogue and into complex choreography. The dialogue of "In the Red and Brown Water" is an intergration of discourse between characters, pronouncements of character's feelings, and spoken stage directions. This was effectively done by the Duke Ellington ensemble, particularly by Thomas Booker as Shango. Booker's delivery of the same two lines "Shango Enters" and "Shango Exits", though repetitive in the script, did not fail to generate excitement in the audience.

Duke Ellington also found success in the simplicity of their technical aspects. The set was a symmetrical staircase created to hold the ensemble members, as well as the drummer and DJ, Lennox Seaforth, who accented the urgency of specific moments with the fast tempo of drums. A subtle nod to the title of the production was made in the color of the stair set, brown with red streaks. Most of the action took place on center stage, which was bare except for a block in the center. Spot lighting characters on the stair case and the use of colored lights for integral characters further focused the audience's attention and provided tone for each scene. The music chosen for the opening and closing of each act created a burst of intensity that captured attention.

In all, "In the Red and Brown Water" was portrayed with subtlety and an engrossing attention to detail.

Marina Chen
Annandale High School
Submitted for publication to Current

The Duke Ellington School of Arts Theatre Department takes you deep "In the Red and Brown Water". Written by Tarrel Alvin McCraney, this play is actually part of a trilogy and depicts part of Tarrel's harsh African American experience, being raised in the projects in the 1980's.

The play revolves around a teenager named Oya, growing up in Louisiana, and her struggle, as a girl, to become a woman.

Not only was the audience impacted by the words of the characters, but by their passionate dances as well, adding a cultural layer that enhanced the play tremendously.

Jayme Lawson shined as the main character, Oya. After missing her chance at a track scholarship to get out of the poverty, she endures the fate of almost every other girl there. Her commitment to the role was unconditional and her delivery was sincere, whether it was during an emotional breakdown or a choreographed dance.

The costume choice of everyone being in white, except for Oya in purple, was smart.

Thomas Booker as Shango, was the character we all loved to hate. His turbulent relationship with Oya greatly impacted the plot of the story and his bad boy demeanor made the crowd groan with every entrance. Aunt Elegua on the other hand, played by Tierra Burke, acted as the comic relief in this play. She was the crazy, wild aunt everyone came to love, admiring her desire to remain young at heart.

Rounding out the cast were Elegba (Kevon Williams) and Ogun (Tony Donaldson). Elegba grew up with Oya. Williams started the play as a mischievous boy, maturing (or not) along with Oya, providing a nice contrast between the two characters. Ogun is Oya's other lover after Shango. He also grew up with Oya, developing a crush along the way. Donaldson portrayed Ogun with a gentle nature and realistic stutter which endeared him to the audience.

Egungun, played by Lennox Seaforth, acted as a DJ, and got the audience warmed up even before the play began, setting the atmosphere to make the audience feel more involved.

With stellar performances all around, and a relevant message to tell, the students of Duke Ellington showed the harsh reality of growing up poor, but in a whole different light.