Berkshire on Stage

To close out their season, Black Theatre Troupe of Upstate New York is producing a collection of one-acts, playfully titled One Act Jamboree. The one common thread among these plays is that they showcase, in one way or another, the Black experience. Many of these plays are by emerging local playwrights, and BTTUNY has taken on a commendable challenge producing such an eclectic collection of works.

As with most one-act festivals, the show is a mixed bag. There is no shortage of talent among the cast, crew, and writers; but some of the pieces come together much more successfully than others. As a White person I may not be the most qualified to speak to “the Black experience,” but as a theater and literature expert I am all too familiar with the novice playwright’s desire to take on big ideas when they would have more success diving deeply into something smaller and more familiar that hints at other, larger things at play. Ten or Twenty minutes is not enough time to thoroughly interrogate race relations in modern America; it’s barely enough to thoroughly interrogate a single moment or person. It is therefore unsurprising that the most successful pieces in this show are those that endeavor to encapsulate a brief slice of life (such as one fateful night in a segregated hospital or an awkward encounter between a Black deliveryman and a concerned White man outside a luxury apartment building) or those that take a cheeky sketch-comedy approach to one aspect of life as a Black person (such as the absolutely stellar “Natural Hair Helpline”).

Before the lights even go down, this show starts out strong with some excellent pre-show music courtesy of sound designer Chad Reid. The funky, upbeat pre-show soundtrack seems to promise the audience that they are in for a good time. But when the show opens, it is with the off-putting “No God in the Streets” which is a slam-poetry-adjacent, interpretive-dance-like piece that tries to express too many broad ideas in too short a time–and does so in a way that neither introduces a thought that any member of the audience hasn’t already had nor manages to evoke any emotion that any member of the audience hasn’t already felt. This off-putting beginning is immediately followed by a more cohesive piece about an interracial couple going to their school’s first integrated prom. While this seems like an excellent moment that could shed light on larger issues, the Black teen character Keshawn spends most of that play waxing philosophical and bemoaning his station in life in a way that is unnatural, jejune, and annoying; ultimately this makes him hard to listen to, even when his ideas and feelings make perfect sense. 

From there, we jump into what is more of an extended monologue than a play. But as the exceptionally talented Jocelyn Khoury tells the story of her brother’s premature birth in a segregated hospital, she takes the audience on a journey that evokes heartbreak and sympathy, and successfully touches on how the ripple-effects of segregation are still felt today (without having to lecture the audience about it, as the two previous plays were all too eager to do).

The fourth and fifth plays in the line-up finally bring in the energy that the lively pre-show music seemed to promise. “Nice Day” tells a humorous story about a delivery man struggling to get inside an apartment building to deliver groceries. Thanks to cleverly subverted expectations, a great ending, and very funny prop work with a carrot, “Nice Day” is a stand-out piece in this collection. “Wookies in the Wilderness” follows with what is probably the most compelling story of any of the one-acts, but it ultimately falls into the trap of trying to do too much in too little time. In the course of a two-man, one-act play, “Wookies in the Wilderness” tries to fit in backstory for both of its characters; an examination of emotional toll that a hate crime can have on surviving family and friends; a cultural critique of the way People of Color are represented in Science Fiction; and the overarching plot of one friend discovering another friend’s plan to carry out a revenge murder, grapple with the discovery, and decide whether or not to take part. I would love to see playwright Marcus Scott adapt “Wookies in the Wilderness” into a full length play so that all of his excellent ideas and well-written dialogue may have the time and attention they deserve; but as a one-act it is rushed and shallow.

After intermission, One Act Jamboree continues with a play about two former convicts at a dive bar discussing their place in the world and the unjust circumstances that led to their current lot in life. This play starts off strong with excellent stage presence from all its actors and some entertaining sass from Dawn Harris as Stella. But as Harris struggles with her lines and the other two actors begin monologuing to the audience rather than engaging with one another (despite their excellent chemistry when they do engage with one another) the intensity is lost and the play begins to drag.

One Act Jamboree ends on a high note with Kyora Wallace’s “Natural Hair Helpline,” a fun and energetic play about an employee at a call-in helpline for natural hair and a woman with particularly difficult hair in the midst of a hair emergency. Thanks in part to its script, but also to a talented cast and expert direction by Jean-Remy Monnay, “Natural Hair Helpline” is the strongest piece in this collection. If anyone is on the fence about whether or not to see One Act Jamboree I must recommend they come see the show if only to experience this truly excellent one-act play.

This collection of short playsis far from perfect, but its stand-out moments are well worth the ups and downs in quality that any collection of one-acts is bound to suffer. I was impressed with many of the playwrights showcased, many of the actors involved, and especially with Sheilah London-Miller, who handled the costumes, hair, makeup, sets, and props for the entire production. Anyone interested in Black theater, in local rising talent, or in the art of the one act play is encouraged to see One Act Jamboree and experience all of its high points and its problems for themselves.

Black Theatre Troupe of Upstate New York presents One Act Jamboree, featuring plays by Yetunde Babalola, Cris Eli Blak, Kathryn Grant, Matthew Sheridan, Marcus Scott, and Kyora Wallace; directed by Jean-Remy Monnay, Hettie Barnhill, Tony Pallone, Aaron Moore, and Hasson Harris Wilcher; runs from June 1-11, 2023, at the Rep, 251 North Pearl Street

Albany, NY 12207. Produced by Jean-Remy Monnay. Cast: Shannell West as Fula, Theo Rabii as Aham and Jill, Gabriel Fabian as Keshawn and Smokey, Aaliyah Al-Fuhaid as Martha, Jocelyn Khoury as Rita and Toya, Gregory Theodore Marsh as Black Man and Latrell, Chad Reid as White Man, Susan Katz as Old Woman, Luis Lowery as Bishop, Alvin Kershaw as Clive, Dawn Harris as Stella, Wisdom Johnson as Manager, and Earth O. Phoenix as Gia. Production Stage Manager: Jacqui Anscombe-Waring. Assistant Stage Managers: Q’ubilah Sales and Alexandra Walters. Lighting design by Maya Pomazal-Flanders. Sound design by Chad Reid. Lightboard operator: Willie David Short V. Costumes, hair and makeup, set decorations, and props by Sheilah London-Miller.

Performance dates are Thursday-Sunday, June 6-16. Thursday, Friday, and Saturday curtains are at 7:30pm and Sundays are at 4:00 pm. Tickets are $22.50; senior, military, and veteran tickets are $17.50; student tickets are $12. Runs approximately 2 hours and 15 minutes with a 10-minute intermission. Contains discussions of racism, incarceration, and hate crimes, and a gunshot. Recommended for ages 13+. Tickets are available online at https://attherep.org/, by phone at 518-346-6204, or at the door for any performance. For more information, visit https://www.blacktheatretroupeupstateny.org/, email BTTUNY518@gmail.com, or call 518-833-2621.