Displaying items by tag: Ayanna Bria Bakari

The Story Theatre’s world‑premiere staging of Paul Michael Thomson’s Pot Girls bursts to life in a vivid, full‑throttle production at Raven Theatre. Pot Girls is a sharp, funny, and thought‑provoking new play that fuses feminist history, artistic accountability, and a rainbow haze of 1980s, weed‑soaked poetry and art.

Inspired as a thematic counterpart to Caryl Churchill’s Top Girls, Pot Girls - directed by Ayanna Bria Bakari - leans into humor, theatricality, and a cloud of intoxication to explore how women create, collaborate, and collide both onstage and off. And in a bit of theatrical serendipity, both productions are currently running simultaneously at Raven Theatre. In fact, Raven Theatre and The Story Theatre are even offering special marathon days, giving audiences the chance to catch a matinee of Lucky Stiff’s directed Top Girls, stick around for some conversation with the creative team, then return in the evening for Pot Girls - all at a discounted rate (click here for details).

The story follows Caryl herself, a playwright on the cusp of her first major, Olivier‑eligible production - a show designed to spotlight women in the workplace. The year is 1982 and as she toasts the achievement with friends, her colorful London flat transforms into an impromptu hub where a lively, time‑spanning cohort of feminist writers drop in to drink, smoke, debate, and probe the ideas she’s celebrating.

The haze of a jubilant night eventually clears, and what remains is a sharper truth: this play lays bare the exhausting contortions women are expected to perform just to gain a foothold as authors and playwrights. It highlights not only the uphill battle of competing in a landscape where men still discriminate against women in their productions regarding creative authority, but also the added burden of being scrutinized for perfect political correctness the moment a woman-led production finally reaches the stage.

The many ways that women as authors have been discriminated against and unfairly censored or even hunted over the centuries is thoroughly laid out in a fantastic cast of intelligent expressive women.

The period feels fully realized, aided by Katelyn Montgomery’s evocative scenic work and Racquel Postilgione’s sharp costume design.

As the play unfolds, Caryl is pulled through a tangle of personal and professional upheaval - romantic tension with her partner Edith, pointed accusations about her racial blind spots, and the mounting pressure to tell women’s stories with integrity. Around her, the ensemble slips effortlessly between roles, embodying historical figures, colleagues, and critics who collectively push her toward an uncomfortable, necessary self‑examination.

In Pot Girls, Brenna DiStasio centers the production as Caryl, offering a steady emotional clarity that grounds the play’s wilder turns and quietly establishes her as its moral anchor. Ireon Roach, as Edith, wields her well-rolled blunt with sharp wit and charismatic intelligence, building a lively, charged dynamic with DiStasio that keeps the energy flowing like a river.

Peter Ferneding lends understated but essential texture as he shifts through historical and contemporary figures, his easy timing playing neatly against Tamsen Glaser’s agile, precise turns as multiple feminist icons, which bring warmth, wit, and tonal delicacy.

Vibrant, expressive energy radiates through each of Emily Marso’s roles, elevating every moment and sparking electric interplay with Glaser and Maya Bridgewater. Glaser and Bridgewater, in turn, deliver a fierce yet deep human presence across their characters, adding tension and charge to the ensemble’s debates. One of Bridgewater’s characters delivers a beautifully crafted, cathartic reflection on a young girl’s kidnapping and rape - written with such grace and restraint that it resonates powerfully with the conversations society is having today about trafficking and vulnerability.

Rounding out the cast, Laney Rodriguez displays a great sense of humor and threads emotional nuance through each character she inhabits, serving as a subtle connective force while carving out memorable moments opposite DiStasio and Roach. As a unit, the ensemble stays quick, engaged, and combustible, amplifying the play’s ideas with palpable charge.

Ultimately, Pot Girls crackles with ensemble energy and sharp ideas, offering an engaging, thought‑rich night of theatre for anyone drawn to fresh feminist work.

Highly recommended.

Pot Girls has been extended through March 8^th. For tickets and/or more show information, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

The expansive, opulent home exudes an air of solid middle-class comfort, boasting a formal dining area, an upright piano, and multiple doors leading to various sections of the house. A bay window graces an alcove, while a grand staircase ascends to the sleeping quarters on the second floor. Adorning the walls are portraits commemorating significant moments in the family's history, including images of MLK and Rosa Parks alongside the patriarch. This residence, nestled in the Jackson Park Highlands—an economically segregated enclave on Chicago's South Side—radiates a sense of peace, tranquility, and nobility. Soon, however, it will transform into a bustling hive of activity.

Branden Jacobs-Jenkins, a MacArthur Fellow and Pulitzer Prize finalist is a chameleon in the world of dramatist.  He wrote the controversial Obie Award-winning “An Octoroon”; the satirical  thriller “Gloria”, and the southern plantation drama “Appropriate” which received its world premiere in Chicago. Branden Jacobs-Jenkins is not a Black playwright, he is a playwright who just happens to be Black.  He would have it no other way. He doesn’t allow himself to be classified to any specific genre of storytelling. His influences are as varied as the plays he writes.

"Purpose," directed by the Tony Award-winning actress and director Phylicia Rashad, is nothing short of extraordinary. It transcends the confines of a mere family drama, delving deep into the realms of a virtual character study.

(left to right) Harry Lennix and Ayanna Bria Bakari with ensemble members Glenn Davis and Jon Michael Hill in Steppenwolf Theatre Company’s world premiere of Purpose by Branden Jacobs-Jenkins, directed by Phylicia Rashad.

The Rev. Solomon "Sonny" Jasper is a civil rights icon. He has marched for justice and witnessed important moments in the Civil Rights Movement. He has met with influential figures like Rosa Parks and Nelson Mandela. His income comes primarily from speaking engagements and donations. He has dedicated his life to helping others. He tried to raise his two sons according to his values, church and state. Naz was to be a pastor and  Solomon Jr. was in politics.  Now retired, he has taken up beekeeping, perhaps to find purpose in his life.

His wife Claudine Jasper is the proverbial women behind the man. She takes care of her family and is the strength they rely upon. A lawyer by degree, she uses it in service of her family. She’s shrewd  and disarmingly warm at the same time. She likes to be in control and she’s not one to cross.

Solomon "Junior" Jasper, son of Sonny and Claudia Jasper, embodies both his parents' strengths. A former congressman, he has recently been released from prison after serving time for using campaign funds for his personal use.   Despite his challenges, he stays positive and believes in himself. He blames his troubles on his recently diagnosed mental health issue. He craves attention and shows signs of narcissism, but his charisma makes it easy to overlook.

Morgan Jasper is the wife of Solomon Jr.  When we meet her she is soon to enter prison to serve her time for tax fraud. She was caught up in her husband’s financial improprieties. Since they have  children Morgan and Junior cannot serve their prison time at the same time.  She is more bitter than a slice of lemon in a jar of three-day old Kool-Aid. She feels she is taking the fall for her husband and by default his family. She warns anyone within earshot to be wary of The Jaspers. She denies them the company of their grandchildren, knowing this drives Claudia to distraction.

Nazareth “Naz” Jasper is the youngest son of Solomon and Claudia. He is an introvert in a family of extroverts, in essence, the weird one. He photographs nature scenes for a living and enjoys his solitude. He dropped out of divinity school much to the chagrin of his father who wanted him to follow in his footsteps and become a pastor. He’s possibly on the spectrum (aren’t we all) and asexual. He’s also our narrator, giving us valuable insights into the Family Jasper.

Aziza Houston, an independent self-sufficient woman, is the friend of Nazareth Jasper. She walks into this situation blind. She is shocked Naz, is the son of the civil rights icon. She is elated to be in the company of the Jaspers until she is truly in the company of the Jaspers.

Director Phylicia Rashad effectively maintains the motivation and focus of her cast throughout the production, fostering a sense of familial unity among the actors, which I find particularly appealing in collaborative efforts. The casting couldn't have been more apt, with each actor perfectly suited to their respective roles.

Jon Michael Hill embodies the charm of Naz, evoking empathy as the outlier within his family. Whenever he steps into the spotlight, anticipation mounts for the forthcoming revelations, delivered with a blend of wit and sincerity. Glenn Davis delivers his best performance yet as Solomon Jr., infusing the character with a delightful humor that effortlessly captivates the audience. Alana Arenas mesmerizes with her portrayal of Morgan, conveying volumes with just a single glance. Her entrance into the dining room is etched into memory, portraying a woman whose words cut like a dagger.  Ayanna Bria Bakari navigates the complexities of Aziza's character with finesse, charting a compelling arc from excitement to dread as she becomes entangled with The Jaspers. Harry Lennox brings a dignified presence to the role of patriarch Solomon Jasper, embodying the essence of strength and authority. Tamara Tunie shines as the family matriarch, Claudine Jasper, striking the perfect balance between assertiveness and subtlety in her delivery, effectively communicating her message without overpowering force.

Todd Rosenthal's set design is teeming with intricate detail, evoking the sensation of a hive with its distinct compartments—a captivating and thought-provoking choice. Amith Chandrashaker's realistic lighting design further accentuated the set, seamlessly integrating even the more fantastical elements such as the special spotlight on Naz, lending them an air of naturalness. Dede Ayite's costume design elevated the character portrayals, skillfully complementing them without ever overshadowing the performances.

While the playwright never explicitly mentions the name, it's difficult to miss the parallels to the Jackson family……..Jesse,  not Michael. Brandon Jacobs-Jenkins is known for tackling controversial themes, prompting the question: would a white playwright be afforded the same latitude in crafting such an interesting narrative?   Discuss!

“Purpose” is a cautionary tale.  Imagine we are all worker bees in a giant hive called life.  Each bee has a specific role within the hive, whether it's building comb, collecting nectar, or caring for the young. These roles contribute to the greater good of the hive's survival and success.  Just like bees, we all have a unique purpose within the larger ecosystem of life.  Our purpose may not always be readily apparent,  but it's there and only we can live our purpose.

“Purpose” is arguably the best play I’ve seen at Steppenwolf Theatre. It’s going to be the best play seen on Broadway.

Highly Recommended

When: Through April 28

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Running time: 3 hours

Tickets: $52-$116 at 312-335-1650 and www.steppenwolf.org

*Extended through May 12th

In the dark of night, a man is digging a hole. Once the hole is deep enough he drops a bundle into it and covers it with dirt. Behind him a little girl looks on. After re-filling the hole, he walks off.

Scene.

It is early morning. We are in a well-appointed home. In fact, it is an updated Brooklyn brownstone. Brooklyn is my home. I would know it anywhere. The exterior stands stately and proud. The interior is right out of Architectural Digest magazine. There is a floor thru kitchen leading to a dining area. Behind the dining area is a slide away door leading to an office.  Scenic Designer Regina Garcia did a fantastic job conveying not only this apartment, but also the street where it lives. This is the home of Nadima (Jessica Dean Turner) and her lover Rachel (Sydney Charles). Theirs is a happy, solid home, at least it is staged that way. Rachel is a New York City school teacher and Nadima, is a real estate agent, she’s used to staging homes for sale.

When Nadima answers the front door and sees Monique (Ayanna Bria Bakari), her lover’s sister, she practically shuts the door in her face. There is history between these two and it creates much needed tension in this play. It is Rachel who invites her sister Monique and Sam (Kylah Renee Jones, Aliyana Nicole alternately), her niece, into the house. After negotiating with her lover, Rachel allows Monique and Sam to stay, only for Monique to create a convoluted story and leave without Sam a few days later in the middle of the night. 

“Last Night….” takes us back to those nights before life spiraled out of control for this family. We meet Reggie (Namir Smallwood), Monique’s boyfriend, and Sam’s father. We see the love between Reggie and Monique before Sam’s birth.  We see Reggie and Sam playing hand games, games meant to calm as well as teach Sam about life. Whose memories these flashbacks are isn’t quite clear. Through conversations with Nadima we learn of Rachel and Monique’s upbringing. We learn of generational traumas they had to bear, and the guilt Rachel has for her escape... We also start to see this once solid relationship show signs of weakness.

Director Valerie Curtis-Newton has assembled an excellent cast whose major job is supporting the child character of Sam. Sam is the raison d’ étre of “Last Night….”   It is a lot to put on a child, but Jones (on opening night) shows she has the acting chops to not only play this role but to shine in it.

In my opinion, Donnetta Lavinia Grays’ “Last Night….” suffers from a lack of a clear antagonist. There are some beautiful lines and certain scenes are precious, but it lacks a certain dramatic immediacy. Other than Sam, we never spend enough time to truly care for these characters. They seem to have it all figured out anyway, after all, the real problem is buried. The rest is just life.

When: Through May 14

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Tickets: $48 - $88

Info:  steppenwolf.org

It’s not often that Goodman Theatre imports plays from other theatre companies. It’s also an exciting moment when a frequent Goodman actress gets to showcase her newest play on the mainstage. “Relentless” by Tyla Abercrumbie was originally developed and produced by TimeLine Theatre in Chicago as part of their Playwrights Collective. The past year was still tricky for most theatre companies, and many had to reconfigure their seasons on short notice. Directed by Ron OJ Parson, “Relentless” premiered at TimeLine in early 2022 to rave reviews and has since been moved to the Owen stage at Goodman.

Set in 1919, “Relentless” tells the story of two Black sisters who return to their family home in Pittsburgh following the death of their mother. Janet (Jaye Ladymore) and Annelle (Ayanna Bria Bakari) are two bourgeois young women who live in Boston. Janet and Annelle see the world differently. Annelle sees the bright side of things, which seems easy from her perspective as a doctor’s wife. Janet is unmarried and doesn’t see much use for marriage. It’s when Janet begins reading her mother’s diary that she considers keeping the house and staying in Philadelphia.

For many Americans, the year immediately following WWI and the 1918 flu pandemic, was a time of great optimism. For those still reeling from the horrors of slavery, seemingly very little had changed in the 60 years since the Civil War.

In fluidly moving scenes, Janet is transported by her mother’s diary to the twilight years of slavery. As middle-class characters, her and Annelle have been somewhat shielded from some aspects of discrimination, but the details of their mother’s journal pull back the veneer on the gilded life they live. Annelle would rather not know anything at all, but the injustices spurn Janet to rage.

Abercrumbie’s story has the look and feel of an August Wilson play, but with a unique perspective. This is a story about Black women, told by a Black woman. Female characters are dimensional here, they swear, they drink, and they talk about sex. Culturally we assume previous generations were somehow more innocent but that couldn’t possibly be true. Though like Wilson’s plays, “Relentless” underscores that every generation of Black Americans has had to deal with the same issues of violence, racism and oppression. “Relentless” asks if anything has really changed.

Performances by Jaye Ladymore and Ayanna Bria Bakari are what this play hinges on. Both actresses fill the space with their characters, both giving them distinct personalities and similarities that create a sisterly chemistry on stage. Demetra Dee as the mother, Zhuukee, in the years of slavery is the discovery of the evening. There’s a fragile yet strong delivery in her lines. She’s soft in situations that would make others harsh. “Relentless” is a play with anger at its core, but perhaps Zhuukee represents a sense of forgiveness, or healing.

Through May 8 at Goodman Theatre 170 N Dearborn Street www.goodmantheatre.org

We are rarely privy to the forthright conversations traded among the wealthy about class dynamics and privilege. Doubly so when they involve the rarified class of rich, well-borne African Americans.
In Stickfly, playwright Lydia Diamond said she wanted to “write a play that talks about class and class strata within the African American community. I don’t think people think of that very often, and it is fascinating.”

In Diamond’s Stickfly, receiving a stellar production at Writers Theatre, we become a fly on the wall for a combative and contentious family battle, one that veers toward ugly, and delves into family secrets perhaps better left unspoken.

All this makes for a rousing, thought provoking evening, with a beautiful production under the direction of Ron OJ Parsons. Part melodrama, part soap opera, the two acts fly by, as engrossing as a Netflix binge watch.

We meet the LeVay family, who are like any other African American family in many ways, exceptional in that they are very well to do, highly educated and they own property in the elite Edgartown section of Martha’s Vineyard. We learn this property has been in Mrs. LeVay’s family (the Wickhams) for generations, a gift to one of her ancestors. But it’s Joseph LeVay’s money that keeps it up.

The set design (Linda Buchanan) suggests a wealthy, old money lifestyle. There is expensive (including museum-caliber impressionists) artwork on the walls. Outside the kitchen window sailboats ply the Atlantic Ocean. There is a staircase leading up to several bedrooms. The family room is nicely appointed with fine furniture and bookcases. The kitchen has the latest appliances and a fully stocked refrigerator. To the left of the kitchen, a door leads to the back porch and garden, with seating. You can almost feel and hear the seaside.

Class dynamics figures prominently in this excellent production. As the play opens, a young woman, Cheryl (Ayanna Bria Bakari) is preparing the house for guests. She is college bound, but filling in for her mother, the longtime housekeeper who has fallen ill. Cheryl is in some respects an honorary member of the LeVay household, but within limits - owing to her household duties.

The first family member to arrive is Kent (Eric Gerard), a highly educated but meandering writer, along with his fiancée Taylor (Jennifer Latimore) a researching entomologist. Kent tours the property with Taylor, explaining his great great ancestor.

“He was never a slave. He was a shipper. But we don’t talk about that,” Kent says, foreshadowing other matters that we learn have also been unspoken.

Taylor, who comes from a poorer background, is awed and shocked, and intimidated, by the casual wealth of this family. But the gardens make good grounds for her research into insects, referenced by the play's title.

Soon we meet Flip (DiMonte Henning) the misogynistic, arrogant, plastic surgeon, the older brother of Kent. These two men are nothing alike. Where Kent is warm and understanding, Flip is abrasive and smug.

Tensions build and sparks fly when we learn Flip and Taylor had a fling several years ago – but no one else knows about it. Flip also exerts the pressure of class structure pressure on Taylor, who is an exuberant, free spirit.

“You seem to have no social constraints, which concerns me, because you will be my brother’s wife,” Flip says to her.

Joseph LeVay (David Alan Anderson) the family patriarch, arrives without his wife. He seems to be preoccupied, and when questions arise about Mama LeVay’s absence, Joseph quickly puts them to rest, revealing himself as a controlling bully.

Flip announces that his girlfriend is coming – and, notably, that she is Italian. This says a lot about his character. Flip could not introduce just any white girl to his parents, even though her family is as rich and accomplished as the LeVay’s. Her family has a home in tony Kennebunkport, and she looks good on his resume.

Tellingly, Kent says not that he is so in love with her, but that she’s Italian, which makes her exotic. He’s a playboy by his own admission. He’s also his father’s favorite…the reason why becomes clearer as the action unfolds.

When we finally met Kimber (Kayla Raelle Holder) we realize that she is in fact just your average socially conscious WASP. She is nether impressed nor notices the wealth around her - well, except for the housekeeper - but that is no biggie. She is comfortably at home, unlike Taylor, who feels compelled to assist Cheryl with her housekeeping duties.

The first half of Stickfly establishes the tensions among the characters. The fast-paced dialog turns up a notch in the second act, with emotions spinning out of control. Parsons does an excellent job keeping the highly charged production on pace. The actors move about the set, entering and leaving with a precision that looks natural.

By the end of the night you realize you will have weathered emotional storms with six very different people. And these characters are so real, you feel they have studied themselves, and some have even grown, as well. Stickfly is highly recommended. It runs through March 15 at Writers Theatre in Glencoe, IL.