What could be more restful than an elegant vacation home on Martha’s Vineyard? Complete with not one, but two chandeliers, skylights in the kitchen, and roses growing near the back door.
What could be a better idea than a family reunion? Add deep dark secrets, unresolved issues, and explosive arguments, and you’ve got one turbulent gathering.
Author Lydia R. Diamond shows us a view of African-American life which is rarely seen on stage. For anyone who thinks that upper income black families don’t have enough conflict to sustain a drama, you haven’t met the LeVays.
The year is 2005, and the home in question is, as pointed out in the program notes, not part of Oak Bluffs, the well-established African-American enclave of the Vineyard. Kent (Dule Hill), a budding novelist, brings his girlfriend Taylor (Tracie Thomas) home to meet the family. Taylor calls Kent “Spoon.” As soon as Taylor spies Kent’s plastic surgeon brother, Harold (Mekhi Phifer), who’s called “Flip,” she’s horrified. Before the act is over, we’ll find out why. Harold will soon be joined by his girlfriend, Kimber (Rosie Benton). Harold tells everyone she’s Italian; she isn’t. She’s just white. So, it all gets a little confusing.
The sometimes observer, sometimes catalyst father, Joe (Ruben Santiago-Hudson), a neurosurgeon, doesn’t like the idea that Kent isn’t pursuing a “real” career. Taylor doesn’t like the fact that Kimber is an inner city school teacher. Harold doesn’t like to remember his former association with Taylor. And Cheryl, an intelligent young woman who’s taken over housekeeping duties for her ailing mother, doesn’t like being treated as an after-thought. So, just your typical family get-together.
Director Kenny Leon assigns too much business to his accomplished cast of actors. They’re constantly drinking, pouring, and eating, usually not very realistically. The actors are uniformly good, and it will be interesting to the audience to note that most of them are familiar from having become TV stars: Hill, on The West Wing and Psyche, Phifer, on ER; Santiago-Hudson on Castle; and Thomas on Cold Case. All also have extensive film and stage credits.
Truth be told, there are certain things I just didn’t get about this play. Aside from setting up a joke which is played out later in the act, why does the older son think it will be more acceptable to pretend his girlfriend is Italian? I felt Taylor’s attack on Kimber was just plain rude, but members of the audience shouted aloud their approval. Does Taylor associate the wealthy LeVay family with her father, a successful African-American author who refused to be a real dad to her? Why is the fact that Kent’s ancestor was a sailor a joke? At what point does class trump race?
The Stick Fly of the title refers to the way entomologists like Taylor study bugs. The play has an impressive pedigree; Alicia Keys is one of the producers, and she’s provided original music. It’s been produced in Chicago, Boston, Princeton, and Washington, D.C.
At heart, “Stick Fly” is a family drama, deviating only somewhat from the norm. Those expecting to see an earth-shaking presentation of social unrest will be disappointed. Fans of the well-made play, a la Lillian Hellman, will be right at home.
Photos by Richard Termine, from top:
1. Mekhi Phifer, Rose Benton, Tracie Thomas, and Dule Hill.
2. Mekhi Phifer and Tracie Thomas
3. Ruben Santiago-Hudson and Dule Hill
4. Alicia Keys
Stick Fly
Cort Theatre
138 West 48th Street
Michall Jeffers is an accomplished Cultural Journalist. She writes extensively, both in print and online. Her eponymous cable TV show is syndicated throughout the tri-state area, and features celebrity interviews, reviews, and commentary. She is a voting member of Drama Desk, Outer Critics Circle, American Theatre Critics Association, and International Association of Theatre Critics.
