She’s Got Harlem on Her Mind – A Glimpse at Women’s Lives

Irving Berlin’s 1933 “Harlem on My Mind” spoke of an ethos many think of as the spirit of time and place: I’ve got Harlem on my mind/I’ve a longing to be lowdown/And my “parlez-vous” will not ring true/With Harlem on my mind…Life uptown was neither so breezy nor romantic for most denizens. Playwright/actor/director/public school teacher Eulalie Spence (1894-1981) wrote slice of life pieces depicting those around her with a particular view to gender and class. Three short plays reflect on women’s options and choices.

Deja Denise Green (Georgia) and S.J. Hannah (T.J. Kelly)

The well dressed company (1920s costuming by Jevyn Nelms) enter stepping, finger snapping, scatting, and clapping, eventually moving in a set. It’s an appealing trope used between every play. (Original Music Timothy Johnson)

In The Starter, bon vivant, ne’er do well T.J. Kelly (S.J. Hannah) meets girlfriend Georgia (Deja Denise Green) at the park for a date. Except for complaining about treatment at work – with two terms of high school he should be more respected – T.J. is happy go lucky, attracting the more grounded young woman. When he spontaneously proposes, she asks whether he has any money. He doesn’t, she does. Suddenly marriage is more agreeable to him and less to her. Impasse. The play’s actually clever title has to do with their jobs as well as the situation. S.J. Hannah is over the top and self conscious. Deja Denise Green is credibly drawn and perturbed.

Hot Stuff refers both to Fanny King’s (Raven Jeannette) image of herself and a piece of merchandise that might seal her fate. The lady is a numbers runner – taking bets for a lottery like game one didn’t have to be a high roller to play. She also sells stockings on the side. It’s likely husband Walter (Dontonio Demarco) is as unaware of her business as he is about a lover with whom we hear her make a date. Two plot turns affect: Fanny unsuccessfully attempts to withhold winnings from John Cole (Terrell Wheeler) and gives into temptation when a purveyor of stolen goods (Eric Berger) offers something impossible to resist. There are consequences, but she’s resilient.

Jazmyn D. Boone (Mary Green) and Raven Jeannette (Fanny King)

Raven Jeannette is way too loud/big. She sneaks glances at the audience and changes expression like a pinball machine. In the briefest glimpse, Terrell Wheeler gives us a solid stuttering characterization. Deja Denise Green is probable as John’s defender. Isadore Goldstein, the fence, arrives with Eric Berger’s dreadful ersatz Yiddish accent. The actor doesn’t seem to have made any decisions about who he’s playing. Donatonio Demarco is authentic except for an inexplicably timed look in the mirror (the fourth wall). The invisible mirror is used too often in these plays.

Jazmyn D. Boone (Mavis Cunningham) and Terrell Wheeler (Bert Jackson)

The Hunch, far and away the best of the three pieces, centers on excited bride-to-be Mavis Cunningham (Jazmyn D. Boone). The numbers game comes in again when she’s asked to place a bet for then out of town friend Steve Collins (Dontonio Demarco) who unexpectedly wins a great deal. Landlady Mrs. Reed (Monique Page) suggests Mavis should keep it. Not a chance. Collins shows up with a stranger who reveals fiancé Bert Jackson (Terrell Wheeler) to be another ne’er do well. You would think Mavis might be grateful, but emotions are not that clean cut. An interesting denouement precedes resolution.

The play’s title refers to winning number choice and an inkling something is wrong with Jackson’s story. Everyone except Monique Page, who acts a single note, does a good job here with Dontonio Demarco and a notable Jazmyn D. Boone excelling.

Dontonio Demarco (Steve Collins) and Jazmyn D. Boone (Mavis Cunningham)

Direction is too often hit or miss in terms of characterization -until the last one act which is cogent and convincing. Pacing and use of the stage is excellent. Intimacy and fight direction (Katie Bradley) especially shines in The Hunch. Vincent Gunn’s backdrop is attractive, though it keeps us in the park with only one play located there. Minimal period furniture works well to create the atmosphere of two apartments. Leslie Gray (lighting) offers an effective, gradual sunset in The Starter.

Eulalie Spence’s work provides an impression of her uptown neighbors, their circumstances and “accommodations.” Her women are resourceful.

Photos by Kat DuPont Vecchio

She’s Got Harlem on Her Mind
Three plays by Eulalie Spence
Directed by Timothy Johnson

Through March 12, 2023
Metropolitan Playhouse  
220A East Fourth Street