Stew: A Recipe for Deep Backburner Emotions

HOUSTON, TX -- It really can be the story of any urban Black family. I mean, who doesn’t have a matriarch with medical problems? A daughter with marital problems? Or another daughter with a … coming of age issue. It’s a spot-on representation of where occasional loud sounds, such as a car backfiring, or a gunshot may cause a momentary panic. The Ensemble Theatre in Midtown-Houston, had a wonderful presentation of Zora Howard’s one-act play, ‘Stew,’ a story of three generations of Tucker women, who come together prepping for an annual church function. It’s a wonderful play to start off The Ensemble’s 48th Season, and it runs the gamut of emotions … and smells good too!

The play starts as Mama (Jo Anne Davis-Jones) begins her early morning routine in the kitchen, setting the kettle to the heat, while breaking out in religious song affirming her faith in the Almighty. A presumed gunshot is heard behind the house, sending the kitchen into turmoil with the other women of the house funneling in to see what the heck is going on? Sisters Lillian (Lakeisha Rochelle), and baseball bat wielding Nelly (Tyne Jeanae), trailed by Lillian’s daughter Lil’ Mama (Tabitha Clay), round out the cast. The madness is wonderful, and so mindful of real life families all holding conversations at the same time, and talking over one another. You can’t make heads or tails of what is being said, but the beauty of the scene makes you smile that at least you know they are all safe.

Then tragedy!! Oh know! It’s not what you think. It’s the stew. It’s been … stewed to death!! Overcooked. And you know how mamas’ are? Always going on about their pots needing to be in pristine condition. Nelly throws away the ruined stew, and with everyone speaking at the same time, the quadrilogue is indecipherable, but the good thing is that a new stew is restarted. Then. the oddest thing happens. Smell. The wafting of the searing meat hits the audience. It was an incredible first for me, and another reminder that I needed to eat something after the show. But it shows the brilliance of Zora Howard’s intentions in interjecting reality into the story. It’s a real story that affects so many families. And if you look at it differently, each family member is an ingredient in their own familial ‘stew.’

And hats off to the set designer (Winifred Sowell), and the technical crews for all the working parts on stage. The kitchen faucet worked. The refrigerator and stove worked. Everything on stage was perfect. I’ve never been disappointed with an Ensemble Theatre set, and quite frankly I don’t think I ever will be. That’s how confident I am in the team that the theater maintains. And I digress, but I thought it was that important to mention it at this junction.

And as we get into the ‘meat’ of the presentation, pun intended; we are privileged to be flies on the wall in this little, some might say ‘kitchen sink drama,’ as we learn of everyone’s struggles in life. Mama’s syncope episode worries Lillian, who has her own troubles with her unfeeling husband J.R. Nelly too, is a little faint like Mama, but it’s because she has a bun in the oven. And even Lil’ Mama has her issues with acting on stage, and a realization that her parents' marriage is on the rocks. There are other issues too, like Lillian not visiting enough to see her Mama.

Howard delights the audience with touching, heart-stirring moments of dialogue between family members that pull the scab off the wound, in which the actors capture most sincerely, and set the stage for the ending. Jo Anne Davis-Jones played a most excellent ‘Mama.’ She made you laugh and cry, and showed us convincingly that family is not only blood, but also gets under the subdermal layers of our skin sometimes, but we must always maintain that unconditional love. Her entertaining gestures brought over the top laughter to the forefront, and her command of Shakespeare’s ‘Richard III,’ showed where her true talent lies. The speech she recites as Queen Elizabeth, in the grief of her murdered sons, invites some of the audience to inquire into premonition, and how so many urban mothers are faced with the same lamentations in their own lives. Davis-Jones performance was genius, and brilliance, and awesomeness, all rolled into one.

Director Eileen Morris, really goes bold in this production. She planted the seeds, and grew the cast to her liking, bringing real talent to the stage. Lakeisha Rochelle’s portrayal of ‘Lillian,’ shows a strong woman, having to deal with a potential dam burst in her life. Lillian’s son, Junior, is mentioned in the play and is nearby, but never appears on stage. Rochelle, arguably has the most important role in the play, having a character that is fighting for sanity on multiple fronts with her mother, daughter, son, sister, husband, and a mystery gentleman in her life. The passion she displays in explaining the reality of her marriage to Mama is nail-biting, and garners every bit of attention the audience has to offer. Rochelle’s performance was magical and worthy of remark.

The younger actors, Tyne Jeanae, who plays Nelly; and Tabitha Clay, who portrays Lil’ Mama; really put in ‘A’ efforts, and their hard work paid off. 25-year-old Jeanae, really seized the role of 17-year-old Nelly, and brings to the forefront the issue of teenage sex, pregnancy, and the initial conflict that goes along with the admission. Abortion is thrown into the mix, and Jeanae shows the limits of her craft with her emotions. She is comfortable in her part, and mingled with the audience even before the play began. Clay’s ‘Lil’ Mama’ represents the hope for the future in the family, willing to embrace her Shakespearean role though presenting with initial doubts. Her character was the closest to the audience on stage, and she nailed it. Lil’ Mama grew from a sleepy kid begging for a few minutes shut-eye at sun-up, to having life thrust at her whether she liked it or not. It was one of those days where you grow up quickly, where happenings are irrevocable, and adjustments to life are needed to continue on its journey.

The cast worked so well together, and drew in the audience from the start, grabbing hold and never letting go. I was amazed with so many lines each character had, and how they belted them out with accuracy and passion. Prop designer Eileen Dyer did her part to bring the stage to life with real veggies that needed to be chopped to bring the stew to life, and the little things in the kitchen that show it’s inhabited; along with a coffee cup that had to be placed, just so. Costume designer Macy Lynn, was precise in choosing the right costumes for characters, attire usually worn in the midst of close family on Saturday mornings. Lighting, Kris Phelps, and Sound designer, Adrian Washington, each showed their worth in setting the mood with their talents. In fact, all the production staff were essential to the success of Stew, and I thank all of them.

Zora Howard’s ‘Stew,’ shows the audience that families deal with stressors at all levels of the household unit. It is sensitive to the pressing issues, and raises you to elation, with presumed tragedy at the end. I believe the intent of the presentation is to grow and learn from others' mistakes. To make our own lives better. To challenge our children, making them better, to be stewards of the community, and staying away from parenthood at 17. I highly recommend ‘Stew’ as a testament to a family’s challenge at living life.

The show runs through October 13th. For tickets and donations: ensemblehouston.com

Ruben can be reached at: ruben@montgomerycountynews.net