SOWA'S RED GRAVY Written by Diane Richards and Directed by Woodie King

SOWA'S RED GRAVY by the New Federal Theater in association with the Castillo Theater  at Theater Row in downtown Manhattan, New York, left me STUNNED! SHOCKED!  and AGHAST!

I do not understand what Woody King Jr. was trying to "tell us". Woody King Jr's credits are indeed, extensive and impressive. An "icon" to the Black Community and the Black Theater in particular.

UNFORTUNATELY, this was not one of his best productions. I can't even begin to decode the storyline.

It seems that the playwright (Diane Richards) based her "premise" on some book compilation of "sketches" (so I've been informed) and threw together something of a "story".

In reviewing the article by the NEW YORK TIMES, it seems that they saw one performance, while I saw another (and this one was not at all New York Times "caliber" review). I don't know what the reporter's angle was? (whom I tried to locate at the New York Times)

The Subject of Vudum is one that I know quite well (both as a student of Cultural Anthropology  AND as an " initiate" practitioner).

And, although evil and witchcraft is, indeed quite REAL, and a WAY OF LIFE in some cultures, the RELIGION is hardly "demonic".

NOT ONE POSITIVE aspect of the religion was mentioned; its history, nor its origins: certainly it must not have been in the playwright's INTEREST to "educate" her audience to its rich, beautiful, and FUNCTIONAL HERITAGE; which is common in all aspect of African, Haitian, and New Orlean's way of life (a vital and central fabric of SURVIVAL for these cultures-which deserves mentioning. It would have provided a BALANCE which would have further the playwright's premise in a more compelling fashion).

Of course, this is not to infer that the playwright meant any harm by omitting the religion's "virtues" (or maybe, she, like many Westerners) don't believe that there is any redeeming qualities to be mentioned?

It was embarrassing and quite "painful" to watch such talented and gifted actors put forth such energy for...this???

It looked like a circus act!

I "watched" the audience and, although there were some funny, and critical moments (in which the audience responded to), they were, for the most part, quite "blanched". Some audience members played with their phones, others SLEPT (even I, took a "snooze" for a New York Minute!), and still others carried on conversations with each other (probably wondering when it will end!). Others, at the end of the show, complained that it was "too long" (about nothin'!).

The ensemble cast was excellent, no one actor was better than another. It was a team effort (and boy was it ever!)

But there's always one actor or two that stands out. Actor GARY E. VINCENT was quite spectacular and definitely should be considered for an AUDELCO AWARD.

Also, Iris Wilson was absolutely "magical" in every way! Her "subtle" energy and enigmatic "physical beauty" kept many audiences (especially the opposite sex) interested and "plugged in". She moved with grace, style, and acute power!

Special thanks to John Scheffler for his excellent set design and Antoinette Tynes for her work as lighting designer. These two talented "technical artists" have created an atmosphere that fits very well with the "sketches"presented.

Honorable mention to Lawrence Evans for selecting such an ensemble cast.

UNFORTUNATELY, as talented as the actors and technical staff were, in theatre, the director and the playwright's intellectual property must "deliver the goods".

And I don't professionally believe this was the case in this production and I have to give it HALF A STAR (a "{dying" star...)