FAMILIAR
PLAWRIGHT'S HORIZONS located on 416 West 42nd Street (between 9th adn 10th Ave), New York City, New York, presents, for its running season, the play FAMILIAR.
Although booking dates and special performances (according to Playwrights Horizon's website:www.playwrightshorizons.org) vary. The performance was made available to the public February 12th, and is currently running until March 27th BUT HAS BEEN EXTENDED UNTIL APRIL 7TH (to be sure, however, check their website).
FAMILIAR is a very typically universal story which encapsulates several themes critical to the "human condition" and structural fabric of society.
The FIRST THEME is that of social adjustment to a new cultural environment which is foreign to the nativity and his or her family (provided that the said condition is that of migration from one country to another, as current adults).
The SECOND THEME is to, not only relate to the predominant culture of the land, but also, the "Pop Culture"(which involves the 'youth').
So we have two separate dichotomies which could be congruent to each other, or antagonistic. In this particular case, it happens to be congruent; although it appears to be in opposition (but this "illusion", thanks, in part, to the director, was excellently "pulled off").
The THIRD THEME deals with the "clashes of tradition" in reference to spirituality (which was "hinted at", but never fully explored-in dialogue: this was genius on the part of the director). Spirituality concerning two cultures stemming from two separate continents, is quite a task to bring into "balance".
The African Spiritual "Basin" is based on ANCESTRAL TRADITION (when alive) and WORSHIP (once they're "gone"). Whereas the AMERICAN-BASED spirituality is basically "non-existent", only "philosophy of RELIGION, and "CONCEPTUAL" philosophy as referred to "ritual and ceremony" (as is very protestant in the WESTERN CULTURE) of attending church every Sunday as a "ritual", one day out of the week.`
But this is not so, in the AFRICAN-BASED spiritual TRADITION. EVERYDAY is SACRED. Everything in LIFE and in NATURE is significant. The ELDERS hold on to this belief with great reverence.
The director did very well in not overwhelming the audience with too much "elements" which may lend to confusing the "issue" in which this family had to deal with. It was very well balanced-in "thematics". Zimbabwe has a unique HISTORY which should be told WITHOUT DISCRIMINATION OF FACTS.
The FOURTH THEME deals with issues affecting FIRST GENERATION AMERICANS (those born in the United States, but came from parents which came from another nativity).This fourth theme is the "essence" of this play; for it is the PLATFORM in which the story unfolds (you can diagram it as a pyramid in which the apex is the first Generation-Americans, Ancestral and African tradition on the "right leg" of the base of the pyramid, and the current socio-political stance of the "New Culture" on the "left leg" of the pyramid).
EVERYTHING RESTS, as far as cultural and traditional "continuity" is concerned, on the First-Generation of this Zimbobwean Family.
A "sub-theme" which was only "hinted at", relates to the specificity of an African MIGRATED FAMILY, with a first-generation of young adults adapting or adopting to the LIFESTYLE and sub-culture of the MID-WESTERN STATES (a dichotomy in and of itself!).
Then there's the "SECRET" (what family structure exists in the collective of humanity WITHOUT THIS ELEMENT as part of the "human story"?)
The "LIES", the "BETRAYAL" and all the other elements which defines a "good story", "good t.v", or "GREAT THEATER".
FLIRTATIOUS INTERPLAY between Nyasha (played by actress Ito Aghayere) and coyish "guy-friend" Brad (played by actor Joe Tippett) was instrumental on the part of the director, Rebecca Taichman.
It diffuses the "atmospheric tension" which, such a complex story can generate. It kept the story from become too melodramatic, as issues concerning RACE, CLASHES OF CULTURE, and DIFFERENCES OF INDIVIDUAL "PHILOSOPHIES" are apt to create; for both CAST and AUDIENCES alike, "uncomfortable moments".
But this is good! Theater is suppose to "educate" but also, provoke (thought). And this play accomplishes BOTH.
This segment of the play was a good BUFFER...
The AUDIENCE really "delighted" in the character antics of Brad (Joe Tippette). He was funny in action, comical in text, and totally embodying the typical MID to SOUTHWESTERN "jock" type of guy. You could "feel" the character's sincerity. The actor's comedic timing was ON POINT!
Tendi (played by actress Rosylin Ruff) and her fiance Chris (played by actor Joby Earle) display boyfriend/girlfriend dynamic which was very REALISTIC with the "rite of passage" which is typically universal concerning "the rules of engagement" of young people (despite being an interracial couple) at the height of "self-discovery".
It was a "welcomed change" not to deal with the DIFFERENCES which RACE RELATIONS seem to generate. Perhaps finally, humanity is TRANSCENDING this SOCIAL BLOCK to HUMAN PROGRESS and EVOLUTION.
I truly enjoyed their story...
Then there's the TRIAD between Marvelous (played by actress Tamara Tunie); her husband Donald (played by actor Harold Surratt). And the ANCESTRAL MOTHER (played by actress Myra Lucretia Taylor).
It is the typical POWER STRUGGLE between WOMEN of two distinct generations; and then there's the ESTRANGEMENT OF THE MARRIAGE itself between Marvelous and Donald.
And then we have Margaret (played by actress Melanie Nichols King; in floral dress) who, in her supportive role, exudes an "AURA" of quiet DIGNITY and GRACE, a "cohesion" which brings "relationships" together. (which, in these days of theater, is an ART that is, I believe, FOREVER LOST to the NEW STUDENT OF stage acting). Her professional stage "etiquette" did not go unnoticed...
Her smile assures you that everything will be alright. And everything did turn out just fine.
REBECCA TAICHMAN created a wonderful BLEND of homogenized stories which INTERRELATED to each other and BUILD on each other. Excellent job!!!
PLAYWRIGHT Diana Gurira is so HUMBLE and "self-effacing" in her comment: " I always vowed I would never write a play inspired by my family..."
Well...
I'm glad she BROKE THAT VOW!!!
As a FIRST GENERATION DOMINICAN-AMERICAN, I relate completely with this story.
Mrs. Gurira, I don't think even "YOU", realize what great work you've DONE!
Being an OBIE AWARD WINNING PLAYWRIGHT is ONLY THE BEGINNING...
Special thanks and honorable mention to SET DESIGN AND LIGHTING as well as SOUND AND STAGE MANAGING (unfortunately their credits were not available; we apologize)
THIS PLAY RECEIVES FIVE STARS!!!
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