Fabulation, or the Re-Education of Undine at Bowie State University is an entertaining evening of one woman’s journey unto her true self.
Did you ever wish you were someone else? Did you ever want to leave behind everything and everybody in your life to find or form a new one? That’s the premise of Fabulation, or the Re-Education of Undine, presented by Bowie State University Theatre in the Dionne Warwick Theater through Saturday, November 9.
Having escaped the working-class neighborhood of her childhood, Undine finds herself in circumstances that require her to return there, where she must re-re-invent herself to accommodate the alterations in her personal economy, her body, her living situation, and her relationships. This leads her to a reassessment of her roots, her values, and her attachments.
Lynn Nottage, a highly regarded contemporary playwright, crafts a show with contemporary issues. Fabulation, sometimes billed as a “companion piece” to Intimate Apparel, is set one hundred years later, and can be described as a “riches-to-rags” story of self-discovery. The script is choppy by design, focusing on short, intimate scenes interspersed with the character of Undine directly addressing the audience in the course of the narrative. Because the scenes change so dramatically from one sequence to the next, there’s sometimes a significant set-change lag between them, almost as though Nottage had envisioned this script as a screenplay instead of a live performance.
Director Alexis Kennedy, a senior theater arts major, makes her directing debut at Bowie with Fabulation. Kennedy has assembled a cast of actors who work well together and has co-ordinated blocking and set changes to maximize the performance space and audience interest.
Lauren Christin, a BSU senior and understudy for Undine as well as assistant stage manager for this production, on short notice played the lead character at the performance I saw. The actor to whom the role is assigned, Oasis Lilliard, is expected to return for Friday’s performance. Christin handles the role capably, and despite the occasional dialogue falter, embodies excellent emotion and believable connections.
Other than Undine, the rest of the many characters are played by an ensemble cast.
Jalayah Muhammad, a junior theater arts major, is remarkable in each of her roles in the show. From a gently encouraging counselor to a fired-up person in police custody, she is eminently watchable whenever she appears. Ryan Chandler Wilson, in his first Bowie State production, handles each ensemble role with graceful assuredness, but is particularly enjoyable during his poetic moments as Flow. Devin Harper, a sophomore theater arts major, has a gift for character roles. His expressive face, wide gestures, and assortment of speech patterns add a comedic dimension to a show that is otherwise a little light in the hilarity department. Genesis Bratcher brings a calm confidence to each of her ensemble roles and is an excellent example of a supporting actor as her roles, though not meaty or passion-filled, are foils for the focus action. Jacobie Thornton, a senior theater major, in a very entertaining dual role as both Undine’s old and new love interest — smoothly charming and splendidly dressed as one, and awkwardly sincere as the other. He often appears as a flashback, and his performance as Undine’s idealized romantic partner is impeccable
Josiah Williams, a freshman theater arts major, smoothly moves between ensemble roles while assuring the audience that he’s a different person in each of them, with no change to his terrific hairstyle. Erica Harrell, a Baltimore native, is a music technology major and absolutely stunning to watch. Her transformation in each role is so complete that I don’t recognize her and need to check the program several times.
Of course, to create this illusion, costuming is very helpful. Costume Designer Kayla Grange’s study of fashion design helps create a unique look for each character of this very populated play. Assisted by Brielle Bertrand, a junior at Bowie, Grange manages to get everyone dressed (one such transition taking place hilariously onstage) both appropriately and in time to make their cues.
The significant assortment of costuming and props, wrangled by Assistant Stage Manager/ Props Manager Justus Harris, requires a tightly run backstage. This is handled by Head Stage Manager Keisha Brown, who is a rising senior theater major. Freshman run crew members Tiana Brown and Landon Bloodman keep things moving on and off stage to facilitate the show.
Lighting Designer London Diggs is a senior theater major, and delivers excellent lighting, including a special character spot, which is absolutely crucial to the show. The sheer number of sets requires a well-planned light design, and Lighting Design Mentor/Guest Artist Lorenzo Henriquez should be very proud of Diggs and Lighting Design team member Kyia Parker.
Sound Designer Ibrahim S Jalloh is a junior in the music technology program. Co-designer Myles Clark, a senior, makes his debut in sound design. On opening night, I found the sound quality uneven, as the mics are inconsistent and the music is sometimes out of balance with the dialogue, which makes dialogue challenging to understand. The design of the soundscape, however, is sturdy and clever. I particularly like the “ping” that marks the transitions between scenes and direct address.
Set Designer Nadia Kuffar, a junior, makes her set design debut at BSU. This script offers an assortment of set design challenges and Kuffar’s design skills make for an interesting stage with several small sets. Though set changes are occasionally cumbersome and time-consuming, in conjunction with London Diggs’s lighting design, the set is effective at bringing the audience to the time and space of the scene.
Faculty Mentor Elena Velasco, who serves also as producer and intimacy choreographer, guides this student-centric production, maintaining calm despite an unexpected cast change. Production values are high, and the enthusiastic cast is a delight to watch.
If you’re a fan of Lynn Nottage’s work, you might already have a ticket to this snappy, witty show, which is full of heart and human foible. If you’re not familiar with Nottage, Fabulation, or The Re-Education of Undine is a nice opportunity to experience it in a non-stressful, reasonably priced atmosphere. The students who’ve created this show are to be congratulated, applauded, and supported.
Running Time: Two hours, with one intermission.
Fabulation, or the Re-Education of Undine plays through November 9, 2024 (7:30 on Friday, 2:30 and 7:30 on Saturday), presented by Bowie State University Theatre in the Fine & Performing Arts Center, Dionne Warwick Theater, 14000 Jericho Park Rd, Bowie, MD. Tickets are priced at $16 general admission, $8 for students and senior citizens. Buy them online or call 703-328-8868. Parking in the large lot near Facilities Management and the Student Union is free and plentiful.
The program for Fabulation, or the Re-Education of Undine is online here.
Final factoid: Lynn Nottage was tapped to write the book for MJ, the jukebox musical about Michael Jackson.
