Set during the Harlem Renaissance, this workhorse of a play has been on stages since the mid-1990s. Playwright Pearl Cleage’s poignant drama brings passion to life in five characters all bound and determined to live their lives and chase their dreams in a society that undervalues their achievements, expressions, and humanity. The play has showcased the highest echelon of actors over the years, all yearning to experience the richness of the characters that evoke the depth of Ibsen and Tennessee Williams. Directed by Kevin Sockwell, the current Silver Spring Stage production brings the characters to life, including references to such notables as Josephine Baker, Langston Hughes, Adam Clayton Powell, both Jr. and Sr., and even Margaret Sanger. These legendary figures swirl in the backdrop tapestry of the characters who engage in the emerging racial and social consciousness of the 1920s and ’30s.
The set design by Maggie Modig is as much a character as the actors and provides the foundation for the action as a New York brownstone. Front right is a parlor area for one apartment, and steps in the back lead to a sewing work area complete with sewing machine and fabrics, noteworthy properties design and set dressing by Katherine Ross and McKenna Kelly. Across the hall is another apartment and the ground level is used for stoop and outdoor interaction — a full three-level multi-unit set.
The centerpiece character is Angel, a dashing Jacqueline Youm, who glitters with glamour and pizzazz for days. For those of us who have followed … okay, I’ve nearly stalked Youm since her arrival on the theater scene some years ago, the show is a must-see. In her usual impressive style, she takes fierce command of her character and doesn’t let go. While I saw Phylicia Rashad in a previous production, Youm presents Angel with a glorious heft that brings a whole new dimension to the character, resolute in living life on her own terms. She is a force to be reckoned with.
The rest of the performers are up to the task in relating the play’s significant cultural history while on their own journeys. Cainan Asher Grier as Guy is a star-struck, sashaying wonder as he dreams and fantasizes about sewing costumes for his adored Josephine Baker. Belittled and persecuted for his proclivities and orientation, Guy views Baker as his ultimate vindication, and ships unsolicited gowns to her in Paris to hopefully get on her radar. Kudos to costume designer Linda Swann, who works wonders with the full range of attire from frumpy to dazzling, and work clothes to top hats and tux tails. After yet another love affair gone wrong, Angel arrives at the tenement with literally just the clothes on her back, and Guy befriends and shelters her as a fellow artiste. Iyanu Bishop’s Delia is a churchgoing, prim, and proper neighbor who tries to convince Angel to learn typing for respectable, steady work instead of her fly-by-night jazz singing gigs that have dried up in the Depression. While Delia reveres the Reverends Powell, she’s also a proponent of Margaret Sanger in advocating for women having control of their bodies to plan their pregnancies, a dangerous concept long before Planned Parenthood.
Matthew J. Murray’s Sam is a rarity — a Black physician. His patients have nowhere else to turn. Murray captures the nuance of Sam’s accomplishments and cool, easy banter with the guys while also battling being ostracized and constantly pushing through racist barriers that leave him wounded. They weren’t “micro” aggressions back then, and Sam periodically hits the bottle to ease his own anguish. A newcomer to the crew is Leland, played winningly by Mack Leamon, an unsophisticated southerner straight from the Alabama fields, seeking a path out of oppression. Leland becomes smitten with Angel despite her worldliness and is determined to “rescue” her from the abomination of her carefree lifestyle and her scandalous companions. Considering Angel’s rock-solid focus on her own dreams, Leland’s fantasy is a pipe dream ready to burst.
Kevin Sockwell’s spirited direction keeps the ensemble dynamics swirling with even a song and dance along the way and terrific music by multi-talented Grier. An innovative choice to wave a hand to represent opening the door took some getting used to but worked effectively.
Blues for an Alabama Sky has stayed around so long because it covers so many topics, including homophobia, women’s rights, contraceptive choices, socio-economic and racial issues through memorable characters referencing treasured cultural icons, and it still packs a wallop all these years later. The issues are just as timely, relevant, and poignant today. For the Silver Spring Stage to mount such a venerable work with top cast and designers is a tribute to its own 56-year legacy. This stellar production is a terrific choice, beautifully orchestrated, for right now.
Running Time: Approximately two hours and 50 minutes with one 15-minute intermission.
Blues for an Alabama Sky plays through May 18, 2025 (Fridays and Saturdays at 8:00 pm and Sundays at 2:00 pm) at Silver Spring Stage, 10145 Colesville Road, Silver Spring, MD. Purchase tickets ($23.75–$26.75 including fees) at the door, online, or by contacting the Box Office at boxoffice@ssstage.org or 301-593-6036.
Content Advisory: Features a gun shot and mature themes including discussion of reproductive rights, homophobia, racism, and economic hardship.
COVID Safety: Masks are encouraged but not required.
Blues for an Alabama Sky
By Pearl Cleage
CAST
Jacqueline Youm: Angel
Cainan Asher Grier: Guy
Iyanu Bishop: Delia
Matthew J. Murray: Sam
Mack Leamon: Leland
PRODUCTION DESIGN
Producer: Seth Ghitelman
Director: Kevin Sockwell
Production Stage Manager: Aaron Skolnik
Set Design: Maggie Modig
Set Dresser: McKenna Kelly
Lighting Design: Andrew Harasty
Sound Design: Aaron Skolnik
Music Director & Composer: Cainan Asher Grier
Properties Designer: Katherine Ross
Costume Design: Linda Swann
Intimacy Choreographer: Emily Sucher
