Let me just start by saying this: Bocking is not for the easily offended, or anyone who needs their theater experience to stay safely inside the lines. Written by Preston Crowder and directed by Stevie Walker-Webb, this world premiere at Baltimore Center Stage is audacious, raunchy, irreverent, and completely committed to making you uncomfortable and then making you laugh about it. Straight out the gate in the first scene, you will likely be clutching your pearls, looking around the theater and asking yourself, “What exactly did I just walk into?” But to be fair, you were warned. Baltimore Center Stage gives audiences plenty of warnings about the explicit language, adult themes, sexual content, and satirical treatment of religion. So, when the show starts swinging, don’t say nobody told you.
At the center of Bocking are two sets of parents — Javon and Tianna Wing, and Rita and Peer Day. They are dealing with problems within their marriages, within themselves, and unfortunately, with each other. It all comes to a head when their children participate in a school spelling bee that goes completely awry. Because apparently, children have a remarkable ability to hear exactly what adults hope they didn’t hear and then repeat it at the absolute worst possible moment. The school counselor, Erickson Lewis, has his own issues that need resolving, and before long, everybody’s business is becoming everybody else’s business. This play is salacious but downright hysterical, and it proves once again that children will always be the ones to out your business. The story quickly spirals into revelations involving sex, secrets, religion, relationships, and some truly outrageous situations. Open minds and open hearts are required.
Then there is Rebecca L. Hargrove as Tiana Wing. Freaking. Perfection. Hargrove gave us everything. Tiana is dramatic, funny, expressive, and completely believable, and Hargrove knows exactly how to ride the line between outrageous and riotous without ever losing the character. She had the audience in the palm of her hand. One of my favorite moments wasn’t even part of the script. During the performance, an audience member’s cell phone went off, and Hargrove handled it like a seasoned professional. She gave us a flawless read of the audience member without missing a beat in the play. That kind of quick thinking and comedic timing is a beautiful thing to witness live. And let’s talk about those church hats! Costume designer Orla Long deserves some serious design points because those hats were giving exactly what they needed to give.
Adrienne C. Moore as Stacey was another standout for me. The number of jobs this woman had in this play! Construction worker, fast-food worker, schoolteacher, therapist, aspiring film director — you name it, Stacey apparently has done it or is working toward it. Moore brought such a huge personality to the character, and she was uproariously funny. What I particularly appreciated was that she knows how to shine without taking over the light of everyone else on stage. That’s an important skill in an ensemble comedy like this.
And then we have Kalen Allen as Erickson Lewis, and baby! Allen was priceless from beginning to end, but the eating of the chicken feed and the entire conversation with his dead mother in “chicken” had me completely done. Comedy gold. I loved every second of his performance. Erickson is already an interesting character because as the school counselor he is supposed to help everybody else while clearly having some things of his own to work through. Allen brings an infectious energy to the role.
The entire cast deserves recognition because this is truly a star-studded ensemble. Playing the roles of Rita Day is Sis Thee Doll, Javon Wing is Blake Morris, Peer Day is Christopher Sears, and Reverend White is Lance Coadie Williams — all contribute to the wonderfully chaotic world Crowder has created. There is a particular rhythm to this production where one absurd situation builds into another, and the cast has to trust each other enough to keep that momentum going. Under Stevie Walker-Webb’s direction, they do exactly that. Walker-Webb clearly understands that this play cannot be played timidly. Bocking requires actors willing to take risks, and this cast came ready to jump off the cliff.
Visually, the production is just as bold as the material. The set is colorful, energetic, and perfectly suited to the heightened world of the play. And here’s a fun fact I absolutely loved: the mural that makes up the set design was entirely hand-painted. That attention to detail adds another layer to an already visually interesting production. Studio Bent‘s scenic design and Orla Long’s costumes work together beautifully to create a world that is colorful, exaggerated, and unmistakably theatrical.
Now, let’s talk about the part that will probably have some people walking out saying, “Oh, absolutely not.” The biblical references and the questioning of scripture will undoubtedly be seen by some as blasphemous. The reading of the scripture and the questions raised about the words themselves will be a lot for some audience members to handle. And if you found The Exorcist offensive, well … let me repeat the warning: stay home. There are moments designed specifically to challenge your comfort level, and the production does not apologize for it. The show’s official warnings even include satirical interpretations of religion and a depiction of gay conversion therapy.
But I would still implore people to step outside their comfort zone and consider what Bocking is asking us to examine. People who live alternative lifestyles are faced with judgment, shame, rejection, and the pressure to hide parts of themselves every single day. But if we’re being honest, those of us who are considered “the norm” face many of these same battles. The difference is that our struggles are often more socially acceptable, so we don’t have to announce them quite as loudly. More often than not, this voice gets silenced, suppressed or tucked away behind closed doors.
That is where I think Bocking becomes more than just shock value. Yes, the shock value is high. Yes, there are moments when you will wonder what Preston Crowder was thinking. Yes, you may laugh while simultaneously questioning your own morals. But underneath all the raunchiness, absurdity, and pearl-clutching is a conversation about shame, sexuality, relationships, religion, identity, and the ridiculous lengths people go to protect the image they present to the world.
And honestly? Sometimes theater needs to make us uncomfortable.
Bocking opened Baltimore Center Stage’s 2026/27 season with its world premiere on August 22, and it is exactly the kind of bold, boundary-pushing production that reminds us why new theater matters.
So, should you see Bocking? If you are easily offended, absolutely not. If you clutch your pearls at the mere mention of sex, religion, or profanity, probably not. But if you can laugh, think, question, and occasionally squirm in your seat while appreciating a talented cast taking enormous theatrical risks, go see this play.
Just leave your pearls at home.
Because you’re going to need both hands to cover your mouth.
Running Time: 90 minutes with no intermission
Bocking plays through September 6, 2026, at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets ($25–$90, with senior and student discounts available), call the box office at (410) 332-0033 (Tuesday through Friday, noon–5 pm), email boxoffice@centerstage.org, or purchase them online.
The program for Bocking is online here.
