PTC's "Resurrection' (2nd review)

Daniel Beaty's first play, Emergen-SEE, was a hip and sassy one-man vehicle that greatly impressed me, and others, when he performed it in 2006 at the Freedom Theater.

Resurrection, his new play, harks back to an older theatrical formula. Beaty's writing is beautifully poetic and, at times, inspirational. However, its story of black men who try to rise above their surroundings is reminiscent of 1930s social dramas about poor white families who tried to overcome hardship and pull themselves up by their bootstraps. Resurrection also echoes A Raisin in the Sun, the landmark 1959 drama about a black family's struggles.

Hanging like a shroud over the proceedings is an atmosphere of despair. Almost every character complains of the pressures and futility of his life. Yes, there's an uplifting ending"“ a resurrection of hope. But every adult on stage talks about his terrible burden, his weakness, his shame.

What's the norm for black men?

The play was written before Barack Obama was elected president, and it sounds as if Beaty wrote it before he ever dreamed that Obama could be elected. Resurrection speaks of hope, as did Obama (and, for that matter, as did Bill Clinton during his 1992 campaign). But it's an almost-miraculous hope over omnipresent obstacles, and that sounds dated.

We know that Obama's ascendancy doesn't end the plight of black men. The burdens depicted in this play remain real. But I have to wonder why these problems need to continue being presented to audiences as if they're the norm. Wouldn't it be better to show African-Americans going to graduate schools and becoming accomplished leaders of their communities? Wouldn't that be more inspirational than this ghetto rehash?

To cite one specific: A 40-year-old man in this play is a record company executive, but he calls his suit jacket a straitjacket and his tie reminds him of a noose. He speaks of his professional career as a fraud. This conflict isn't even necessary for drama's sake, because the same character has another, more compelling issue: He's a closeted gay man who's afraid to tell his father, a homophobic bishop.

When a man must close his store

The executive's difficult role is played superbly by Alvin Keith, and the bishop is made human and appealing by Jeffrey V. Thompson. Another standout is Keith Randolph Smith as Mr. Rogers, whose problem is more universal and who discloses his anguish with subtle and compelling means. He runs a health-food store that's unprofitable, and he must decide whether or not to renew his lease, knowing that closing the store will disappoint his ten-year-old son.

Che Ayenda, Thuliso Dingwall and Turron Kofi Allyene complete an excellent cast, and Oz Scott directs effectively. He has created some striking moments, and Beaty's script contains lovely prose poetry. You're likely to leave the theater with a warm feeling, but you may feel hungry shortly thereafter, almost as if you had dined on another ethnic menu.





To read another review by Dan Rottenberg, click here.