Superstition. Discourse. Restraint. Unity. It’s all found out In The Upper Room.
Stepping into the Darota and Kevin Kilstrom Theatre was a warm hug, a welcome back to live theater for many. The space had been transformed from a dark, empty theater in the round into a cozy home of the 70s. The bedroom up on a platform, the living room and kitchen on the lower level, and a leaf-filled front yard took up the center of the room; immediately I was transported to another time and place.
As the lights dimmed, we met Rose Berry, a mysterious, bold, and heartbroken woman who we learned was vastly complex and full of secrets. As the menacing matriarch of the family, her presence alone stifled the room, suffocating any sense of frivolity or joy. Controlling her family through fear, we are drawn to despise her rather quickly. However, the inevitable shoe drops, and we are taken on a journey of discovering things aren’t as simple as they seem.
The Berry’s, a multi-generational, Black family based in Omaha living under one roof, are hesitant to churn up any trouble around Rose, as her fuse is short and her temper hot. Played impressively by actor Chavez Ravine, the bold and bossy character of Rose comes to life, and we aren’t sure if we are meant to hate her or empathize with her. Shrouded in secrecy, elements of magic weave through her plot line and the family is unnervingly wrapped around her finger.
The entire cast of In the Upper Room delivers beautiful performances of a tortured family. A well-rounded, cast from top to bottom, each artist delivered a heartfelt and ravishing performance. Sydney Cole Alexander, who plays the role of the daughter-in-law and is the brunt of Rose’s disdain, provides power and poise as she refuses to wilt under pressure.
Courtney A. Vinson and Kayla King, who both shine as the granddaughters of Rose, wreak havoc and remind us just how dreadful being teens can be. Levy Lee Simon, who plays Rose’s husband, provides stability and softness as his character’s world crumbles before him. Matthew Hancock, who plays Rose’s son, is lively, energetic, captivating, and comical–oftentimes providing a release valve of tension that stores within the theater.
Finally, the standout performances of Yvette Monique Clark and Mohnae Michaell give space for the audience to see a little deeper inside the characters as they tip-toe the line perfectly between nosy neighbors and the sincerest of friends.
Based on playwright Beaufield Berry’s life and childhood experiences, the examination of her own family came after years of searching for herself. Growing up with a mystical and divine connection to her ancestors, Berry connected to her very own grandmother Rose, who acted as her muse through the creation of In The Upper Room. Receiving spiritual visitations from her very own outspoken Rose, the playwright says that her voice was strong and bold, and a large portion of the play was created during these visits.
Through the process of writing and workshopping, and working alongside dramaturg Jacqueline Lawton and director Gregg Daniel, In The Upper Room came to life and has deeply touched all who have experienced the gift of watching this mysteriously magical show. The DCPA has acquired a jewel that is polished, poignant, and prodigious with this fearless and wondrous tale.
Photo courtesy of In The Upper Room
