The Watsons Go to Birmingham Family the Watsons Go to Birmingham Family Easy to Draw
By Quinn Rigg
It is easy to submit to hatred—to relinquish oneself to dark insecurities and lash out in fright of the unknown. Conversely, dear is much stronger than hatred. Dearest requires significant work; it takes time, patience, condolement, and an abundance of joy to overcome painful obstacles. Dearest is what oftentimes keeps us rooted when the world is turbulent and unfamiliar. Through the strongest winds and coldest winters, a tree'southward roots basis it to the globe, stalwart, strong.
Chicago Children's Theatre's latest product heralds that love is the root of man perseverance.
Chicago Children's Theatre's production of The Watsons Become to Birmingham — 1963 is a poignant, heartwarming, galvanizing love letter to the beautiful — if not maddening — complexities of family life. Originally a honey children'south book by Christopher Paul Curtis, The Watsons Become to Birmingham—1963 has been adapted to phase past Cheryl L. West with loving accuracy—little has been change from the original work, a synopsis of which volition be found hither.
Though not a musical past design, music is an integral attribute to the movement of this play's narrative. As the Watsons travel into the depths of Alabama from their native Flint, Michigan, the records they bring along become the soundtrack to Kenny'south departure from the comfort of boyhood into the unknowable horrors of the world around him—a struggle shared by children and adults alike throughout the play. Compositions by Paris Ray Dozier are designed with the sound of the early 60s in heed; the tasteful tunes practice well to draw an audience's ear to a relevant turning point in American history.
Director Wardell Julius Clark poetically constructs the Watson family's journey through captivating moments of stillness and enrapturing moments of surprises both delightful and horrific. The use of an alley orientation in the intimate Pritzker Family Studio Theater space identify emphasis on the subtleties of characters that are bound to ane another—every move and every word can be held nether scrutiny and observation. This spyglass effect of the space's intimacy is to the benefit of the staging, as a car filled with disgruntled Watsons becomes a playground for dynamic character relationships. The facade of the vehicle serves equally a distillation of the entire play — a concentrated pill of the Watson family'south quarrels, resolutions, and joyful celebrations.
Clark's management is expertly intertwined with sound blueprint by Kevin O'Donnell, each car door slam and echoing line of dialogue timed tightly with the action on stage. There is an engrossing depth to O'Donnell'south sound design that imbues inherent energy into the ambiance of a given scene; from crickets in a dark woods to the tragic church explosion, O'Donnell'south soundscape is immersive and hitting from the get-go.
Breathtaking designer Arnel Sancianco plays to Clark's dramatically interpretive vision, painting the stage as a roadmap that runs across the room and upwardly the wall, showing projections of the sights the Watsons encounter on their trip. A rolling two-role car, doors worn with charm, and a lived-in burrow are the only set up pieces adorning the otherwise-empty map of the phase. The gear up pieces are ornamented with graphic symbol and a rich life of their own equally they gear up the many scenes the Watson family unit comes beyond.
Bear Bellinger brings a kid-similar sense of play into the dutiful shoes of Daddy Watson. Lovable flirt and guiding hand for two boys coming into manhood, the role demands an thespian who tin balance endearing parental ineptitude with genuine tenderness. Bellinger readily steps up to the plate as a bumbling, well-pregnant father.
Sharriese Hamilton dazzles and enraptures as anxiously caring matriarch Mama Watson. Her dynamic range of expression turns on a dime with hit efficacy. Hamilton tactfully recreates the familiar archetypes of motherhood, ranging from tender caregiver to "I took you into this world and I tin accept yous out of information technology." Hamilton is nothing brusk of a firecracker — delightfully engaged and readily energized.
Deanna Reed-Foster is a powerhouse and joy and stolid grace as Grandma Sands. Filled with contagious humor and sobering rage, Reed-Foster embodies a adult female familiar with hardship, but comforted by the overwhelming ability of beloved.
Most core to play are the young children around whom the story emerges. Nelson Simmons sweetly and smartly portrays young Kenny Watson. Simmons is a friendly, sensitive, and delightfully opinionated envoy to the audience throughout the play. Lyric Sims is a delight equally sweet little sister Joey Watson, and Stephen "Blu" Allen mixes contentiously hot-headed fire with protective sincerity within older blood brother Byron Watson. (Kenny Watson is also played by Jeremiah Ruwe, and the role of Joey Watson is additionally shared by Jillian-Giselle.)
This production candidly depicts the intricacies of family life: the unconditional and endearingly overbearing love, the frustration of domestic dysfunction and differing communication styles, and the stalwart, unwavering communal support in times of distress, nonetheless grave. Chicago Children's Theatre is a beacon for relevant theatre accessible to audiences of all ages. Should any person be searching for hope and love in a seemingly vicious world, so they should look no further than 100 South Racine Avenue, where The Watsons Go to Birmingham —1963 will take a journey filled with laughter, grief and joyful revelry in the ability of family unit.
Chicago Children's Theatre presents "The Watsons Go to Birmingham—1963" through May 19 at The Station, 100 Due south Racine Ave. More information and tickets may exist constitute here .Photos by Charles Osgood.
Source: https://www.chicagolandmusicaltheatre.com/chicago-childrens-theatres-the-watsons-go-to-birmingham-1963-is-a-tender-ode-to-family-perseverence/
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