African American Repertory Theatre pulls off ‘From the Mississippi Delta’

One thing that is perfectly clear is that Endesha Ida Mae Holland was a determined woman.

There are times in her life story, told as a series of overlapping stories and vignettes in an autobiographical two-act play, when the author lapses into self-aggrandizement, and times when even the clarity of the actors' speech stumbles over the muddy thickness of Mississippi Delta axioms.

In Toney Q. Cobb's restaging of artistic director Derome Scott Smith's 2008 production, Sharalyn Bailey, Shalandis Wheeler Smith and Rochelle Turnage do a remarkable job of portraying perhaps some 30 characters -- male and female, young and old, black and white -- using a bare minimum of props and accessories. It's not entirely clear whether the occasional overlapping line is intentional, or in error, but nonetheless, the three-woman cast is well-positioned to do the two things this company seems best at: telling stories that highlight the African-American experience and performing as a tightknit ensemble.

Turnage, who is most often seen -- or perhaps I should say not seen -- working behind the scenes, stepped into a major role. She portrays the playwright's mother, Aint Baby, with a balance of strength and subtlety. Most surprising was Turnage's lovely voice, heard solo, a cappella, and, briefly, in harmony with the other two women.

If you expect a linear progression, a clearly defined beginning, middle and end, you won't find it here. What you will find are deep philosophical truths, and sometimes mystical phenomena. For example, balmy days are always a prelude to -- perhaps a metaphor for -- the harsh realities of life, such as the brutal but socially sanctioned rape of an 11-year-old girl who was expecting a trip to the movies on her birthday. And when faced with a life-or-death situation, midwife Aint Baby supplements her medical skills with speaking in tongues.

There is also a fair sprinkling of those delightfully funny, and sometimes inappropriate, moments of humor that pepper life. These include the scene describing the inebriated relative who stumbles and falls into the mud during Aint Baby's funeral and young Phelia running toward the cross burning on the lawn because she's not used to the cold weather up north and welcomes any opportunity to get warm. Then there's the climax of the wonderfully set-up story of Holland's brief stint as an exotic dancer -- making her debut in front of all the men in her small town -- and her big finale.

The resulting cancellation of August Wilson's "Fences" is back in the lineup for next season, along with a production of "Othello" in collaboration with Richmond Shakespeare Theatre, and three others.

Julinda Lewis is a dancer, teacher and writer living in eastern Henrico County. She can be contacted at .