Review: SALLY & TOM at Round House Theatre

The historical and still-ongoing revelations about the children that Thomas Jefferson had with his slave woman Sally Hemmings has justifiably created a reevaluation of Thomas Jeferson’s image and reputation---as one can discover in Suzan-Lori Parks’ probing play Sally & Tom currently playing at Bethesda’s Round House Theatre.

However one feels about these tragic revelations, it is inevitable that people will justifiably be upset by these moral issues-- while others may still compartmentalize some of these revelations due to the paradigm about separating one’s personal life from external achievements and accomplishments.

Many well-known figures have had scenarios in their lives that have wreaked havoc on their image and reputations. Entertainment giant Walt Disney was found to be anti-union and anti-labor, aviator Charles Lindbergh was devoutly antisemitic, President Richard Nixon obstructed justice, writer Ezra Pound embraced fascism, and opera composer Richard Wagner was antisemitic.

The question is: how does the playwright, Pulitzer-prize-winning Suzan -Lori Parks, focus on the controversial personal life of the often-iconic past President, writer, and inventor –in a theatrically, artistic manner ? The solution, in the play entitled The Pursuit of Happiness, is to subvert the conventional, historical narrative of Thomas Jefferson-- by the addition of an additional contemporary narrative, in which there is a theatrical troupe (Good Company) that can comment on the main historical narrative--- while the actors double up by playing the contemporary roles as well as the historical roles.

Commentary is made on such issues as racism, class, privilege, sexism, misogyny, and so forth via this interesting concept and theatrical technique. The content of Jefferson’s life---replete with its idiosyncrasies, foibles, and hypocrisies--- is revealed very clearly through this directorial technique.

Director Timothy Douglas directs in a clean, crisp, spare, and unhurried manner. The play reminded me of Ronald Harwood’s stage play The Dresser in its “behind the scenes” look at a production, as well as the use of the same actor playing two roles that is reminiscent of the film The French Lieutenant’s Woman.

Mr. Douglas takes his time with the tiniest gesture or movement, and he focuses on the minutiae of the historical period contrasted with the contemporary style of the modern theatrical troupe of players. This mixture of the historical with the contemporary lends itself to the audience member being able to draw their own conclusions without the typical chronological narrative.

The acting in this production is top-notch with the highlights being three major monologues ----Josiah Bania as Thomas Jefferson reflects on his image and cajoles the audience to judge him, Renea S. Brown as Sally Hemmings reflects on her dehumanization,  and Ro Boddie as James reflects on the indignity of being a slave. Mr. Bania, Ms. Brown, and Mr. Boddie also bring out all the nuances of their dual roles as Mike, Luce, and Kwame, respectively.

Kimberly Gilbert and Jamar Jones added solid support to this unique play.

Interactive elements are added to the play to enhance audience involvement.

The scenic design of classically designed portals/arches continually being moved around to show various elements of Jefferson’s home and the contemporary habitats of the traveling troupe, are a compelling and eye-catching component of the scenic design by Tony Cisek. The concept of watching scenery moving into the stage space from the wings throughout the play is visceral and innovative. An eye-catching large tapestry of the Declaration of Independence is displayed as a backdrop.

Choreographer Dane Figueroa Edidi utilizes the minuet, the Virginia Reel, and the waltz to stunning effect aided by the composition and sound design of Matthew M. Nielson. The use of the violin throughout the play adds much instrumental physicality and texture to the proceedings.

Costume design by Danielle Preston is splendid and replete with vivid satins, silks, and vivid colors.

Lighting design by Jeanette Oi-Suk Yew is alternately subtle or sharply delineated when appropriate to the myriad moods of the play.

The fairly recent Diane Paulus’ production of the musical 1776 also casts our historical forefathers in a more aware and caustic lens and this insightful play (Sally & Tom) also does the same (as Jefferson is portrayed with warts and all).

In a startling ending, fireworks burst over the set celebrating our nation’s independence while the names of the unjustly enslaved are inscribed on the upstage scenic design.

New realizations about Thomas Jefferson and history will inevitably be heightened or reflected upon after seeing this provocative and sometimes polemical play. What has happened to the American promise of equal rights for all?

Running Time: Two Hours and forty-five minutes plus one fifteen-minute intermission

Sally & Tom runs through June 28, 2026, at the Round House Theatre 4545 East-West Highway, Bethesda, MD, 20814.

Photo credit- L-R Renea S. Brown and Josiah Bania in the Round House Theatre production of Sally & Tom.

More on Round House Theatre

Upcoming Shows

Sally & Tom

5/27 - 6/28/2026

Recent Articles

Regional Premiere of SALLY & TOM by Suzan-Lori Parks Will Come to Round House Theatre

4/29/2026

MA RAINEY'S BLACK BOTTOM and More Set For Round House Theatre 50th Anniversary Season

3/30/2026