Review: The Gift Theatre's HAYWARD at Steppenwolf Theatre

The World Premiere of Hayward is a remarkable example of how art can bring grief, anger, imperfection, and family to the stage. Drawing on elements of Hamlet and Electra, playwright Netta Walker infuses her poetic script with emotion and humanity, while the company brings energy and passion to this thoughtful production by the Gift Theatre.

The Hayward family is mourning the loss of husband and father Tony (Watson Swift). His wife, Maria (Shanesia Davis), and their children, AJ (Gregory Fenner), Leila (Sydney Charles), Eric (Victor Musoni), and Luna (Ireon Roach), are each grappling with their grief and unresolved emotional trauma of life as a Navy family. The story takes a supernatural turn when Luna begins seeing her father’s ghost. Hayward offers an honest portrayal of a grieving family forced to confront old wounds, ultimately finding their way back to one another and discovering strength in the wake of a life-changing loss.

Walker and director AmBer Montgomery prove to be a dynamic duo in bringing Hayward to life. Together, the two artists capture the complicated nature of grief, from its exhausting emotions to the bizarre and sometimes inappropriate humor that can emerge in the face of loss. The family dynamic adds another powerful and relatable layer to the play, brought to life with skill by its cast.

Roach is captivating as Luna, a young woman with a deep, supernatural connection to her late father. Her performance is further strengthened by the support she offers her siblings and her determination to stand up for her family, often in opposition to the pious and frustrating Pastor Johnson (Alfred Wilson). The sibling dynamic is the highlight of Hayward. Roach, Musoni, Charles, and Fenner beautifully balance individual character development with the support and banter they share. Some of the funniest moments come when the siblings curse at one another, only to immediately apologize when their mother yells, “Language!” Yet the humor never overshadows the heart of their relationships. The four actors also deliver moving scenes of vulnerability and grief, revealing the deep love and unwavering care which hold the family together.

Another powerful performance comes from Davis as the family’s matriarch. Davis delivers a multidimensional portrayal of a woman grappling with the loss of her husband while attempting to support her children. At the same time, she does not shy away from Maria’s flaws, particularly her struggle to acknowledge her children’s deteriorating mental health.

Sydney Lynne’s scenic design is breathtaking. The remarkable set change from the funeral service to the Hayward family’s home within the first 20 minutes of the play is worthy of thunderous applause. G. “Max” Maxin’s lighting design and Danielle Brown’s sound design heighten the supernatural elements of the production, keeping the audience on the edge of their seats. Saawan Tiwari’s costume design effectively captures each character’s personality, while May Vinice Pretiss’ action-packed fight choreography commands the audience’s attention as tensions rise and conflicts unfold.

What makes Hayward so effective is its willingness to embrace the messy reality of grief. The Hayward family argues, laughs, hurts, and struggles to understand one another, yet their love remains at the center of it all. The cast brings an incredible amount of heart to these relationships, supported by a production balancing the supernatural with the deeply personal. In the end, Hayward is a moving reminder that healing is not about being a perfect family, but about finding a way to keep showing up for one another.

Hayward performs until November 22 at Steppenwolf’s 1700 Theater. Run time is 90 minutes with no intermission. Tickets and information are found on The Gift Theatre and Steppenwolf Theatre’s website.

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