Review: BLOOD AT THE ROOT at Open Fist Theater Company

Dominique Morisseau’s BLOOD AT THE ROOT is a blistering look at race, prejudice, and the complexity of human relationships. Things are sparked one hot (HOT) day in October at Louisiana’s Cedar High when Raylynn (Nychelle Hawk) decides to run for class president, the first Black student to do so. This decision empowers her to take another step on that hot (HOT) October day. There’s a tree called Old Devoted in the schoolyard and it has been deemed a spot where only the white students congregate. Well, Raylynn decides she’s going to move in on that space, joined by two Black friends. The next day three nooses are found tied from one of Old Devoted’s branches, hanging like vines, engulfing the entire school in controversy and turmoil.

The symbolism is pointed but most of the white students (not to mention the faculty, who don’t want any scandal) claim it’s just a prank, including Raylynn’s bestie, Asha (Caroline Rose), a sassy white girl who thinks she’s Black. Meanwhile, impassioned journalism student Toria (Grace Soens) spars with harried biracial student-paper editor Justin (Azeem Vecchio), who wants to focus on lunchroom menus versus actual news. Meanwhile Raylynn’s football player brother, DeAndre (Nicholas Heard), and new kid in town, quarterback Colin (Jeremy Reiter), find themselves caught up in another kind of crisis.

Based on the true story of the “Jena Six” in 2006, Morisseau’s script gives viewers complex characterizations amid complex issues. While it could be preachy, it is provocative, presenting powder keg topics without supplying answers. Nothing is easy, including solutions, and no one is a full-on hero nor a full-on villain. Prejudice reveals itself in many forms: white doesn’t necessarily mean racist just as black doesn’t necessarily mean unbiased. The true colors (so to speak) of the students come out, both black and white, and they find that the reality is made up of shades of gray.

Michael A. Sheppard guides his players with tight, creative direction. The cast is all sterling, from the leads to the chorus, especially Soens, who is fervent without being strident; Rose, who milks humor and pathos out of a character who could have been stock; and the lanky Reiter, who brings a goofy charm that he makes look effortless.

The scenic design by Joel Daavid with assistance by Maya Gonzales is made up almost entirely of Old Devoted, a stunning tree draped in Spanish moss and covered in rope to create its bark. Its artistry makes a statement that underscores the themes of the play as well as the horror of our history, especially that of the Deep South.

The most shocking—and also the least surprising—aspect of the script is its timeliness. This event took place 17 years ago, yet it is still relevant today as it was at the beginning of the last century. Things have not changed enough. This play is important and it will be important until it’s a relic of past times, when audiences will finally look at it wondering how we were ever in this space, and for how long.

Photos by Jenny Graham

BLOOD AT THE ROOT is performed at the Atwater Village Theatre, 3269 Casitas Avenue, through October 28. Tickets are available at OpenFist.org and by calling (323) 882-6912.

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