BWW Reviews: BLUE DOOR Explores Questions of Heritage and Identity at the Arden
On the night his wife leaves him, Lewis (Johnnie Hobbs, Jr.) struggles with insomnia and is forced to face the ghosts of his ancestors. Kes Khemnu portrays these ghosts, Lewis' male relatives from great-grandfather to brother, at many different stages of life, as well as a multitude of other characters. Though he is very skilled at solving mathematic equations, Lewis finds this problem of revisiting his heritage the greatest challenge.
The immediate catalyst for Lewis' wife's departure is his disinterest to going to the Million Man March, a peaceful gathering on October 16, 1995 in Washington, D.C. which endeavored to present to the world a different vision of the black man. His wife's true accusation is that he removes himself from his cultural history in order to avoid the personal pain of his past. At the play's start, Lewis, being very emotionally constrained, is not in touch with himself enough to feel a shared connection or even understand what his place would be in this experience. It is only after he has interacted with his ancestors that he learns to see both the oppression and victories they encountered in order to understand how have helped to defined him.
Direction by Walter Dallas shapes this remarkably moving and impressive performance. Johnnie Hobbs Jr. is able to make the script truly feel like stream of consciousness. His character's transformation is apparent throughout the play and yet the audience still gets the sense that Lewis has a long way to go. Kes Khemnu slips between characters with great ease while clearly differentiating them through changing speech patterns, postures, and facial expression. Each person portrayed is incredibly real. The audience doesn't need a reminder of which character he is playing, it is readily apparent in his body language and portrayal. The power of both actors' performances enhances both the comedy and poignancy of Tanya Barfield's writing.
Set design by Daniel Conway functions on a dual level, providing the availability for two unique spaces while also allowing for an easy shift between the space of the past and the present. These transitions are also aided by the lighting design by Thom Weaver.
What makes this play unique is playwright Tanya Barfield's ability to take a very unique experience and make it universal. Blue Door is not simply about an African American heritage, but globally about acknowledging your own past.
Blue Door runs now through March 21st at the Arden on the Arcadia Stage. For more information please see the official press release.
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