Review: Book-It's RETURNING THE BONES Mesmerizes with Vivid Storytelling

from Book-It Repertory Theatre.
Photo credit: John Ulman
Dear Readers, when I hear those three potentially terrifying words "one person show" I imagine a self-indulgent ride through self-aggrandizing memories that begin with the cliché "Oh hey, I didn't see you there...". But Gin Hammond's "Returning the Bones" currently playing at the Erickson Theatre from Book-It Repertory Theatre could not be further from that stereotype with an absolutely mesmerizing piece that demands to be seen.
Unlike most Book-It shows, this is not adapted from a book, although Hammond has plans to turn the show into a book. The show draws not from Hammond's life but from her Aunt's, Dr. Carolyn Beatrice Montier (a.k.a. Bebe) as she grows up in Texas in the 1930's and 40's. We follow Bebe's incredible life dealing with bigotry and racism in the south from the perspective of a family in the position to help further the cause of equality. Her Father was a Doctor and opened his own hospital (along with many other businesses) as there was no option in that area for black people in the region. Bebe would work alongside her Father in the hospital learning all she could from him so it's no wonder she would grow up and become a Doctor herself. However, her path to medicine was a rocky one and takes her on an incredible journey meeting people such as James Baldwin, Eleanor Roosevelt, and even the Queen of England. But ultimately her journey leads her to decide which is more important, the needs of her people or herself.
The show may appear simple with just an elegant bare platform and a few blocks as the playing area, but the feel of the piece couldn't be more vibrant. The superb lighting from Reed Nakayama helps as does the fantastic staging from Jane Jones keeping the story clipping along. But the world truly comes to life thanks to Hammond as she expertly paints a picture with just her words and herself. The myriad characters who make up this history from her Aunt Bebe and all the rest of her family, to the rest of the town, to her fellow students and the luminaries she meets all come from Hammond with not one ounce of confusion as to who is speaking at any given moment. On the contrary, as she often has conversations between two or more people at any given time, she never appears to be talking to herself but rather we can practically see each and every one of these people spring from her imagination and portrayal. Hammond is a consummate storyteller.
So, what we have is an incredible journey that will have you laughing one moment and crying the next, performed by a storyteller who's not only brilliant at the art but also highly invested in the subject matter. And so, with my three-letter rating system, I must give Book-It's production of Gin Hammond's "Returning the Bones" a must-see WOW. And as this is a shorter run than Book-It's usual fare (only three weeks), be sure to get out there to see it now!
"Returning the Bones" from Book-It Repertory Theatre performs at the Erickson Theatre through April 14th. For tickets or information contact the Book-It box office at 206-216-0833 or visit them online at www.book-it.org.
From This Author - Jay Irwin
Born and raised in Seattle, WA, Jay has been a theater geek for years. He attends as many shows as he can around the country and loves taking in new exciting... (read more about this author)

January 7, 2023
Dear Readers, you know I find one person shows to be problematic. Often, they get into maudlin territories and end up being someone else’s therapy on stage. So, I was dubious when Seattle Shakespeare Company announced Debra Ann Byrd’s one woman show “Becoming Othello: A Black Girl’s Journey” to start off their 2023. As Byrd stepped onto stage at the Center Theatre, I took it as a good sign that we didn’t get the cliché, “Oh, I didn’t see you there” as if we’d intruded on her private moments. Instead, we got not words but song and movement offering up prayers to her ancestors who got her to where she is today. And then what followed was 90 minutes of a raw, well-paced, well-constructed look into this amazing woman who broke down the barriers erected in front of her by centuries of selfish oppression. Also, what followed was a hell of a way to start off 2023.

January 6, 2023
Dear Readers, I don’t need to tell you, it’s been a crazy year. Many theaters just coming back to life or ramping up again post pandemic. But even with all the chaos, Seattle still comes up with some amazing shows from theaters large and small. Here’s a list of my personal picks for outstanding shows and performers from the past year, 2022.

December 17, 2022
More. That, Dear Readers, is the watchword the creators of the stage adaption of the 2001 Baz Luhrmann film, “Moulin Rouge!”, subscribed to. They threw in more sparkle wherever they could in this stage musical, currently playing at the Paramount. Unfortunately, they also threw in more songs, more lights, and certainly more bass in this spectacle that loses the heart and charm of the original in favor of assaulting the audience’s senses.

December 4, 2022
Dear Readers, we all know that travelling during the holidays can be a nightmare. Delayed flights, family drama, not to mention dealing with others attempting their own travels. But as frustrating as it can be, what’s not frustrating is the delightful cast of characters created by Maggie Lee in her play, “The Flight Before Xmas”. A wonderful and heartfelt diversion from the usual holiday fare currently playing at West of Lenin from Macha Theatre Works.

December 1, 2022
Charles Dickens’ “A Christmas Carol” is an enduring classic. We all know this. It’s never been out of publication since its first publishing in 1843. It has spawned numerous movie, TV, and stage adaptations from the serious to the Muppets. Now the Seattle Rep has come along with a World Premiere of Samantha Silva’s “Mr. Dickens and His Carol”, based on her book of the same name. Taking a supposed look at the creation of this classic tale, this historical fiction is heavy on the fiction and light on the history, cutting a wide swath with its poetic license about the author and turning him into a pompous buffoon in a story and a production in desperate need of an editor.