Blood at the Root at Different Strokes
Rhythm is at the core of Dominique Morisseau’s Blood at the Root, currently ready to be experienced by all open hearts — and hopefully a few temporarily closed ones — via director Stephanie Hickling Beckman’s excellent staging at Different Strokes.
That overarching theme is most consistently felt through the instrumental hip-hop tracks that play throughout the Jena Six-inspired drama, starting with the full, talented, multiracial ensemble subtly bouncing to a Dirty South beat while commenting — impressively in time — on the extreme heat. Imagery from Spike Lee’s Do the Right Thing soon comes to mind as this group of Louisiana high schoolers navigate the challenges that come from an especially hot day, particularly in a racially-charged environment just waiting for a spark to light its long-dormant fuse.
The flame is stoked after Raylynn (the captivating Sharvis Smith) sits under what’s essentially the campus’ “Whites Only” tree and breaks tradition by running for class president, disrupting the toxic metronomic pace that’s existed between these people of different colored skin for years.
The “prank” response by her white counterparts? Hanging nooses on the arbor, conveyed through stage magic by the gifts of set designer Brittany Long and lighting designer Caroline Daniels. And before long, Raylynn’s brother De’Andre (Melvin AC Howell) has gone toe-to-toe with white transfer student Colin (Daniel Henry), part of a provoked, group beatdown by multiple Black students that shows precisely how hypocritical local school officials and law enforcement are when it comes to doling out punishment along racial lines.
As the student body and community fall increasingly out of sync, intriguing sub-tempos emerge between Raylynn and her Black-sounding — for understandable reasons — friend Asha (Lauren Otis, a boisterous delight); Raylynn and Colin, who seemingly had a nice friendship going until additional friction arises; and Black school newspaper editor Justin (Righteous Luster) and his overly ambitious reporter Toria (Jamie Knox), whose inability to follow instructions leads to frequent fireworks between the two. Vianna Isbister also shakes things up as a solo force in a pair of small but impactful antagonistic roles.
A few masked protests signify more synchronicity — albeit anonymous — than these interactions suggest, and stir meaningful discomfort through their lengthy repetitious chanting. But no moment is as impactful as Howell’s metaphorical solo dance of short, seemingly painful, yet also empowering muscular moves at a critical juncture for De’Andre. It’s a sight to behold, choreographed by the sinewy artist himself, and takes Hickling Beckman’s already masterful command of timing to new heights.
The final symphonic movements deserve to be experienced rather than played here, but based on the production’s prior dire straits, it’s safe to say that more emotionally-rich — and literally musical — moments await on Blood at the Root’s journey to the curtain. Do yourself a favor and listen to the notes yourself in the intimate confines of the Tina McGuire Theatre. You won’t be disappointed.
Blood at the Root runs through Sept. 10. Different Strokes! Performing Arts Collective is housed in the Tina McGuire Theatre within Asheville’s Wortham Center for the Performing Arts. Visit differentstrokespac.org for tickets and details.
(Photo by Carol Spags Photography)
