Sunday, Feb. 07, 2010

Jubilee's 'From the Mississippi Delta' is powerful, uplifting

Jubilee Theater's 'From the Mississippi Delta' is a beautifully staged story of triumph.

By PUNCH SHAW

Special to dfw.com

FORT WORTH -- When Klansmen burned a cross in her front yard, Endesha Ida Mae Holland just used it to warm herself against the cold.

That tells you everything you need to know about the indelible spirit of From the Mississippi Delta, a beautifully staged and surprisingly funny theatrical version, now at the Jubilee Theatre, of Holland's memoir of that title.

Holland came of age in Greenwood, Miss., in the 1950s and 1960s. Her young life was scarred by sexual abuse, poverty, racism and tragic loss. It is little wonder that, on becoming a woman, she ended up in the dead-end life of a prostitute.

But Holland ultimately found hope, and a better life, in the civil rights movement of the 1960s. She traded walking the streets for marching in demonstrations and took control of her destiny by earning a Ph.D. and becoming a writer and educator.

It is a compelling story, so it is no surprise that it makes for great, sometimes heartbreaking, theater. But who would have thought that Holland could also bring so much humor to the proceedings?

Much of the credit for making such a difficult story go down so easy goes to the actresses -- Charlet Dupar, Evette Perry Buchanan and Yolanda Davis -- and their director, Phyllis Cicero.

Each actress brings different strengths to roles that require them to present multiple characters from Holland's life. Davis artfully realizes the life force of the wise matriarch, Aunt Baby. Buchanan is especially hilarious when she portrays some of the men in Holland's world. And Dupar displays an exceptional vivacity and gift for movement in her characterizations.

Cicero has done an absolutely masterful job of taking a script that could be stagnant and talky and making it amazingly alive and busy. And some of her staging touches, such as the use of silhouettes, are just brilliant.

The set design, by Michael Skinner, is simple but inspired. A large quilt hung at the back of the stage is constructed from squares representing the play's sections. When we move into Holland's college years, for example, the square depicting a diploma and mortar board is highlighted.

The only flaws in Friday's opening night performance, seen for this review, were a few missed lighting cues.

But overall, this is an uplifting, joyful and well-acted production that pulsates with passion and talent. If you have seen this play, you will know what I mean when I say that it blows smoke rings around other shows of this type.

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