Feeding Beatrice
by Kirsten Greenidge
Directed by Daniel Bryant
Repertory Theatre of St. Louis, Studio
November 1, 2019
Lorene Chesley, Nathan James
Photo by Jon Gitchoff
Repertory Theatre of St. Louis
The Rep is launching its Steve Woolf Studio Series for 2019-2020 with a World Premiere production that provides a new, semi-immersive experience to go along with a thought-provoking, thoroughly chilling play. Kirsten Greenidge’s Feeding Beatrice takes its characters, and its audience, on a mysterious, increasingly terrifying journey into a crumbling old Gothic house, and into a highly metaphorical exploration of several important topics in American life. As is usual for the Rep, the casting and production values are impressive, as well, with the house as very much a character in the show, and a particularly strong set of performances at its heart.
As I’ve written before, I’ll be the first person to say that horror shows aren’t generally my cup of tea. Especially around Halloween season, though, these kinds of shows are not uncommon in the St. Louis theatre scene. This year, the Rep’s offering is essentially the only one, and it’s more of the “psychological thriller” type than the “blood and guts” type, which makes it initially easier to take at least for me. Still, even though this isn’t a gory show for the most part, it’s still thoroughly creepy and insidious, as the horror kind of sneaks in slowly and then moves in to stay. Or, in the case of one particular ghost, never really left in the first place. The premise starts out simple enough, as new residents Lurie (Nathan James) and June (Lorene Chesley) spend some romantic time in the upstairs bathroom and share their hopes and dreams for the house. Soon, however, we learn more about the couple and the house itself, as June plans for a dinner party to impress the new neighbors, and as they make an unsettling discovery in that same upstairs bathroom. Another important aspect of the show is that while Lurie and June are African-American, their new neighborhood is essentially all-white, and has been for generations. So at first, when a teenage white girl, Beatrice (Allison Winn), shows up at their door to introduce herself, it doesn’t seem that unusual to them. Soon, however, they find that Beatrice is not just another neighbor. She uses a lot of outdated–and even offensive–terminology, and drops pop culture references that are decades old. She also likes June’s homemade jam, quite a lot, and is frequently asking for glasses of milk and dance lessons. She also talks about her parents, and how strong an influence they have been on her even though she declares herself to be different. She’s also very attached to the house, and especially concerned about who lives there, even though she claims to like June and Lurie. What ensues is a struggle of sorts between the couple and Beatrice, and also between June and Lurie in their different attitudes toward the house, the neighborhood, events in their past, and initially Beatrice as well. Also figuring into the story is Lurie’s younger brother, Leroy (Ronald Emile), a plumber and family man who has a lot of things June says she wants, but not in the way that she has imagined or that she perceived society to expect. There’s a lot going on here, and a whole lot of it is metaphorical, in terms of what the house means, what Beatrice herself stands for, as well as Leroy’s standing in opposition to that, and the struggle that Lurie and to a larger degree June face in dealing with their own disappointments, hopes, and dreams. It all plays out in a highly personal, increasingly creepy tale that’s dominated by a dark, insidious atmosphere and the developing power struggle between Beatrice and June.
The themes, as noted in the supplemental materials in the program from playwright Greenidge, director Daniel Bryant, and the Rep’s Artistic Director Hana Sharif, deal very much with the insidiousness and pervasiveness of racism in American culture, and how it affects generations of people, black and white, in different ways. It’s all played out in a classic horror style, with acknowledged echoes of Hitchcock, as well as elements of several classic ghost stories and other familiar horror tropes. It’s all metaphor, but highly personal as well, with thought-provoking situations and characters that can–and should–provoke much thought, discussion, and awareness that can–and should–contribute to real, lasting change.
The structure is inventive, and the characters impressively portrayed, with the two performances of Chesley as the determined, grieving, increasingly focused June and Winn as the initially cheerful, but damaged and increasingly controlling Beatrice at the center of the production. These two performances are the highlight here, as the struggle between these two characters is the center of the drama. There are also impressive performances from James as the well-meaning but increasingly baffled Lurie, and Emile as the level-headed Leroy. The metaphors are evident everywhere, but the relationships are what drive the story as a story, and the top-notch performances make that drama accessible and real.
Technically, the show is remarkably impressive, pushing the established boundaries of what has been done in this space before. The thoroughly detailed set by Lawrence E. Moten III brings the antique house to life vividly, and the set-up, in which audiences enter the “house” through a long hallway and sit in creaky old kitchen chairs, adds to the overall atmosphere and chilling effect of the show. Jason Lynch’s evocative lighting adds to this effect as well, as does David Kelepha Samba’s sound design, the dance choreography by Heather Beal and fight choreography by Erik Kuhn, along with the well-suited costumes by Mika Eubanks.
Feeding Beatrice is in some ways what you might expect, but in a lot of other ways, it’s inventive and new. It’s also a striking exercise in how to make a thoroughly engaging character drama from a largely metaphorical basis. From its ominous first moment to its chilling final moments, this is a show that’s going to make you think, as it should. Although it does call to mind some similarly themed movies in recent years–such as Get Out and Us–this story’s origins are older than those films, and the recurring of such themes emphasizes their importance. It’s at timely, thoroughly well crafted play that makes a memorable impression at the Rep Studio. It’s definitely worth seeing, thinking about, and talking about.
Lorene Chesley, Allison Winn
Photo by Jon Gitchoff
Repertory Theatre of St. Louis
The Repertory Theatre of St. Louis is presenting Feeding Beatrice in the Studio Theatre until November 17, 2019
