Stick Fly
by Lydia R. Diamond
Directed by Chanel Bragg
Repertory Theatre of St. Louis
February 18, 2022
Ron Himes, Ricardy Fabre, Amber Reauchean Williams, Bobbi Johnson, Blair Lewin, DeShawn Harold Mitchell
Photo by Phillip Hamer
Repertory Theatre of St. Louis
Stick Fly is one of those shows that’s a little hard to categorize in terms of “comedy” or “drama”. It’s a vivid, sometimes quirky depiction of a specific family with all their idiosyncrasies, and that can lead to moments of “laugh out loud” comedy, as well as compelling drama. On stage at COCA’s Berges Theatre, the Rep’s production of Lydia R. Diamond’s thoughtfully constructed play benefits greatly from well-paced direction and a memorable, first-rate cast.
This play centers around a well-to-do Black family who regularly spend time at the family’s generations-old house on Martha’s Vineyard, which has belonged to Joe Levay’s (Ron Himes) wife’s family for many years. Joe, a successful surgeon, has two sons, who have brought their respective romantic partners to the house to meet the family. Younger son Kent (Ricardy Fabre), called “Spoon” by his fiancée Taylor (Amber Reauchean Williams), is something of a disappointment to his father, having gone through a series of career aspirations, although now he’s excited about being a writer, with his first novel about to be published. He’s eager to introduce Taylor to the family, although she is insecure about what they will think of her and has various reasons why. Older son Flip (DeShawn Harold Mitchell), who seems to be his father’s favorite, is a plastic surgeon who has gone through a series of superficial relationships, but he’s somewhat nervous to introduce his new girlfriend Kimber (Blair Lewin), who is white. Also here is Cheryl (Bobbi Johnson), the 18-year-old daughter of the family’s ailing longtime maid. Cheryl, who grew up with this family, has her own revelations and secrets to learn and reveal, as does Joe, who finds himself frequently dodging questions about why his wife has not joined him at the house. Over the course of their stay, the characters reveal a lot about themselves, and struggle with issues of parent-child relationships, family expectations, societal expectations and limitations, the concept of what it means to be a responsible man and father, and a lot more. The way the story plays out sometimes is reminiscent of a sitcom, although there’s a good deal of emotional intensity as well.
I saw an excellent production of this play from another theatre company a few years ago, and my impression then was that there was a bit of an imbalance between Act 1 and Act 2, with most of the substance of the story being in Act 2. In this production, while Act 1 is still essentially a long introduction, its setup of the story that leads into the more intense moments of Act 2 seems to make more sense. My reaction this time might be because I’ve seen the play before this time, while it was new to me before. Here, it seems like a lot of that setup was necessary to build to the drama, as well as allowing for a more full depiction of the conflicts and backgrounds of all the characters. Also, a theme that resonated this time was something that was brought up in conversation about Kent’s book, which is the idea that a story becomes more universally relatable when it’s more specific to the culture, situations, and characters portrayed, rather than trying to focus more on broad general themes. That theme rings true with this play itself, and this production. Also, the pacing and direction helps to focus the story, and the actors play out their relationship dynamics with impressive credibility.
As for the actors, they are universally excellent, led by Himes in a compelling, complex performance as the sometimes demanding, sometimes evasive Joe, who sets a difficult example for his two very different sons. Fabre brings a lot of sympathetic energy to the role of Kent, who in many ways is the play’s emotional center–and his scenes with the also excellent Williams as the intellectually gifted, scientifically curious, but insecure and emotionally volatile Taylor are a highlight of this production. Mitchell is also convincing as serial charmer Flip, who is matched in energy and chemistry by Lewin as Kimber. Johnson as Cheryl is also strong, navigating her character’s significant emotional arc with clarity and strength. This is a true ensemble cast, with all the actors playing off of each others’ energy especially well, to convincing effect in both the comic and dramatic moments.
Technically, the production also impresses, with set designer Kyu Shin providing an excellent backdrop for the action with a fully realized, detailed house that looks like something someone could actually live in. There’s also great work from lighting designer Amina Alexander in setting and maintaining the mood of the show, as well as helping to differentiate the “outdoor” scenes from the rest of the house set. Costume designer April M. Hickman and sound designer Twi McCallum also contribute to the overall authentic effect of the production.
Stick Fly is another memorable production from the Rep. It works especially well in the new COCA space that the Rep has made excellent use of this season. It’s also a strong showcase for its memorable themes, thoughtful subject matter, vividly defined characters, and excellent cast.
Ricardy Fabre, Amber Reauchean Williams, Ron Himes, DeShawn Harold Mitchell, Blair Lewin
Photo by Phillip Hamer
Repertory Theatre of St. Louis
The Repertory Theatre of St. Louis is presenting Stick Fly at COCA’s Catherine B. Berges Theatre until March 6, 2022