Lexingtonians know that anytime you see droves of people walking westward downtown, they are probably headed to Rupp Arena. Downtown dwellers might have blinked twice Sunday to see a large crowd streaming not toward Rupp but to the Lexington Opera House.
The large theater nearly filled to capacity for the Kentucky premiere, and one-night-only performance, of Gee's Bend, a play based on the real lives of a group of black women in Gee's Bend, Ala., who overcame prejudice and poverty by successfully selling homemade quilts to high-end retailers in the Northeast. Covering periods from 1939 to 2002, the production chronicles the life of one such quilter, Sadie Pettway, as critical moments in her life coincide with key events in the national struggle for civil rights.
Presented by Agape Theater Troupe in conjunction with the Roots and Heritage Festival, Gee's Bend intermittently incorporates traditional African-American gospel singing alongside the show's three-act narrative. Carefully measured direction, elegantly streamlined use of design elements and a cast of strong singers refining their acting chops are hallmarks of this educational and inspiring play.
With director Deb Shoss at the helm, the show's even, pleasant pacing easily sweeps the audience into the world of Sadie (Sylvia Howard), her sister Nella (Cathy Rawlings) and their mother, Alice (Carolyn Garner). The actresses deserve praise for cultivating a chemistry that smacks of everyday relatedness. Inside jokes peppered with well-meaning, playful digs weave throughout heavier-themed dialogues, humanizing the family's plight while underscoring the tight-knit relationships prevalent among black women in Gee's Bend.
Howard, who has appeared in several area musicals, gets a chance to flex her acting muscles, and the result is promising. Her performance defines the momentum of the show, particularly in the dark and violent events of the play's climactic second act. Her most effective moments are those of inner conflict — whether to drink from the whites-only fountain, whether to obey her husband and stay home or follow her conviction to attend the march on Selma. These are potent moments, critical turning points in Sadie's life, and Howard owns them.
Rawlings and Garner's harmony accompaniment during the musical components of the show are haunting and moving. As supporting characters, Rawlings gets the rare chance to play the comic relief. Her Nella is fun, goofy and endearing. Garner is full of practical wisdom and restrained encouragement.
Jeremy Gillett turns in a zesty, energetic performance as Sadie's suitor and later husband, Macon. Determined to own his own land and home, Macon cannot accept in Sadie what he has claimed for himself: the pursuit of freedom. When Sadie wants to hear the Rev. Martin Luther King Jr. speak, register to vote and march on Selma, Macon cruelly forbids her. Gillett's performance is solid, but Macon's transition to bad guy seems to come out of nowhere. Perhaps this is due to playwright Elyzabeth Gregory Wilder's emphasis on the female roles at the expense of others.
Drawing from the richly colored hues typical of the Gee's Bend quilts, Todd Pickett's set and lighting designs are carefully edited and executed, framing some of the show's more poignant moments.
Playful and heavy hitting, Gee's Bend is more than just a significant production for Agape Theatre Troupe, it is a fitting tribute to the women whose quilts and songs leave an enduring legacy of perseverance and hope.
