August Wilson's Women

Director Lorna Littleway's adaptation of scenes showcasing the strength of August Wilson's women has polish and intelligence. It is not an evening of monologues but of scenes, using an energetic cast of five, including two men. A program sheet lists each play, its decade, and the overall thrust. For example: "1920s—'Ma Rainey's Black Bottom': Set in a Chicago recording studio, Ma Rainey shows why she is the boss!" This helps with orientation, but not all the excerpts are equally strong, and the evening lacks an arc, except for the march of decades.

Littleway uses Nuyorican Poets Café, with its exposed brick walls and relaxed vibe, creatively, having characters enter through the house as well as from the wings. Costumes by Ali Turns support the quick mood and time shifts well, particularly the showy apparel for Ma Rainey.

The cast gets to strut its stuff and show its love of the roles. Jannie Jones charms as 300-year old Aunt Ester in "Gem of the Ocean" and belts powerfully as Ma Rainey, though in other scenes she hams a bit. Thursday Farrar demonstrates strength and aching vulnerability, particularly as Bernice in "The Piano Lesson" and as Vera in "Seven Guitars." Kimberley Dalton Mitchell does well with mostly sassy roles. Jermil A.C. Mangan uses his deep voice to ground his work, and Michael Jones shows an innocence in his younger men's parts.

Unfortunately, by the time the evening gets to scenes representing the '70s, '80s, and '90s (from "Jitney," "King Hedley II," and "Radio Golf"), the "powerful woman tells weak/no-good/devil-may-care man what he needs to do" motif feels old, less interesting than in earlier scenes. Nevertheless, it's a treat to hear some of Wilson's best poetry shining like jewels, freed of exposition and time, portrayed by sensitive actors.


Presented by Juneteenth Legacy Theatre at Nuyorican Poets Café, 236 E. Third St., NYC. March 25–April 10. Thu.–Sat., 7 p.m. (212) 780-9386 or www.nuyorican.org. Casting by Lawrence Evans.