Detroit Public Theatre's 'Confederates' examines struggles of Black women in America
The glaringly obvious problems inherent to slavery are shown through the eyes of Sarah, who has lived her entire life on a plantation and has had enough and decides to take action. Her story runs parallel with that of Sandra, a modern-day, tenured professor at a mostly white private university; through Sandra's tale, we zoom in on the great cracks that remain in today's society when it comes to Black women.
Sarah's story is the more straightforward: Bright and savvy enslaved woman chooses rebellion – will she succeed? It's incredible how much mileage Morisseau gets from this, and how much new material she mines from a format even the script itself acknowledges audiences have seen many times.
Sandra's is something more complicated, for she appears to 'have it all.' An obviously free woman with a highly respected career, she finds herself locked in another kind of cage. A cleverly done mystery is woven through her side of the plot, and you're never sure whether it will even be solved or not. Is it solved in the end? Is the solution really the point?
See also: Detroit Opera's joyful 'Rinaldo' a whimsical, wonderful delight: Review
More: 'Ma Rainey's Black Bottom' at Detroit Repertory Theatre delivers a solid performance
In weaving this double narrative spanning more than a century, Morisseau peels back layer after layer on the struggles of Black women in America and their 'damned-if-you-do' existence that, at the root, hasn't fundamentally changed nearly as much as one might believe. Systemic issues that constantly hold them back from true freedom or greatness remain in place, they just exist in more insidious ways in the modern era.
Skillfully directed by Goldie E. Patrick, the two leads are impeccable. As the exasperated Sandra, Whitney Johnson delivers steely elegance and unleashes, simmering rage. As the fiery Sarah, Rebecca Rose Mims gives a raw, knowing, quippy performance.
Both women stand on the shoulders of a uniformly quality ensemble. The dynamic Vanessa Mazhangara pulls off two different roles – an opportunistic slave and Sandra's treacherous coworker – with such skill that it feels like two completely different actresses. The hysterical Meredith Parker steals scene after scene with a wildly campy double performance, particularly memorable as the master's clueless daughter in the Civil War scenes. (Her shrill, plaintive wails are still ringing in my head.) And Will Street, a familiar face in Detroit theater, shines brightly with his layered work as Malik, Sandra's combative student, and Abner, Sarah's brother.
Moníka Essen's practical set is simplistic but serves the action well. A beautiful touch is the cotton plants that wrap around the stage and walls on both the past and present sides, indicating that the true struggle has not yet ended.
As with the Black experience in full, laughter, tears, and abject horror stroll hand in hand in 'Confederates.' It's a thrilling time in the theater.
'Confederates' runs through March 16 at Detroit Public Theatre, 3960 3rd Ave. Tickets are $49 and can be purchased at detroitpublictheatre.org.
Contact Free Press arts and culture reporter Duante Beddingfield at dbeddingfield@freepress.com.
This article originally appeared on Detroit Free Press: Detroit Public Theatre's 'Confederates' examines struggles of Black women
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