The title suggests a beautiful flower and you don't have to look too far before being reminded of a flower's symbolism for life, growth and pretty things. How is it then KC Melting Pot's production of Baybra's Tulips, a new play by Kansas City's own Lewis Morrow, somehow represents the antithesis of life and beauty? Its steeped in resentment, unforgiveness, an unwillingness to change and grow and a refusal to accept others may have. Nonetheless, just as much as the titular blossom - this play is gorgeous. An amazing cast (more to come), a superb set and lighting design as well as carefully picked music makes this a great, professional production and worthwhile evening of theatre. Yet, it is the story, rippled with devastating and triggering emotion and a craftsman-like structure that would make this the same worthwhile show if played to someone playing the spoons with cardboard boxes as furniture. We are trapped by the words, a long-winded expedition in which all the main characters have so much to say and never ever has so many words felt absolutely needed as they do in Morrow's flawlessly written ode to the oft overlooked trials of sibling relationships.
The play opens with Baybra sneakily emerging form a pantry to surprise his brother-in-law, Charles (Chuckie Ray all damn day!). What we know within seconds is Charles is happy, sincerely or for show, to see Baybra while the latter doesn't give one damn about the other. We don't know what is the cause for tension immediately but we do know there is tension and from the second the audience understands that, they are never released. As the story progresses we learn that Baybra has recently been released from prison after a ten year stint. With seemingly few places to go, his older sister Tellulah and her husband (Charles) allows him to stay with them. The web of character relationships is complex to explain but easy to figure out while watching. Charles is formerly a good friend of Tellulah's and Baybra's father who has passed. He is also someone Baybra used to admire. Now, he is someone Baybra loathes as he is fixed on finding out if Charles is the good deacon he presents himself as or if he's a danger to Tellulah. While Baybra looks for assistance to dig for the truth from his long lost love and baby-mama, Vanessa, also Tellulah's best friend, he finds himself alone in his search. See, everyone has moved on from whatever life was like when Baybra was locked up. And although Baybra has every reason to do the same, including a young daughter who is evidently willing to accept her father, he simply cannot let go of the past. Yet, I found myself wondering is this play really about moving on? Is it really about forgiveness? Is it really about revenge. No, I don't believe it is. Sure, those things are vehicles that take us on a scenic route of what Morrow is intending us to understand; which is we weren't meant to withstand a life of mental and emotional torment and when we do, we are damaged. Not ruined. But damaged. And when this trauma is normalized, the consequences are, in a word, frightening. Baybra is f----- up and as the saying goes, hurt people hurt people.
At the end of the first act, the audience is left gasping and every single person was ready for a break. This play is heavy. It is triggering. It is great theatre but it cannot be overstated, it will weigh you down and I believe it was absolutely intentional. Every patron in the lobby during intermission was hydrating and breathing heavy as if they just worked out. In a sense they did and although a break was needed, everyone was also in a rush to see the second act and as it continued, we were introduced to a few twists in the structure that made it a refreshing second lap. Brilliant and beautiful flashbacks and fast-forwards really carry on the momentum the first act built up and we find ourselves in the middle of a mystery. I won't give away what that mystery is, but Baybra's is no longer as concerned with Charles as Tellulah, his best friend Vince, and Vanessa are concerned with what Baybra has done . . . or suspected of doing. The culmination is an epic final sequence that doesn't answer all of the questions the audience will surely have, nonetheless is the the perfect and only ending this story could have. Without a doubt, I expect some to take umbrage with the ending - again, I will not spoil it - but it is a fast, abrupt and steep dive into finality. Did the playwright find enjoyment in leaving us hanging? I honestly don't believe so. This is not The Humans. Yet, when it was all said and done, I felt the story had been told in its entirety and anyone wanting more may have misunderstood the point of it all. This was, however, a phenomenal play and although the dialogue is what makes it so, the performances are what makes this production special. There are two standout performances, Jabrelle Herbin as Tellulah and George Forbes as Charles.
Herbin, undoubtedly had the most complex and heaviest lifting in this play. If you asked someone immediately after seeing the play who the main character was, they would say Baybra. If you thought about this for ten extra minutes, they might just change their mind and say Tellulah. Herbin never reveals Tellulah's most sincere thoughts; I don't think Tellulah knows her own thoughts. She simply wants life to be what it is, she's adapted to the bumps and bruises (no pun intended) and has found complacency. When her brother disrupts this, she goes from a sweet woman to even more volatile than Baybra. And just as dangerous. Herbin delivers the most gut-wrenching lines of the play that evoked the most audible reactions from the crowd and she does it in an award worthy performance. Forbes, also transforms into his character and I've never hated a character so much while also feeling so sorry for them. Forbes gives his character the most physical attention with his facial expressions and mannerisms; he also turns in the most emotionally charged performance. In supporting roles, Markeyta Young nails Vanessa, who seems to be the only sensible and reasonable character in the play. A conflicted friend and former lover, she is caught in the cross fire once again, simply wanting the best for both Baybra and Tellulah and although wanting to help, she seems frustrated that she has to. Young gives this character a sincerity all too familiar with friends left standing besides burdensome friends.
Her girl-talk scene with Tellulah is much needed and one of the highlights of the play. Anaya Morrow as Avery, in my opinion was underused. She could stand to be in another scene or two, yet in every scene she was in she completely landed her role, as she professes, of the old soul. Donald Paul Jones, III as Baybra's best friend Vince is . . . interesting. He does a fine job but was the only character that had peculiar acting choices. I'm assuming they were indeed acting choices and not directorial considering the other actors. Nothing he said was particularly funny when considering the text but was delivered in a way that seemed to solicit laughs. Therefore, Vince is either just a silly fella' or Jones played it up a bit. Again, it works and his role is needed. Lastly, as the man of the hour Baybra, none other than Lewis Morrow - yes the playwright, took the reigns. I sat down during pre-show and heard a couple in front of me, while looking at the electronic program, exclaim "oh good he's in it too" as they couldn't decide if Morrow is a better actor or writer. I wasn't as conflicted, he is by far a better writer. Not because he's not a good actor, because he is, but because he is an insanely gifted writer. However, as Baybra, Morrow leans and sways and stomps around with precision as a recently paroled felon. He certainly looks the part, he's a large man and no one in the audience disagreed with Charles' claim that Baybra looks like a bull. But what stands out most about Baybra, which Morrow delivered in a way that I'm not sure anyone else could have, is the seemingly infinite ticks he exhibits. He slaps himself. He scowls. He nods his head and spins in circles. He menaces and yells. Somehow, he's charming, but this could be our natural inclination to root for our brothers who are free once again. All this to say, Morrow's timing of all his idiosyncrasies is balanced, nuanced and effective. Baybra is not as complex as Charles or Tellulah but there were things I'm sure the playwright was able to deliver specifically as envisioned.
Baybra's Tulips has funny moments, but very few are genuinely funny; most funny moments come from our tendency as black people to laugh to keep from crying. And if you are someone who cries, this play will make you cry. It will make you uncomfortable. It will rip you apart. It is heavy. I'll continue to say that. It may be the type of play you can only bear to see once but without question you have to at least see it because there's nothing like it. No, this play isn't perfect and no play is. The timeline gets a little blurry - I'm not sure how much time has passed in certain scenes and there are lines the playwright could reconsider, namely the ones where Baybra seems to repeat himself in a demonstration of his machismo. However, these minor things cannot take away from the fact the piece is, in a word, magnificent.
The set is wonderfully designed by Doug Schroeder, from the walls and trim to the cereal boxes and menus on the fridge. The sound design by Dennis Jackson, is also important as it tells us the most about the ages of the characters. Baybra and Tellulah who by my measure are close in age, also have to be late 30's based on the mix of old school and soul music being played. Nicole Hodges Persley as director does a fantastic job moving the pieces around and making sure such a word-heavy play flows speedily without being rushed. The play runs a little over two hours and hats off to KC Melting Pot who provided an incredibly safe and comfortable theatre experience on the heels of a pandemic. To see it, patrons must be vaccinated or show a negative covid test within 48 hours leading up to the show and the theatre will NOT make exceptions. I witnessed a couple people having to leave because they forgot their card. The limited seating capacity also provided safe distancing. This show plays four more nights, September 22 - 25 all at 7:30 pm.
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