By Lonnie the Theater Lady
Layton Gray’s “Feed the Beast” is inspired by the shameful study conducted by the U.S. Health Service at the Tuskegee Institute from 1932-1972. Approximately six hundred African American men, 399 of whom were suffering from syphilis, weren’t told of their condition, and cruelly were denied treatment for it. They believed they were in a special government healthcare program that provided high quality care to cure their “bad blood.”
The play opens as young Dr. Phillip John (Milton Lyles, ll) enters his spartan doctor’s office at the Tuskegee Institute. He is optimistic that this, his first job out of medical school, will produce significant medical findings to lead to better medical care for syphilis patients. He speaks aloud the contents of a letter he’s writing to his mother, expressing his excitement due to the importance of his work (The frequently spoken letters to his mother is an effective technique used to reveal his innermost thoughts).
Ellis (Thaddeus Daniels), the long-employed janitor at the Institute, is the first person the doctor meets. Ellis’s wisdom becomes an invaluable resource guiding the doctor through his interactions with his patients over the forty-year span of the study.
One by one the patients enter the office. Pee Wee (Jamar Arthur), Deacon (Dontonio Demarco), Clarence (Layon Gray), Zeke (David Roberts) and Benny (Reggie Wilson). Their treatments involve drawing blood and sometimes painful spinal taps.

The play relies on storytelling, and character development, with a loose plot that addresses details of the cruel medical protocol that is implemented. The characters reveal their present circumstances and their dreams for the future. They are all sympathetic, authentic characters. The audience is drawn into the courage, hope and optimism they display. Their interactions with each other are surprisingly playful and often humorous, despite their illness. This much needed comic relief humanizes the characters. They’re touchingly protective of each other. It’s impossible to dislike any of these well-developed characters.
Lyle’s Dr. John morphs from a hopeful young doctor, blindly following orders, to a man struggling with his own immorality, and finally being racked with regret and guilt. Lyles executes his struggle authentically. His well-portrayed humanity is deeply touching.
Daniels is a warm, caring, wise Ellis. His personable demeanor is likeable as he shows moments of both strength and vulnerability. Everyone could benefit from having a loyal, caring friend like Ellis.
Layon Gray’s Clarence is a man pursuing a big dream to go to California and act in movies. He frequently and (unintentionally) comically performs a self-written monologue for his friends who kindly indulge him and encourage him, as they inwardly cringe. Near the end of the play Gray’s raw, emotional, determined monologue lands a stunning punch. Wow! Memorable!
Arthur plays a likeable, sweet, immature Pee Wee. His modest dream is to sometime fly in an airplane. The heart wrenching depictions of his hallucinations are tangibly real. One can almost see the image of his long-ago deceased pet rooster, Mr. Jangles, as he lovingly cradles him in his arms.
Demarco embodies the spiritual, pure of heart Deacon, who dreams of having his own church and congregation someday. His heartfelt sincerity illuminates his countenance.
Wilson’s beleaguered Benny sputters impatiently when the others often tease him about being henpecked. Wilson delivers a deeply moving reaction to the death of his beloved wife.
Roberts flawlessly manifests Zeke’s skepticism, frustration and intelligence.
This remarkable cast deserves to be congratulated on their impeccable commitment to their roles.
Award winning playwright Gray not only wrote, but also directs, choreographs, and acts in the show. All aspects are achieved with impressive results! Gray said that “Feed the Beast” is, “by far the most important piece of theater that I have ever written.”
The characters in this heartbreaking piece highlight some of the best, most courageous, resilient traits of humanity juxtaposed with some of the cruelest, most depraved and immoral parts. Its powerful, impactful scenes should motivate people to not only speak out against inhumanity targeting vulnerable groups but to act in every possible way to combat the wave of inhumanity that we’re currently witnessing in this country.
“Feed the Beast” is highly recommended not only for the brilliant performances and stunning historical value, but, also, it’s relevance to the current political situation is deserving of your attention.
LTL
“Feed the Beast” runs until February 23rd at The Public’s Helen Wayne Rauh Rehearsal Hall – 621 Penn Ave., Pittsburgh, PA 15222. For more information, click here.