by Michael Buzzelli
On a Broadway stage in 1957, Wiletta Mayer (Shinnerrie D. Jackson) prepares to trod the boards once more for the temperamental and unpredictable director, Al Manners (Joseph McGranaghan), in “Trouble in Mind.”
In the fifties, life for Black actors wasn’t easy. Wiletta accepts the part of the maid in a play set on a plantation. She meets John Nevins (Vandous Stripling, II), the young man who will be playing her son in the show. They form a fast friendship wherein Wiletta doles out unsolicited advice.
Slowly, the other actors trickle in, Mille Davis (Hope Anthony), Sheldon Forrester (Garbie Dukes) and Judy Sears (Emma Brown Baker). They are joined by Manner’s right-hand-man, Eddie (Anthony Marino) and the theatre’s custodian, Henry (Martin Giles).
Wiletta just wants to act, and when Manners challenges her to think about the character, new feelings of race and identity surface. She begins wrestling with bigger ideas and soon realizes that the self-aggrandizing director intentions were more about his own ego and not to garner heartfelt performances from his actors.
In the show-within-the-show, “Chaos in Belleville,” Wiletta’s characters gives up John’s character to the sheriff to be lynched. The idea doesn’t sit well with her. She sums up the inner strength to stand up to Manners and try to fix the problem in the third act. Soon, Wiletta realizes that, even though the director seems liberal-leaning, he’s holding on to deep-seated racism.
She finally rages against the theatrical machine, describing her characters are not anything like real people but racial stereotypes – more like plot devices than people. Its a brilliant moment of theatre.
Jackson is flawless as Wiletta, a charming rose with prickly thorns. “Trouble in Mind” isn’t a musical, but Jackson gets a few moments to belt out a song, and those moments are big, bright and joyous.
Giles shines as the wise mentor character. He’s an Irish Dumbledore, showing up in Wiletta’s most desperate moments.
Dukes plays Forrester as the Tommiest of Uncle Tom’s. He’s always trying to placate the Caucasian characters. He’s not quite Stephen (Samuel L. Jackson’s character in “Django Unchained”), but his character is definitely trying to hard to impress the wrong people.
Stripling is wonderful as young John Nevins. He is charismatic and charming. He has a subplot where he seemingly flirts with the young, white girl, Judy much to the consternation of the other Black actors in the show. The older, wiser characters know that Nevins was putting himself in a no-win scenario.
Anthony is delightful as Millie Davis. She is also draped in KJ Gilmer’s best costumes.
Dan Krell joins the cast as Bill O’ Wray in the second act with a flourish. He commands the stage with a lengthy monologue in a rehearsal scene for “Chaos in Belleville.”
Director Justin Emeka manages to mine every ounce of emotion without turning the play into a melodrama.
Playwright Alice Childress tells a powerful tale that, unfortunately (especially in today’s volatile political climate where Diversity, Equity and Inclusion are treated like curse words) is still relevant today. “Trouble in Mind” is surprisingly witty, considering the subject matter.
Note: All art is political. It should make you feel something. It should make you rage against injustice. It should resonate with your soul.
The play has a history rooted in racism. In 1955, Childress, a Black female playwright, refused to alter the play to appease the producers and it’s transfer to Broadway was canceled. It took 66 years before the play made it’s Broadway debut.
If you’re looking for a small way to protest our current administration in the White House, supporting art like “Trouble in Mind” is a gesture in the right direction. It’s entertaining, informative and a reminder that under the skin, despite what anyone thinks, we are all human and we should all be treated humanely.
-MB
“Trouble in Mind” runs until February 23, 2025 at the O’Reilly Theatre, Pittsburgh Public Theater, 621 Penn Avenue, Pittsburgh, PA 15222. For more information, click here.
