Review: IN THE UPPER ROOM at DCPA is as Good as it Gets

I'm all for a period piece, especially one from the 70s - see what I did there? In the world premiere of In the Upper Room by Beaufield Berry, we meet a bunch of Berrys in their family home in Omaha, Nebraska in the 1970s. A lively crew, this family is on display in a way that is relatable...and otherworldly.

Directing In the Upper Room is Gregg T. Daniel who has set the bar high for the play in its world premiere. Daniel leads a creative team and cast that are top notch in every way. Daniel's direction and blocking in The Kilstrom Theatre is creative and takes advantage of the unique space design. The scenic design by Efren Delgadillo Jr. is really outstanding work. Delgadillo's creative layout gives depth to the set with playful levels and detailed touches. Costume Designer Angela Balogh Calin has also shown up and shown out in what was a great opportunity to deliver a sense of nostalgia through fashion. Calin brought a design element that showcased various styles of the period and not just the stereotypical 70s fashions you find in a costume shop.

The cast of this production is, in so many words, a showcase of Black excellence in the theatrical arts. Each member of this ensemble cast portrayed their roles with such individuality that added so much to their dynamic as a cast. As the youngest members of the family, sisters Yvette (Kayla King) and Josephine Berry (Courtney A. Vinson) are a great pair throughout the play. King and Vinson have such chemistry as sisters that does not disappoint. Rest assured, they each stand out on their own as well with different character arcs that are so authentic to the young adult experience.

We find another dynamic duo in Delores (Monnae Michaell) and Jackie Williams (Yvette Monique Clark). Michaell and Clark are mostly on stage together and in tandem gave the show its sense of levity among the deeper, sometimes darker themes. Together, they, more than their cast mates, give the audience a sense of familiarity. Matthew Hancock as John Berry is so kind and gentle in the role. Even as a grown man with his own children, John Berry is still the baby of the family. His sense of non-confrontation is so genuine to the role, almost as if you can really see the heart he wears on his sleeve. And who should John inherit such qualities from if not his own onstage father, Eddie Berry (Levy Lee Simon). Simon is among the more subtle and clever of the players. His speech pattern and cadence is the strongest weapon in his arsenal. It is so particular and masterful, truly giving the character another layer of lived experience.

Janet Berry, portrayed by Sydney Cole Alexander, is perhaps the character I relate to the most. The idea of "a wife who gets treated cruelly by her mother-in-law and yet must be the one to step up to the plate and take care of everything for the woman who treated her so poorly when she dies" is something that is not lost on me.

Alexander is a standout in the role and captures every single emotion of her story arc so gracefully. Though she may take on Mama Rose's beratings, she does not let Janet become a victim to her mother-in-law's cruelty. And believe me, when Janet has had enough...you'll know. As the grand-matriarch of the family, Chavez Ravine arguably has the toughest job. To create a character so cruel yet at times so tender is no easy feat. Ravine does an incredible job of portraying this woman who, despite her shortcomings, is still the matriarch of her family. Ravine gives a masterclass in acting. To some degree, she gave me Angela Bassett vibes - and I loved every moment.

Aside from the technical and artistic components of the show, a play would be nothing without the words on the page. Beaufield Berry's new work is, at its core, an authentic story of her own family and the Black lived experience. The themes portrayed in the play are so real and raw; truth written into the script. This glimpse into the more intimate moments of her family history is a humbling experience. Should Berry find herself reading this review, I can only say this: Thank you for your vulnerability and that of all Berrys.

In the Upper Room runs at through March 13, 2022. For tickets, visit https://www.denvercenter.org/tickets-events/in-the-upper-room/.

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