BWW Reviews: Encore Theatre's BEHIND CLOSED DOORS Slammed Ambivalence

When going to the theatre I am excited to see new and original works. Don't get me wrong, I am a lover of the greats, but there's something unexplainable about an original script. This past weekend I had the opportunity to see The Encore Theatre's production of BEHIND CLOSED DOORS, written and directed by Harold J. Haynes. Mr. Haynes is no stranger to the Houston theatre scene. His urban nonprofit theatre company will be featured in a book by The University of Texas Press and was selected by the Texas State University research department as one of the seven leading black theatre companies in Texas. BEHIND CLOSED DOORS examines the personal relationships between men and women and gives the audience a voyeuristic opportunity to see the dirty laundry hidden behind the doors of our lives.

The show opened with a prologue that featured all of the women and then a section with all of the men, letting us know from the first scene that we need to buckle our seat belts. As the show moved forward we witnessed each relationship. Ralph Smith (Talmadge Miller) and Stella's (Liz Rachelle) abusive relationship is filled with mental, verbal, and physical abuse. Vincent James (Jeffery Shelley) and Sonja Davis (Mallory Williamson) are trying to make sense of Vincent's hostility and negative vernacular towards women. Sonja, on the other hand, is a new age woman that won't back down to the name calling and will throw a few jabs if he decides to hit her. Vincent holds on to the pain of not having a father figure in his life, and his father Odis Wilson (Broderick Davis) tries to make amends for his wrong doing. Tanya Gray (Patricia Davis) and D'Andre' Gray both have secrets. This turning point in the play allowed us to see two people living a lie. D'Andre' was in the closet, and so was Tanya. Nora Evans (Jaqueline Rudison) and Gerrod Evans (Isaac George) had a relationship with unresolved issues. She wants to hold on to the marriage but does not know how to effectively communicate, and Gerrod is ready to walk. Dr. Remington Romano (Keith Harris II) and his exotic wife Sadie Romano (Takisha Bendy) were the glue that held this story together. Plagued by the demons in his closet, Dr. Romano is a relationship therapist that can't seem to diagnose his own relationship issues. Sadie tried to be the perfect wife and raise their son Raymond Romano (Jeffery Bass), but she finds it hard to find solace with her husband's infidelity. Karl Mitchell (Phillip Brown) and his wife Deanna (Sonya Gooden) are young and in love. Haunted by their past, moving into the future was impossible. The story is entertaining and has moments where you will respond verbally. I know I did!

To keep it real, this production definitely had its great moments. There were a few stand-out performances in this play. Jaqueline Rudison's monologue was one of the highlights of the evening. Even though it was a stand and deliver monologue, she approached this character with power and truth. I believed every moment. Sonya Gooden and Phillip Brown's chemistry was spot on. Phillip Brown's deep speaking voice commanded the stage, and it immediately garnered my attention. Their scene was believable and well written. Jeffrey Bass, who played the young son of Dr. Romao, brought a smile to my face during his scene. I would have liked to see more of this kid. He was a true scene-stealer, all in a good fashion. He was believable, and during the bullying montage, he tickled our funny bone.

Despite being a valiant effort by Mr. Haynes and the Encore Theatre, this play missed the mark. From the composition to the stale characterizations given by some actors, I wanted more. In the beginning, I thought I was at a performance of FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE... All of the female characters were in bold colors speaking in unison and rhyming. If this is what the playwright was going for, he achieved his goal, but it threw me off. Next, the male ensemble entered the stage and hit tableaus. They began to speak, and it sounded as if they were reciting lines and over acting. Many of the scenes called for heightened emotion, and the moment was stolen with fake crying. As an actor, if you can't go there emotionally, try to find another road. Many of the choices made by the actors were a bit amateur and could have used more character discovery in the rehearsal process. I found myself holding my ears from scene to scene as the actors shouted at each other in anger. We have to remember that yelling isn't the only actor tool to show anger and frustration. Overall, I can say the men in this piece were the weakest link. Many times during intimate scenes, I was distracted by the comical underscoring. I felt like I was watching a melodramatic soap opera. When working in an intimate theatre directorially, we must be mindful of the choices we make. Stage combat can be effective, but in this case it came off comical. Sitting and watching the scenes that had a slap in them were uncomfortable for the audience, and many laughed because the execution wasn't choreographed properly. There is great potential for every actor in the production, and I encourage them to keep working on their craft. Training definitely was a necessity within this production. I believe the script needed more development and a workshop before presenting it to the public. The storyline was convoluted, and there were too many characters making it hard for the audience to connect with their story.

With 17 years on the theatre scene in Houston, there are excellent things going on at The Encore Theatre. This production of BEHIND CLOSED DOORS definitely had its hits and misses, but I look forward to seeing more theatre from this group. As I say, this is just my two cents, so spend them how you may.

The plays, the thing! See you at the theatre!

For more information on The Encore Theatre please visit: http://www.encoretheatrelive.com

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