BWW Reviews: WOMEN IN THE PIT Is An Astute, Emotional Ride At The Ensemble Theatre

WOMEN IN THE PIT may conjure up images of a women preaching in church, pounding a pulpit, but the title holds a deeper meaning. This is a play about sexism and racism, but it's also about healing and redemption. The pit is not a pulpit at all; it represents the limitations and divisiveness that people are forced to fight against in so many ways. WOMEN IN THE PIT has many layers to it, the kind of play that leads you into emotional depths you didn't think would be there.

The people of Mount Zion Baptist church are looking for a new pastor. Times have been hard on this congregation, with numbers dwindling and finances in a rut. It's time for a change, but how much of a change? The men of the clergy call in someone named E.R. George, a highly qualified candidate, thinking they're going to be interviewing a black man for the position. When a white woman walks in, conflicts and hilarity ensue. Playwright Joyce Sylvester has written a strong and multidimensional script with characters who are fully realized and accessible. The issues of bigotry and prejudice are handled with honesty and ample humor. The story doesn't pull any punches; it's honest, almost painfully so in some regards, and the overall arc of the plot is very interesting.

Directed by Eileen J. Morris, the cast is cohesive and focused. The men of the clergy are a nice banquet of personality types, running the gamut from open-minded and agreeable to stubborn and crusty. Wayne DeHart, who plays aptly-named Elder Block, is hilarious and maddening at the same time, playing a narrow-minded chauvinist, a dinosaur of a man who believes women should be seen and not heard in church. His lines are some of the funniest in the show, and Dehart delivers them with excellent comedic timing. Jason E. Carmichael plays the affable Deacon Reed, adding levity to tense situations with his beaming smile and boyish energy. James West is engaging and completely natural in his role as Deacon Bonds, a man who sees the need for change, but is doubtful about the future. Byron Jacquet plays Elder Mason, the intelligent and diplomatic voice of reason. Jacquet fits the role easily with credibility and authority. Actress Lisa Thomas-Morrison (Reverend E.R. George) gives a fulfilling and whole-hearted portrayal of a woman who is filled with the love of the gospel, but is blinded with denial in regard to the demons in her life. Rachel Hemphill-Dickson plays Mira, the unbalanced and emotionally-scarred daughter of Reverend George. This is a difficult role to play, to be sure, but Hemphill-Dickson is good at balancing the anger, deep sadness, and disillusionment of the character. Jo Anne Davis-Jones plays Patricia, a woman devoted to her church who humbly considers her own ideas about what's right for the congregation. Davis-Jones brings a pleasant warmth to the show, balancing out the more opinionated characters with pragmatic delicacy.

WOMEN IN THE PIT has any interesting emotional context to it. The first act definitely fits the comedy bill, with many funny one-liners and great comedic timing from the talented cast. The second act is much darker, with heartbreaking revelations about Mira and Reverend George's past. There is a moment when you feel as if you've stepped into an undertow and gotten sucked underwater. This quality forms an arresting layer to the other themes of the show, casting a shadowy depth on what seemed to be a cut and dried issue of prejudice. While the pacing of the story is good in most regards, the resolution at the end between two of the characters is implausibly quick- a marked emotional healing process that should take months wraps itself up in mere days. Other than that, the script is strong and adept and Joyce Sylvester has written a script that deserves to be considered by other theaters for future productions.

For information on tickets and upcoming productions, go to: ttp://www.ensemblehouston.com

Photo Credit: Gary Fountain

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