Review: STAGOLEE AND THE FUNERAL OF A DANGEROUS WORD at MAIN STREET THEATER

STAGOLEE AND THE FUNERAL OF A DANGEROUS WORD is a fascinating study of one word that I never speak under any circumstance. It’s a word so reviled and controversial, but at the same time, it can often be used in rap songs or casually in the street to mean something else entirely. This play is all about the “N-word” - what it means, who can say it, and whether it should simply be buried and not allowed. It’s a brave topic to bring to Main Street Theater, but one that must be discussed. I admire the work for going to a place more theater should aspire to, a point where the audience is provoked to make hard decisions about what they believe. You may squirm in your seat during certain scenes, but the play is as powerful as the word. 

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The story is about a fictional town in Texas in 1999 named Deep River. Two men have gotten into a fight, and their use of the “N-word” nearly sparks a race riot. The court demands they sit down and discuss this issue with a clinical psychologist present. We discover that both men have demons that surround them and their association with the word. Their families have ties to their identity, and their fathers are prominently tragic figures whom they grieve for. The show doesn’t ignore the complexities of racism and gives no easy answers. It’s a smart and compelling meditation on a tough topic. 

Thomas Meloncon’s world premiere script works best when it deals with the scenes where there is a showdown between Stagolee and a racist co-worker. The two are ordered by a court to talk with a clinical psychologist about their feelings around the “N-word” and get to the core of their beliefs about it in relation to both of their communities. The reason for seeing this show is the way actors TiMOthy ERiC [sic] and Seth Carter Ramsey play this confrontation. Under Errol Anthony Wilks’ direction, the two create an electrifying tour de force that is likely one of the best pieces of acting I have seen at Main Street Theater or any other theatrical production in recent memory. This is brave work. Ed Muth’s portrayal of Dr. John Cohen, who fights to diffuse the violence bubbling up, is also deserving of praise for creating these immaculate scenes. Their trio of performances is something to behold, and the script mines all the characters for everything they are worth in these passages. 

The cast here all do amazing character work, and there’s no weak link in the bunch. Byron Jacquet is compelling as the head of the NAACP, Sam Kingsley. He gives a gravitas and a grace to his character that is mesmerizing. LaKeisha Rochelle Randle also turns in an endearing performance as an NAACP employee who loves Stagolee but can not abide by his view on the “N-word.” Brandon J. Morgan, Manning Mpinduzi-Mott, and Sam Martinez all do great supporting work with believably strong presence whenever they are onstage. Main Street Theater and director Errol Anthony Wilks are lucky to have this batch of solid actors to bring this one to life. 

Despite these sequences' power, the script stumbles a time or two as it unravels. One thing that confused me was the ceremonial “Death of The N-Word” that is incorporated into the play. We are seeing an NAACP office in Deep River, Texas, holding this ceremony in 1999. In the real world, the NAACP did hold a funeral for the word, but it was in Detroit during 2007. I am not sure why this event was transposed to be inserted in this script, but it is historically quite inaccurate. It seems to be used simply to have the coffin onstage center for the run-time. But trust me, the unease is high enough without the presence of a casket. There is much made of what is going into the wooden box carved by slaves, which also betrays the history of the NAACP funeral. 

It also feels like there is a convoluted plot here about Stagolee’s father and the relation to the racist’s uncle. Some of it tracks, but it gets messy quickly. Also, Stagolee is named after his father. So sometimes, when characters speak about one, you could easily mistake it for the other. Also, the name Stagolee comes from a real historical and folk figure who was a pimp in St. Louis who famously shot another man for taking his Stetson hat during a fight. Stagolee wears the trademark Stetson in the play but certainly is not an underworld character that the folk origins would imply. I think it’s a cool as heck name, but I missed any symbolism for his moniker. 

Technically, things are quite impressive. James V. Thomas creates a small-town NAACP office that looks quite convincing. I enjoyed looking out the window at the buildings below, and it had a lived-in quality that was unmistakable in the real world. Krystal Uchem’s costume design was solid and often gave Stagolee a playful presence with his white Stetson and purple suit. The lighting effects around the coffin were a very nice touch. 

STAGOLEE AND THE FUNERAL OF A DANGEROUS WORD is a wonderful meditation on the power of words, folklore, and the human condition. It soars and becomes electric any time actors TiMOThY ERiC and Seth Carter Ramsey confront each other. It has a power and heft you do not see in most theater. It goes to an uncomfortable place and will stick with you for days later. It’s one of those pieces that you can’t shake off, no matter who you are or how you use your words. 

 STAGOLEE AND THE FUNERAL OF A DANGEROUS WORD plays at Main Street Theater’s Rice Village location through April 27th. Parking around the theater includes free street parking but many pay-to-park lots. There are plenty of dining options before or after any performance. The play runs about two hours and has one fifteen-minute intermission. Act One is significantly longer than the second.  

Photo is provided by Pin Lim and features left to right - Seth Carter Ramsey, Ed Muth, and TiMOThY ERiC

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