In the constant battle of old and new, jazz pitted against R&B, conservative hair versus hip-hop fashion, the neighborhood barbershop allows each struggle to take center stage while three generations of barbers reminisce and look ahead at the changing times.
In Charles Randolph-Wright's play
Cuttin' Up, making its West Coast debut at the Pasadena Playhouse, such a story unfolds in the auspice of a Los Angeles barbershop, weaving numerous stories from the bestselling book "Cuttin' Up: Wit and Wisdom from Black Barber Shops," by Craig Marberry. There, both wild and touching stories of the eclectic patrons who treat the shop as a watering hole at which to ponder the meaning of their surrounding society make up this often-humorous work.
Cuttin' Up surrounds three barbers, each symbolic of a drastic change in culture, who find solace in trimming their way through black history one cut at a time. Howard, the owner of this establishment, played with such sensitive wisdom by Adolphus Ward, is the eldest of the bunch, dispensing important lessons to his younger staff and clientele, reminding of the familiar stoic family member who always talks of manners lost over the years.
"More black history gets passed down in a barbershop than in schools" is a poignant line, which captures the essence of the establishment Howard holds so dear to his soul. Ward's performance is the rock of
Cuttin' Up, tries keeping the show grounded in sincerity when many of the storylines veer into the somewhat silly.
Andre (Darryl
Alan Reed), a wandering vagabond of sorts, traveling across the country for unclear reasons, takes up root at Howard's shop and acts as the seeing eye into the changing landscape sweeping the nation, with his stint in San Francisco during the beginning AIDS crisis reflecting the fear and ignorance people still have for anything different. With the most cumbersome character, as a multitude of plot points surrounding Andre's past often confuse, Reed manages to capture the essence of a man struggling towards progression in the face of unrelenting repression.
Much of the play's comic relief comes in the form of a twenty-something hip hopper named Rudy (Dorian Logan), constantly butting heads with his elder boss, often over the music emanating from the radio. Logan's comic wit and cool demeanor create a fun atmosphere that propels the intended nature of
Cuttin' Up, which is mostly to have a fun romp at the theatre.
Directed by Israel Hicks,
Cuttin' Up is filled with a wild ensemble of characters, ranging from two showboating preachers to a caricature of Don King, all of whom keep the mood light and carefree. Performed by Harvy Blanks, Bill Grimmette, Iona Morris, Maceo Oliver and Jacques Smith, the bit players often steal the show. It is only when the play attempts to get serious, that it is unable to stay together.
Andre has a back-story that trickles out during the evening but is never fully realized, leaving a feeling of unfinished business when the curtain falls. The play is better left as a comedy rather than a mediocre drama, which in its current state the show struggles to identify with either genre.
Michael Carnahan's vivid set reminds of the barbershops of yore, with the cluttered shelves and red-leathered chairs. Yet the real color of the show, along with the great music, lays in the wild hairdos and flashy outfits that pop up amongst the various customers, thanks to designer David Kay Mickelsen.
Cuttin' Up includes Phil Monat's lighting design and James Swonger's sound design.
Playing through April 15,
Cuttin' Up is a co-production between the Pasadena Playhouse and The Cleveland Playhouse. Tickets range from $31 to $60 and can be purchased by calling 626-356-PLAY, online at
www.Pasadenaplayhouse.org or at the theatre's box office. The Pasadena Playhouse is located at 39 South El Molino Avenue in Pasadena.
Photos by Roger Mastroianni. Top (L-R) Maceo Oliver, Darryl Alan Reed and Dorian Logan; Middle (L-R) Iona Morris and Darryl Alan Reed; Bottom (L-R) Adolphus Ward and Jacques Smith.
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