BWW Reviews: SIGNS OF A NEW DAY at Z. Alexander Looby Theatre

Brought to life by a talented and engaging cast of actors, playwright/director Carolyn German sheds light on a troubling era of Nashville's history, while shining a bright spotlight on one of the city's most compelling figures, with the world premiere production of Signs of a New Day: The Z. Alexander Looby Story. Now fittingly onstage at the theatre that bears Looby's name, in a joint production from Amun Ra Theatre and Metro Parks' Arts in the Parks program, the play is an exceptionally well-written evocation of the city's role in our country's long and continuing struggle toward civil rights and racial equality.

Signs of a New Day is not a perfect play, by many measures, but the fact that it focuses on Looby – whose name almost every Nashvillian most certainly knows, but someone about whom they know precious little – elevates it to near-perfection. Thanks to German's extensive research and dedication to detail, coupled with her dramatist's keen eye and ear for what works onstage, the play gives Looby and his wife, Grafta Mosby Looby, the attention they so richly deserve. It is a moving work that challenges its audiences to continue the noble work of the Loobys and all of their contemporaries who risked their lives and livelihoods so that we all might live in a more just and equitable society.

The story follows Looby from his youth on the island of Dominica, where he dreams of gaining an education and becoming a lawyer, and his immigration to America where he works hard, strives to be a good American citizen even before he is naturalized, and where his dreams slowly but surely come to fruition. After earning his law degree, he finds himself headed to Nashville for a teaching position at the storied Fisk University and his impact on this city's history – adding his colorful thread to the richly woven "Athens of the South" tapestry – becomes the stuff of legend.

Certainly, there are many Nashvillians who have played integral roles in the country's civil rights movement, those people whose names are better known nationwide, but Looby's impact is immeasurable and insurmountable. His courtroom prowess is recounted, as are his initial steps toward civil rights martyrdom, but perhaps most moving and intriguing is German's treatment of the relationship between Zephaniah Looby and Grafta Mosby. They are presented as equals in this treatment and it is their shared vision that has resulted in the Nashville we know and love today. Both of the Loobys are heroic figures, deserving of our admiration and our undying gratitude for their courage, bravery and sacrifice.

That courage and sacrifice is felt most strongly in the scene in which the Loobys are shown in the aftermath of the bombing of their home. Their fear and sublimated rage is felt strongly in their words and actions and the knowledge of the cowardly act brings shame to the city of Nashville as a whole. The other scene that will remain with you long after the curtain is rung down on the production is the scene in which university students stage sit-ins at the city's segregated lunch counters. The scene is impeccably performed by German's outstanding cast and the result is a moving, emotionally draining piece of theatre that is horrifying in its truthfulness. Even writing about it, I can feel the scene's raw emotions anew.

Joel Diggs gives a richly nuanced performance as Looby, using a Carribean accent that never falters, as he becomes the legendary man, shouldering much of the script's weight. Alicia Haymer, as Grafta, exudes warmth in the role and almost instantly you find yourself falling in love with this nurturing woman, her performance growing in intensity as the action progresses.

The other ten members of the ensemble play a variety of characters, all of whom play important roles in the story, and they each and every one give superb performances. Clearly, each of the actors is totally committed to telling this tale and they do so beautifully. The ensemble members, all of whom deserve accolades for their work, are: Patrick Benneyworth, Dave Chattam, Shon C. Jones, Aleta Myles, Willie Robbins III, Bralyn Stokes, Mark J. Thomas, Joy Tilley-Perryman, Jessica Townsend and Shelena Walden.

While German provides a script that focuses on the Loobys' personal story while touching upon the world events that surround their world, the play sometimes moves too slowly (something I tend to ascribe to opening night jitters and the realities of finally bringing the show to life in front of an audience) and set changes tended to be overlong. Those are really minor quibbles and those problems are likely to be ironed out in subsequent performances. The show's pacing might best be served by tightening up the scene changes by focusing the audience's attention to different onstage areas; very few scenes require the entire playing area and the smaller scenes would move more quickly if there were fewer set pieces and improved lighting execution.

One of the highlights of the production aesthetic is the use of music, sound and voice-overs during scene changes. Praise is due to sound designer/audio engineer Mike Teaney for this exceptional work that perfectly captures the changing times and results in an immediacy that places the audience in the midst of the times as they happen. Theresa Porterfield's lighting design, coupled with Kirk Brown's set design, provide the actors with the necessary elements to recapture the times and places, and Mimi Shimmin's costumes are wonderfully conceived and are good representations of the various fashion trends of the times.

– Signs of a New Day: The Z. Alexander Looby Story. Written and directed by Carolyn German. Presented by Metro Parks' Arts in the Park and Amun Ra Theatre. At the Z. Alexander Looby Center Theatre, Nashville. Through February 6. Tickets are available at www.brownpapertickets.com or by calling (800) 838-3006. For details about Amun Ra Theatre, visit the company's website at www.theamunratheatre.org.

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