Review: Theatre UCF's Energetic SPUNK AND THE HARLEM LITERATI is Weighed Down by its Own Ambition

Ambition can be a dangerous thing, whether you are a guitar-playing drifter in early Twentieth Century Orlando, or a playwright attempting to recontextualize an outdated work. In SPUNK AND THE HARLEM LITERATI, running through January 31st, UCF Theatre professor Be Boyd attempts to take an existing play by author and playwright Zora Neale Hurston, and ham-handedly shoehorn it into a framing device that seeks to admirably put the works of Hurston and her African-American contemporaries into proper cultural context. Unfortunately, the lack of connection between the framing scenes, set on a Harlem rooftop, and those of the play proper, set in rural Eatonville, Florida, robs both of any greater significance.

Running over three-hours, the text would have benefited greatly from a trimming to accommodate the additional Harlem-based scenes, however, the play's lack of structural or dramatic continuity does not undermine the praise-worthy performances of a game cast of talented students. Brianna Joseph plays Hurston, both as she interacts with her friends, and as she narrates the story of Spunk. Joseph delivers an energetic and exciting performance in both regards. The play opens with Hurston and other luminaries of the Harlem Renaissance, including Langston Hughes (Joshua Goodridge), Wallace Thurman (Raleigh Mosely II), Gwendolyn Bennett (Shannon Springer) and others, discussing how best to share the voice of a new generation of African-American writers.

The sometimes heated conversation eventually turns to the sharing of stories, for consideration in the group's literary magazine, and Hurston decides to tell the expand, theatrical version of her award-winning short-story "Spunk." Like Hurston's original, Boyd's version of the play is packed with enthusiastic songs, hymns, and dancing.

Back in Hurston's Central Florida hometown, a large, good-looking stranger named Spunk (Maurice Mallard II) mysteriously shows up, and immediately invigorates the routine lives of its citizens. Despite his rough exterior and intimidating personality, nearly everyone in town is drawn to Spunk. While Mallard has moments of strength and presence, he never approaches the level of charisma that would have made the character truly captivating. There are times when Mallard sings, especially at the character's most vulnerable, in which you can begin to see the raw appeal that he possesses.

Most taken by Spunk is a young woman named Evalina (Amanda Tavarez). Despite already being married to Jim (also played by Mosely), Evalina quickly runs off with Spunk precipitating events that impact the lives of everyone they know.

As she was in last summer's THE IMPORTANCE OF BEING EARNEST, Tavarez is a strikingly authentic leading lady, bringing nuance and relatability, even if her character is not all that likeable. The jealous, short-tempered Jim is designed to be Spunk's petulant antagonist, but Mosely imbues him with such genuine emotion, that Jim becomes sympathetic even at his worst. As he fights to take back what he believes is his, things turn tragic for nearly everyone involved.

Even though the play itself might not present the best opportunity to showcase their abilities, when so much of today's cultural discussion is about the lack of diversity in film, it is refreshing to see a large, nearly entirely African-American cast of talented, committed performers give their all on stage.

Waneka Leary, as the local matriarch Mrs. Watson, provides a wonderful dose of both humor and wisdom. Elisabeth Christie's Ruby, Spunk's scorned lover, is heart-breaking, and Jean Michel Rousseau is especially enjoyable as Blue. Michaela Dougherty (Daisy) and Philann Williams (Teazie) provide silly fun, and Dwayne Allen is extremely entertaining as Jim's hoodoo-practicing father, Bishop; even if the second-act ritual that he leads feels dramatically out-of-place.

Boyd's script has much to admire; discussing an era of history that is often overlooked in schools, celebrating writers who fought for so much more than just their artistic freedom, and reinvigorating a piece of local culture that might otherwise have been forgotten. However, amidst all of the extra commentary, which often sounds like it is directly out of an academic journal, the true strengths of SPUNK, and Hurston's larger-than-life persona, become too weighed down to appreciate.

While Boyd's reimagining of SPUNK isn't all that satisfying, the upcoming Broadway musical SHUFFLE ALONG OR THE MAKING OF THE MUSICAL SENSATION OF 1921 AND ALL THAT FOLLOWED is attempting a similar feat. Directed by four-time Tony-winner George C. Wolfe, who also wrote an original libretto, this star-studded musical will tell the story of the creation of Broadway's first all African-American musical, SHUFFLE ALONG, while also presenting a condensed version of the play itself.

Coincidentally, Wolfe won a 1989 Obie for directing and adapting SPUNK: THREE TALES BY ZORA NEALE HURSTON, for New York's Public Theatre.

Bert Scott and Vandy Wood's evocative scenic design transforms beautifully from a Harlem roof to a Central Florida swamp. Their subtle, but effective projections also help set the scene. Likewise, Huaixiang Tan's realistic costume designs contributed significantly to the play's differing times and places. Music Director and Arranger Susan Glerum also deserves recognition for blending the score's many different musical styles.

Ultimately, SPUNK AND THE HARLEM LITERATI is a noble attempt to bring attention to one of Central Florid'a most important unsung natives, however, the product all too often seems to miss its mark. To purchase tickets to Theatre UCF's SPUNK AND THE HARLEM LITERATI, visit their website, or call 407-823-1500.

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Did you come away with a different opinion of SPUNK AND THE HARLEM LITERATI? Let me know in the comments below, or on Twitter @BWWMatt. If you want to follow along with my "366 in 366" articles, you can check out #BWW366in366 on Twitter.

Banner Image: Maurice Mallard II, Brianna Joseph, and Christopher Baker: Photo Credit: Tony Firriolo | UCF

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