Review: WELCOME TO FEAR CITY at CATF

Though it contains the admirable and relevant racial contemporary message the playwright, Kara Lee Corthron, intended, Welcome to Fear City suffers from a lack of a coherent vision and a dragging pace unsuited to the fast-talking, non-stop world of the 1970's Bronx in which the play is set.

Welcome to Fear City focuses on an African American family and their friends, who are struggling under harsh economic and unfair judiciary conditions in the Bronx in 1977. The mother, Wanda, has recently been let go from her job, and finds her older daughter also unemployed and moving back home, while her younger son, E, dreams of becoming a musical poet. E is faced with the moral dilemma of the story as an unexpected encounter leads to a rich stranger offering to pay E thousands of dollars to help his struggling family..... if E commits arson by burning down his childhood rec center to make room for building developments in the neighborhood.

Dyllon Burnside serves as the emotional center of the story as the earnest younger brother, E, who wants to be a musical poet, actually the first type of rapper. His scene explaining what "talk therapy" was to his family members was both an endearing and hysterical moment. Burnside serves as the moral center of the show, faced to make a tricky ethical decision with unexpected consequences.

As E's best friend, Vincent Ramirez is incredible as the fast talking Cheky. Ramirez has several hysterical one liners and displays an easy and exceptional chemistry with Burnside.

Cherene Snow gives a standout performance as the mother, Wanda. Her sassy one liner remarks and down to earth delivery was a highlight of the production, and the family dinner scene near the end of Act I was one of the best sequences in the show.

Adrian Kiser also gives a sparkling and sassy performance as the sister Neesy with her sarcastic remarks and expert delivery. A very poignant and powerful moment was her speech about all of the things she wants in her future life and how much she wants life to improve from her current situation. Kiser and Snow also had a fantastic scene where they rapid fire bickered about jobs before dinner started and really extended a feeling of familial conflict.

Knightley Hill, Kevin Minor and Bryce Michael Wood truly help set the sassy mood of the show in a variety of ensemble roles, particularly Michael Wood in an impressive turn as an old flame of Neesy's in a scene crackling with sexual tension and regrets.

Displaying some incredible versatility in a multitude of character roles, Yaegel T. Welch is astounding as the Rat/Boss/Man with some incredibly funny moments. However, through no fault of Welch's, the Rat is an entirely unnecessary character in the show. While attempting to imitate a darkly ghetto version of Jiminy Cricket, the Rat serves as E's conscience and E and the Rat share several scenes debating about the morality of burning down the building. However, the ethical debate and character development could be succinctly served through other streamlined means without slowing the pace of the show so the protagonist can have a prolongEd Battle of wits with a rat.

Another device not very well used throughout the show is a series of random, disjointed references to slavery and previous negative stereotypes of African American culture. At crucial moments throughout the show, the characters stop the action to over dramatically portray these negative stereotypes and it slows the entire pace of the show with no discernible advance to the plot.

The ending of the show is a disappointing experience after the previous strong performance. After going through an excessively long, self titled "Black Exorcism", where any idea of continuing the plot comes to a grinding halt, the three lead characters perform many famous, negative portrayals of African American characters in popular culture, from movies to novels to TV shows. After reciting onstage epilogues to provide some closure as to what happens to the lead characters, the show ends in an onstage musical performance. While the actors all are expressive and clearly suited to their roles with talents well displayed, the ending is an overall incoherent mess which leaves audiences confused.

Welcome to Fear City has a powerful and timely social message and features exceptional performances from all actors, but needs a better platform and show structure to truly deliver the message to the audience.

Welcome to Fear City continues to run as one of the six plays in rotating repertory at the Contemporary American Theater Festival. Welcome to Fear City performances occur in the Marinoff Theater on the campus of Shepherd University in Shepherdstown, WV. The final performance occurs July 30 at 2:00 PM. For more information about the show schedule, the 2017 season or to order tickets, please visit www.catf.org.

Photo Credit: CATF Media Gallery

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