Good Works
Tarell Alvin McCraney’s Head of Passes Plays At Berkeley Rep
American playwright, Steppenwolf Theatre Ensemble member, and MacArthur Fellowship “Genius Grant” award-winner Tarell Alvin McCraney is at it again, this time in Berkeley, California.
McCraney’s play Head of Passes is currently on stage at Berkeley Rep. Described as a “poignant and poetic new play about the journey of family and faith, trial and tribulation,” Head of Passes takes place in a “dilapidated house near the ever-shifting mouth of the Mississippi,” where “Shelah’s family gathers on a stormy night for her birthday—bringing ghosts and secrets of the past with them. As her roof buckles under the weight of the rain, Shelah’s convictions begin to wash away, leaving her to excavate the truths buried below.”
Featuring a powerhouse cast including Cheryl Lynn Bruce (The Gospel of Lovingkindness, Gem of the Ocean, The Convert, Intimate Apparel) reprising her role from the Chicago world premiere, Michael A. Shepperd (Choir Boy, Take Me Out, Master Harold and the Boys), Jonathan Burke (Choir Boy, Langston in Harlem, The Wiz), Francois Battiste (Bronx Bombers, Magic/Byrd, Detroit ’67, Broke-ology, The Good Negro), Nikkole Salter (Tough Titty, Stick Fly, Jitney), Brian Tyree Henry (Fortress of Solitude, The Book of Mormon, The Brother’s Size), Kimberly Scott (Joe Turner’s Come and Gone, Ruined) and Sullivan Jones (One Night in Miami, Intimate Apparel), this production is making a lot of good noise down in the Bay.
“McCraney writes the richest dialogue of any scribe of his generation.” — Chicago Tribune.
“A stunning production…Every one of the performances is spot-on, effectively shaping distinct personalities who give credible, affecting and sometimes amusing shape to McCraney’s tale, which was inspired by the Book of Job. But this is Shelah’s drama, and Bruce dispatches it with heart, power and conviction that is as close to biblical as we’re likely to see on a stage. It’s a tour-de-force to remember, in an expertly crafted play.” — Huffington Post.
Head of Passes is on the Thrust Stage at Berkeley Rep now until May 24th. If you’re in the Bay, or can get to the Bay, this is a MUST SEE.
WATCH: Playwright Tarell Alvin McCraney talks about the heart of his play.
What if you had to relive the same day over and over and over AND over again? Would you try something new every time to get a different outcome? Would you drive yourself crazy trying to figure out how to stop it? Now a two-time Olivier Award-winning new musical, Groundhog Day takes us on a whirlwind of adventure and misery through the eyes of a jaded weatherman forced to relive the same day, every day.
Funny enough, Groundhog Day is actually based on a film with the same title, starring Bill Murray and Andie MacDowell, and co-written by the show’s book writer Danny Rubin, about a weatherman caught in time and forced to relive the same day over and over and over again.
The concept seemingly feels like dangerous ground for a musical or a play, for that matter, as it forces the audience to watch the same moments over and over AND over again. Yet, somehow Groundhog Day manages to make what could be dangerous territory and turn it into a brilliant masterpiece of a musical. Largely in part to the catchy, fun music of the brilliant Tim Minchin, Groundhog Day makes deja vu seem kinda… cool.
Like the 1993 film, we meet our snarky protagonist Phil Connors (Andy Karl), a weatherman sent to Punxsutawney, Pennsylvania, to cover the annual prediction of spring, as predicted by “Phil the Groundhog.” Naturally, Phil feels nothing but disdain for the ritual, Punxsutawney, and everyone who celebrates it, including his producer Rita Hanson (Barrett Doss), who he tries to woo while acting like a complete prick to her.
As the Groundhog Day version of Ebenezer Scrooge, Connors needs to deal with the consequences of his terrible, often hilarious, actions. Cue the deja vu, where he must relive the same day over and over.
While he initially spends his days in self-loathing, also encountering a massive groundhog mascot that hilariously hits him on the head as he passes by every day (and he totally deserves it too), he eventually comes to his senses and looks to turning over a new leaf as he tries to win Rita over.
But not before indulging in his share of booze, women, and crime. Repeatedly, of course.
Karl’s charm really comes to play here, as we can easily grow to hate Phil Connors. After all, he’s literally the worst. Yet somehow, watching him suffer this forever purgatory, you can’t help but both root for his liberation and also hope he’s stuck there for all eternity. Karl’s performance in the West End run of the show earned him an Olivier for Best Actor in a Musical last week.
It helps that Broadway newcomer Barrett Doss is an excellent match for Karl, their chemistry undeniable, like her talent. The role (and some of the songs) hint that she’s more than the boring, hard-working producer that we’re led to believe (largely in part to her interactions with Connors), but, underneath the surface, a quirkier soul searching for love. Doss plays that side of Rita with enormous heart and playful charm and wit.
The show also offers a few solos of other Punxsutawney citizens, who express their own joys, worries, and troubles of life in the small town.
Minchin, director Matthew Warchus, Rob Howell (set design), Hugh Vanstone (light design), Paul Kieve (illusions), and Peter Darling (choreography) prove that when the creative team shares the same vision, magic can happen, as evident in the first act’s amazing car-chase number with Phil, two idiot bar patrons, and the Punxsutawney police — one of the most fun sequences I’ve seen on Broadway since … everything in Matilda, which featured the same creative team behind this musical.
All in all, I was pleasantly surprised with how much I enjoyed Groundhog Day, and, honestly, wouldn’t mind being stuck in a suburban purgatory with Phil and company again… and again.
Groundhog Day plays at the August Wilson Theatre.
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