In a Broadway season dominated by a ton of so-so new plays about ripped-from-the-headlines issues, one of the best has already reached retirement age.
“Trouble in Mind,” which opened Thursday night at the American Airlines Theatre, was written way back in 1955 by Alice Childress, but never got to Broadway until now.
There were plans for it to go to Midtown 66 years ago, however the backstage satire about a cast rehearsing a poorly written black drama was considered too edgy for white audiences at the time.
TROUBLE IN MIND
2 hours and 10 minutes, with one intermission. At the American Airlines Theatre, 227 W. 42nd St.
Childress’ play still has a lion’s bite six decades on and, unlike a lot of its current Broadway neighbors, is a rock-solid, ferociously funny, tense piece of writing.
And, can you believe it, there are actual fleshed-out characters who talk to each other! My friends, that basic tenet of playwriting is becoming rarer and rarer.
The “Trouble” starts during the first rehearsal of a new play set in the South. The lead is Wiletta (LaChanze), a veteran stage performer who’s stayed on top by pleasing her bosses, even when it hurts. She’s joined by her gal pal Millie (Jessica Frances Dukes, hilarious), newcomer John (Brandon Micheal Hall) and stalwart Sheldon (Chuck Cooper).
Also in the fake play’s cast are two awkward white co-stars — ingenue Judy (Danielle Campbell) and character actor Bill (Don Stephenson) — all led by a jackass director named Al (Michael Zegen).
During the first act we learn about the play, which is supposed to be groundbreaking and important, but is actually full of black stereotypes: “Mammys,” maids, pretty much a lot of flat characters who are miles from reality.
Childress revels in the humor of it. There’s a rip-roaring exchange between Wiletta and Millie about the parts they’ve been forced to take over the years.
“She’s played every flower in the garden!,” Wiletta says. “Gardenia, Magnolia, Chrysanthemum.”
Millie shoots back: “And you’ve done the jewels: Crystal, Pearl, Opal!”
A scene later, the director shouts for his actors: “Petunia and Ruby!”
The whole play is filled with crackling wit and showbiz antics a la “Noises Off.” But, like the works of Edward Albee, Childress’ jokes become barbs and the barbs become scorching blowouts.
In the second act of the show from director Charles Randolph-Wright, our laughter gives way to stunned silence as Wiletta and the director go head-to-head.
LaChanze’s transition from a shrugging performer who will do whatever offensive thing her director says to an outspoken critic of the play is riveting.
“Trouble in Mind” also marks the Broadway debut for Dukes, who’s been appearing off-Broadway for years and on Netflix’s “Ozark.” She’s a scream as Millie, and gives her a bubbly but cutting energy with perfect timing that brings to mind Betty White.
Childress is the star, though. Her play is a lesson in construction, in the hot-blooded interplay of satire and seriousness. “Trouble in Mind” is just plain good. What a shame she didn’t live to see it find its Broadway audience.