Home at Jubilee Theatre
"Home," written by Samm Art Williams in 1980, tells the story of a farm man from Crossroads, North Carolina, facing numerous hardships due to limited opportunities and poor choices. Jubilee Theatre’s adaptation, directed by Kris Black Jasper, brings to life the journey of a man who pushes himself beyond his comfort zone in an effort to become the “ideal” version of himself, hoping to win back the love of his life.
At the center of the stage, a porch with a rocking chair and a jug of water evokes a sense of home. To the right, a space symbolizes the countryside, while the left represents the city. The play opens with the beautiful harmonies of Ashley Anderson and Kyra McNeil, adorning the space like stars adorn the night. Like a Greek chorus, they introduce us to Cephus Miles (Gabriel D. Hill), who we see going through rough challenges like rejection, disrespect, or even being used for his money throughout the play, justifying why he repeats that God has abandoned him and has gone, in his words, to Miami.
Through stories about his experiences, Cephus projects confidence, trying to prove why he is worthy of admiration to both the audience and the women he meets. In Hill’s performance, however, I saw a version of the character that leaned toward being overly self-assertive and somewhat discontented, especially during his youth. The lack of certain pauses diminished the emotional impact of key moments, such as his grandfather’s death. His actions often felt redundant with what he was saying, adding little beyond the dialogue itself. Yet, in one clever moment, when Cephus declared, “I don’t trust men who talk with their hands,” Hill gave us a characteristic gesture that was instantly recognizable. Without explicitly stating it, we knew who he was referencing. This beautiful detail shows that Hill, through Cephus, is telling a story that resonates with our time.
As I mentioned earlier, this is, at its core, a love story in my eyes. Cephus chooses his faith over the fear of incarceration, and he decides to move to a big city, embracing loneliness. The only reason he endures these uncomfortable experiences is his deep love for Patti Mae (Ashley Anderson). What we see in Patti is a woman searching for acceptance, perfection, and self-improvement. These desires keep her from following her heart, which is being with Cephus. She starts to believe that a better version of herself is someone who conforms to the expectations of high society, to the point where she forgets her roots and begins to criticize her hometown. Through Anderson’s portrayal of Patti Mae, we can recognize people in our own lives who, in our opinion, may have lost touch with where they come from. However, it seems Anderson is not yet fully comfortable in her role, as I could sense her holding back, much like Patti herself. Despite this, Hill and Anderson share an enjoyable chemistry, which shines most clearly in the intimate moment when Cephus asks Patti for a kiss. The way the actors took their time to build up to that kiss was so beautifully done—it left me wanting even more moments like that.
Kyra McNeil brings life to many characters with precision and controlled energy. Throughout the play, I found myself eagerly anticipating her return to the stage. She infused each character with subtle details, making them feel distinct and leaving me wanting more—like savoring a dessert. The only thing that could enhance these performances would be seeing McNeil expand each character's story through her actions, adding even more uniqueness. The versatility and gestures are already present, but, like a delicious dessert, I want more because she inspires that desire for more.
During the play, I found myself asking a few questions about the props: What’s the difference between the objects that are physically present, the ones the actors touch and interact with, and those that are imagined or mimed? What gives tangible objects more significance than those that are absent? Why were certain props, like the jug and glass of water, the garden hoe, and the pills, given physical presence, while others, like a cigarette, were not? And why was the liquor in the street real but not in the bar? I could not find the pattern between the tangible and the imaginary props.
Under Kris Black Jasper’s direction, we feel someone is guiding us through the darkness. The lighting helps us distinguish between reality and memory, and the well-paced timing of the dialogue allows us to easily identify when two characters are speaking to each other, even without direct eye contact. The special moments are handled with such care that we, as audience members, respond to them emotionally. In the end, the emphasis this play places on hope amid chaos, failure, injustice, loneliness, and despair is so clear that we leave feeling optimistic about Cephus's future.
RUNNING: Through October 27, 2024
VENUE: Jubilee Theatre, 506 Main Street, Fort Worth, Texas 76102