Mirrors, the superb play by Azure D. Osborne-Lee, seminally directed by Ludovica Villar-Hauser is currently at NEXT DOOR @NYTW. In the production Osborne-Lee examines how painful reflections that mirror hidden events from our past often pour out from our souls to impact our current lives. Though the events may be buried deep in our unconscious, they are ever-present to haunt us. However, if fate and truth have their way and we are open and flexible, these reflections of past events force themselves into a resolution. The truth that we may have feared, when confronted unfolds like a flower to encourage us to redeem our dark guilt and work toward achieving peace and contentment.
Azure D. Osborne-Lee weaves a profound tale of sorrow, memory and haunting in which the protagonist Bird Wilson (Suzanne Darrell in a wonderful performance) confronts what she views as a tragedy of her identity that she never really accepts until she reveals the truth to another. When she does this, ultimately she is able to free herself.
The play moves seamlessly from the present where we discover there has been a death, to the past that unravels the story of Bird’s love relationship with Belle. Throughout the arc of development, the play fuses both the past and the present and moves between the two worlds through flashbacks and flashforwards. And there is also the “other world” where resides the ghost that haunts Bird and eventually influences her to face a truth she has been suppressing. Only when Bird confronts the truth is the ghost allowed to return to a place of peace which Bird, too, achieves.
Because the play takes place in the sleepy town of Etheridge, Mississippi, in the summer of 1960, we note that this is the racist, Jim Crow South, where voting rights had not been established for individuals like the three African-American women. There, they are “separate but equal” in an “equality that is not only discriminatory, but is outright abusive. Despite this, in their strength and wisdom, they end up understanding each other in a fullness never achieved before by the conclusion of the play.
Not only were black women second-class citizens, at that time, they were expected to fit in to the rigid gender roles, and the mores of the African American culture. For the individual who does not fit in, they are discriminated against and treated as an outcast. This is particularly unjust for a woman of color to be rejected not only by the white race, but by African Americans as well.
For Bird Wilson, a gay woman who lives in her own house and works to support herself, to be like other black women is an impossibility. Rather than to attempt to slide into a world which is contrary to her choice of sexuality, she carves out a place for herself and adapts friendships and relationships to cohere to her life’s decisions. For example we discover that she enjoyed a deep, loving relationship with Belle. However, events happened that caused a separation. When Belle dies, Bird must take in Belle’s daughter and give her a home as well as attend to the funeral arrangements and wake which takes place in Bird’s home.
Osborne-Lee delineates Bird as a strong, vital and energetic woman who is willing to take in Alma Jean, Belle’s daughter and give her a home through this difficult period of time that Alma Jean is mourning her mother. Initially, we surmise that though Bird and Belle had been estranged after Alma Jean was born, in the goodness of Bird’s heart, she buries the painful past so that she might give Alma Jean the security and comfort she needs to overcome this chaotic time without her mother. However, theirs is no easy relationship. And Bird is unsettled, uncomfortable and upset with Alma Jean’s presence in the house which also elicits the spirit of Belle, who haunts Bird and watches her daughter’s interactions with her.
Ashley Noel Jones and Suzanne Darrell create an appropriate tension and division between the two women. And gradually we understand that Bird sees Alma Jean as a mirrored reflection of her mother Belle in her wildness, wanting to be available to her boyfriend Ray (Anthony Goss).
The symbolism of the mirror has a number of interpretations. Bird tells Alma Jean that the large mirror in Bird’s living room is one that Belle loved to preen in front of. Bird has covered it up as a part of the folklore of death and burial to allow Belle to pass to the other world. Later, it is this same mirror that Alma Jean breaks which stresses out Bird because she fears that Belle will not be able to achieve peace in the afterlife and thus, neither will Bird. So the mirror represents the soul’s reflections of events on earth which must be covered over so the spirit can understand it must go to the afterlife.
The mirror also represents that which reflects the truth and identity of the characters. Bird appears to believe that Alma Jean is a reflection of Belle with regard to men. Just as Belle solicited the attentions of men which upset Bird, so does Alma solicit the attention of the undeserving Ray. After meeting Ray, Bird is convinced that he is “playing” Alma Jean for a fool and she attempts to chide her into understanding Ray isn’t someone trustworthy to see Alma Jean as valuable. However, by the conclusion of the play, we understand that the reflection Bird sees in Alma Jean is something else entirely.
The mirror is only a reflection. It is not the substance of the truth. Cleverly, the symbol becomes a metaphor for something deeper. And only through Bird’s loving relationship with Louise (the marvelous Joyia D. Bradley) is Bird able to reconcile the substance of her life with Belle and the truth of her relationship with the resistant Alma Jean.
This is a dynamic and powerful production made all the more incredible and poignant by the performances of Suzanne Darrell and Joyia D. Bradley. Both actors wonderfully convey the love in Bird’s and Louise’s relationship. They infuse the caring closeness and unity between these two women who must walk the line of respectability carefully. Their expressions of love at the conclusion of the play are spot-on touching and authentic.
Ashley Noel Jones’ Alma Jean is troubled, annoyed and then accepting at the moment of Bird’s revelation. Her performance, well shepherded by Villar-Hauser is heightened by Osborne-Lee’s precise and detailed dialogue which Ashley Noel Jones infuses with emotional grist that parallels Belle’s. Thus, we see the connections between Belle and Alma Jean and how/why their behavior sets off Bird.
In spanning the worlds of memory, the spirit realm and reality in the flashbacks to Bird’s and Belle’s relationship in the past, Kayland Jordan as Belle manages to be serenely charismatic, lovely and stately. She is believable in her haunting presence, always watching and ” in the moment.” Her performance effects the mood of the play and conveys elements of magical realism with surreality. When Bird and Belle dance together, the moment is loving and we understand their closeness and why Belle responds to Bird in her extreme time of need.
Natalie Jacobs as Constance Jenkins and AnJu Hyppolite as Mabel round out the townsfolk as the town gossips and church busy-bodies. In such a community, they reinforce the strength and power of Bird’s character to live in her own identity in a town that is petty, judgmental and self-righteous.
Villar-Hauser’s vision of the Osborne-Lee’s play is one which is delivered with power and poignancy by her collaboration with the excellent actors and fine creative team. Kudos to Jamie Nicole Larson for her spot-on, specific and functional set design and Sabrina Bianca Guillaume for her wonderful, detailed costume design. Rounding out the team are Miriam Nilofa Crowe for lighting design and Twi McCallum for sound design. The latter designers really worked beautifully with the choral music in setting the somber tone. The selection of music and the singing was atmospheric and exceptional thanks to Ashley Noel Jones as music director.
This is one you should not miss. It runs with one intermission at New Door @NYTW on 83 East 4th Street until 22nd March. For tickets and times CLICK HERE.