All American Girlsat the Actors Temple TheatreReviewed by
David Sheward
August 27, 2010
During World War II, when it was feared the ranks of major league baseball would be diminished due to the draft, a women's league was formed. Just as with the male teams, there was a strict color barrier. While the male African-American players were at least able to play in the famous Negro leagues—albeit for lower wages and much less recognition than their white counterparts—talented black female players were almost totally frozen out. But there was a brief attempt at giving them an opportunity to play, when a single African-American female team was organized for an exhibition game against one of the white women's clubs. Gray does give voice to black rage and frustration in a short scene when Jonetta, one of the players, threatens to quit because she feels she and her teammates are being exploited by the white management. In a passionate speech that contains echoes of August Wilson's "Fences," Jonetta rails against a system that keeps players of superior ability off the field just because of their skin color. Apart from this one segment, Gray follows a whodunit template that too closely resembles that of "A Soldier's Play." Just like Charles Fuller's Pulitzer Prize–winning drama, "Girls" centers on the murder of a hard-assed authority figure (here it's the team coach rather than the platoon sergeant), which is investigated by a plucky outsider. Both plays make extended use of flashbacks. Gray does throw in a variation on Fuller's plot—a hokey device involving split personality—but it elicits inappropriate audience laughter. Fortunately, Gray gives his script a tight staging, and most of the cast get as far as first base. Chantal Nchako gives Jonetta's plea for dignity a gritty intensity, and Catherine Peoples finds spunky humor in Eddie, the overly enthusiastic catcher. There are also strong contributions from Antoinette Robertson, Ashley Jeffrey, Yasha Jackson, Mari White, Daphnee Duplaix, and Setor E. Attipoe. As the rough-edged Coach Hicks, Arlene A. McGruder hits a home run. She takes the somewhat clichéd material Gray has pitched her and knocks it out of the park with a fierce attack, powerfully portraying a woman determined to overcome the obstacles of race and gender. Presented by the Layon Gray Experience, the Black Gents of Hollywood, and Edmund Gaynes at the Actors Temple Theatre, 339 W. 47th St., NYC. Aug. 25–Oct. 28. Wed., 8 p.m.; Thu., 7 p.m. (212) 239-6200, (800) 432-7250, or www.telecharge.com. Casting by Karrie Moore. |
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