SEE IT: Do NOT let “Passing Strange” pass you by (UnProfessionally Recommended!)
I like to think I go to the theatre with an open and clear mind, but no — I come with expectations and I can be quick to judge. So when I buy a ticket to a musical with a strange name… that is described as “a concert of which a play comes out of”… and I enter a small black box theatre with a tinyyy amount of playing space for the show… that looks like a sparse, grungy band set… I was quick to lower my expectations.
Well, that was stupid of me and I should have known better.
Prepare to have any expectations of this production be more than exceeded. Signature Theatre’s Passing Strange is a triumph in every aspect of the theatrical artform. It has everything: a fantastically talented cast, visionary direction, and extraordinary design, all harmoniously combined into a musical that is endlessly entertaining, deeply moving, and inspiring.
Let’s set the scene: A narrator (Isaac “Deacon Izzy” Bell) shares the incredible life story of Youth (Deimoni Brewington), a young African-American man living in Los Angeles. Not quite satisfied with the life he has at home with his Mother (Kara-Temeika Watkins) or with the church youth choir, Youth embarks on a journey to Europe to find “the real.” Through his many adventures in Amsterdam and Berlin, with plenty of sex, drugs, and rock ’n’ roll along the way, Youth discovers more about his art, his relationships, and his authentic self.
Every single thing about this production took me by surprise, in the most thoroughly enjoyable way possible. I was particularly shocked that such an impressive, robust musical could be performed in Signature’s ARK Theatre. I need to stop being so skeptical, because I always seem to forget productions like Girlfriend, Which Way to the Stage, and Selling Kabul — Signature’s economic use of every square foot can be quite magical. It’s that quality of imaginative transformation that I love most about theatre — space constraints or limitations are not problems, but opportunities for marvelous creativity. And thankfully, director Raymond O. Caldwell has welcomed every single one of those opportunities.
This production was destined for greatness from the start: some of the best actors and designers in DC and an excellent musical, led by a director with immense creative vision. In my UnProfessional Opinion, Raymond O. Caldwell is DC’s most brilliant storyteller. His productions of Blood at the Root and Nollywood Dreams are two of my favorite theatrical experiences (and I cannot wait for One-in-Two at Mosaic.) Every second of Passing Strange is a thrillingly imaginative feast — impressively bold characterizations, dynamic staging, and exquisite attention to detail. Caldwell found countless electrifying and unpredictable ways to tell the story. There was choreography of all styles, live-capture video projections, multi-use set pieces, and a marvelous array of whimsical props. It is so remarkably satisfying to witness a production so thoroughly thought-out and well-orchestrated, in a way that still feels light and spontaneous.
The vision for this production was executed fabulously by the design team. Jonathan Dahm Robertson’s scenic design was deceptively transformative. What looked like an empty rock concert stage became bedrooms, a Baptist church, a café in Amsterdam, and so much more. The use of road cases for all sorts of furniture was ingenious, and the incredibly detailed graffiti across the walls was such an effective storytelling aide. Whether it be powerful or hilarious, I yearned for each moment of Kelly Coburn’s projection design. From the whimsical, dancing figures in the stained-glass church windows to live video of the pained expression on Mother’s face, I was captivated by Coburn’s elaborate compositions and their variety of uses. Alberto Segarra’s lighting design and Danielle Preston’s costuming were delightfully expressive, complimenting the eccentricities of the story while also staying true the rock concert aesthetic. Tiffany Quinn’s choreography was impressively dynamic, fluidly exploring all styles with endless fun.
Continuing along the areas of excellence, this cast is composed of some of the most talented, fearless actors I’ve seen in ages. In his theatrical debut, Isaac “Deacon Izzy” Bell excels as the Narrator. His marvelous rocker tone and the spirited phrasing of his lyrics kept me hooked. His acting was wonderful, flowing skillfully from joyously comical to stunningly emotional at the end. As our protagonist Youth, Deimoni Brewington is mesmerizing. We immediately connect to his thrill-of-the-chase, renegade youthfulness and his hunger for purpose. Brewington successfully portrayed the multi-year period of his “fiery pilgrim” character, and his nuances as Youth matured were very smart. Together, Bell and Brewington ground the show with vibrant heart and connectedness.
Rounding out the cast are five joyfully versatile actors. Michael J. Mainwaring is ridiculously commanding in each of his roles. One highlight is the spastic brace-face Terry, with hilariously slurred lines and an explosively energized acid trip. Top that with beautifully powerful vocals, his performance was extraordinary. Alex De Bard was delightfully brash and hilarious as the flirtatious young Edwina, earning huge laughs while suggestively wielding her red crucifix lollipop. Imani Branch’s performance was wonderfully sincere, particularly as her character’s relationship with Youth fell apart. Kara-Tameika Watkins had great subtlety as the Mother, expressing a multitude of emotions in a single look. And constantly stealing the show was Tobias A. Young, whose comedic technique, gorgeous singing, and immensely bright vocality left me in awe and in stitches.
What ultimately makes this musical, and this production in particular, especially satisfying is the impressive balance of wildly entertaining elements and poignant, deeply impactful moments sprinkled throughout it. Stew’s book and lyrics are fascinatingly complex and profoundly moving, frequently catching me off-guard with its brilliance. This production elevated already-wonderful material to greater heights of excellence. The enormous scope of its creativity and the fierce enthusiasm of the performances will take your breath away (if you have any left after the many fits of laughter). This is theatre at its finest — engaging, entertaining, and thought-provoking — and it is my UnProfessional Opinion that you SEE Passing Strange.
This production is enthusiastically UnProfessionally Recommended!
Passing Strange
Book and lyrics by Stew; music by Stew and Heidi Rodewald
Directed by Raymond O. Caldwell
Signature Theatre
April 25 — June 18, 2023
