SEE IT: “The Sensational Sea Mink-ettes” are rightfully named in Woolly’s latest world premiere
“Practice makes permanent.”
My high school track and field coach taught me that phrase. He was adamant to dispel the myth of “practice makes perfect”. He decried perfection as being unattainable and subjective, and instead pushed us towards solidifying our technique and expanding our abilities.
That lesson meant a lot to me as a young student athlete. The toxic quest for perfection is one destined for dissatisfaction and immeasurable stress. For young people, especially students, seeking the illusion of perfection during a time of academic rigor and physical/mental/emotional maturing can often cause more harm than good.
In Woolly Mammoth’s world premiere of The Sensational Sea Mink-ettes, a group of young college women pursue perfection despite hurdles at every turn. The production boasts vibrant design, fabulous direction and choreography, and scintillating dialogue, buoyed by terrific ensemble performances. However, perhaps ironically, the plot itself is imperfect. But as the play makes clear, “imperfect” does not mean “bad” — in fact, it can mean “sensational”.
Let’s set the scene: With homecoming quickly approaching, the Sea Mink-ettes are rigorously practicing their half-time dance performance. Team captain Shanteé (Billie Krishawn) has set the bar high at “excellence or nothing”, and with only a few days left, that bar may not be reachable.
Everyone should keep an eye out for playwright Vivian J. O. Barnes. Her work is lush with personality and verve that fully electrifies the stage (and the audience). The entire theatre was hooked from the start by her punchy humor and fiery characters. She has devised a story that brilliantly examines the joys and hardships of young women, each of whom are juggling being college students, creatives, leaders, and more. We were all cheering for this team, wishing them every success for their ambitious homecoming routine. I could’ve watched them for hours — and I hope that one day I will, because I don’t consider the play to be finished yet.
As mentioned, the main plot point is that the Mink-ettes are rehearsing for their upcoming half-time performance. That sets up an understandable expectation for the story; however, without spoiling too much, that does not come to be. Among all the practices, shenanigans, and arguments are curious metaphysical occurrences that disrupt and frighten the team. The play blends realistic and abstract/symbolic styles that do not yet feel cohesive, particularly because the abstract parts are enigmatic and random. (Imagine Jocelyn Bioh mixed with a mild Samuel Beckett.) Surprisingly, those abstract parts are both the weakest AND most impactful moments of the show, due to how they are written, structured, and presented onstage. As a world premiere, I am certain this play will evolve. My hope is that Barnes will revisit those elements (and possibly add 1–2 scenes to the end, because narratively, it ends awkwardly.)
Criticisms aside, Barnes has gifted us with a hilariously spirited, heartfelt piece of theatre, executed brilliantly at Woolly Mammoth. Sometimes excessive in design, I am glad that this Woolly production kept things simple, allowing the writing and the characters to shine. Director Taylor Reynolds and choreographer Ashleigh King expertly staged this physically expressive piece. The characters’ nuanced individualities were incredibly clear, especially during the dancing — there was great attention paid to the varying levels of grace, rhythm, focus, and confidence among each of the women, creating robustly satisfying storytelling. Scenic designer Paige Hathaway kept the set straightforward, with massive bleachers and stadium lights. The simplistic set and dark upstage allowed Danielle Preston’s fiercely colorful and abounding costume design to pop. The characters’ practice attire (along with LaShawn Melton’s hair and makeup design) gave smart visual cues to their personalities. Lighting designer Minjoo Kim struck great balance with the play’s realism and abstract qualities, always keeping us on our toes for what was about to transpire.
As for the cast… let’s just say they understood the assignment, because they were sensational! Stealing the show in every scene were Khalia Muhammad and Kalen Robinson as the sassy duo Gabby and Racquel. They commanded the stage with exhilaratingly authentic energy and spunk — stay tuned for their single “Pussy Pussy Pussy Pussy (Murder This Pussy)” to top the charts. Billie Krishawn brought rich complexity to the “tyrant” team captain Shanteé, who relentlessly held her team together while internally falling apart. Kimberly Dodson was impressive as the academically-stressed Maya, powerfully motivating her arguments with Shanteé on her priorities. Lauren Fraites was delightful as the uptight, overwhelmed Aleyse, determined yet unable to get the routine right. As the Beyoncé-idolizing/fearing Kiera, Sabrina Lynne Sawyer brings great quirks to the role and hits the emotional core spot-on in the play’s final moment. As an ensemble, the cast’s chemistry is infectious, bringing immense depth and charisma to these characters and their relationships to each other.
Perhaps, in a more traditional sense, the play feels unfinished. But maybe it doesn’t want to be traditional. Ultimately, it entertains you without end and pulls you in, making you think deeply about what it is saying and what the characters are experiencing. This story does not advocate for perfection — in fact, it shows how attempting to reach perfection leaves you frustrated, dissatisfied, and unwell. So why end this play “perfectly”? Regardless, I am excited by this playwright, this production, and the future of this play, and it is my UnProfessional Opinion that you SEE The Sensational Sea Mink-ettes.
The Sensational Sea Mink-ettes by Vivian J. O. Barnes
Directed by Taylor Reynolds
90 minutes, no intermission
Woolly Mammoth Theatre Company
February 4 — March 3, 2024
