SEE IT: With terrific vision and terrifying visuals, “Covenant” is a promising restart for Theater Alliance
“Swift through the Libyan cities Rumor sped.
Rumor! What evil can surpass her speed?”
— Virgil, The Aeneid
The characters in York Walker’s Covenant would argue that the devil himself is faster. But to literally play devil’s advocate, the destruction engulfing them all began when they entertained a preposterous rumor. The devil works hard, but this rumor works harder, swiftly threatening the characters’ relationships, beliefs, and lives.
After a twice-extended Off-Broadway premiere, Covenant arrives in DC for its first regional production at Theater Alliance. A company that has gone to hell and back this year, I would have understood if they took things easy with their season opener. But no, unlike the devil or the rumor, it is Theater Alliance that works the hardest. There is no greater testament to Theater Alliance’s artistic and institutional might than this jaw-dropping production. Whether it is the sheer caliber of its theatrical artistry, or the genuinely terrifying storytelling, your heart will be racing from the very first moment until the last.
Let’s set the scene: After leaving his small Georgia town, a once-struggling blues guitarist Johnny “Honeycomb” James (Isaiah Q. Reed) returns home as a highly successful musician. Although his community is overjoyed, their pride in him is tainted by a far-fetched rumor. According to Ruthie (Madison Norwood), Johnny made a deal with the devil in the town graveyard, trading his soul for musical genius. Violet (Raven Lorraine) may be suspicious of Johnny, but her older sister Avery (Renea S. Brown) is impressed and enamored. When Johnny offers her an enticing opportunity, not even the fear of God — or of her strict and devout Mama (Fatima Quander) — can stop Avery from pursuing this adventurous escape. The town and its secrets begin to unravel in Avery’s absence, and soon enough, it is time for everyone to face the music.
After seeing this production, you may wonder if Theater Alliance also made a deal with the devil, because what they have overcome and accomplished in 2024 is nothing short of astounding. To recap: in February, Shanara Gabrielle became Theater Alliance’s new Producing Artistic Director. In April, the company was forced out of Anacostia Playhouse — its residence for 12 years — as a result of the Playhouse’s outrageous business misconduct. Without falter, Theater Alliance announced their 2024/25 season in September and their temporary Southwest DC home in October. I am incredibly proud of (and impressed with) the company’s resilience in the face of such challenging transitions. The future of Theater Alliance could not be brighter, especially as they begin their next chapter with this extraordinary play.
Based on the legend of musician Robert Johnson, York Walker’s Covenant is a remarkable achievement. Not only is it a richly constructed story told with compelling style, but it genuinely elicits terror unlike anything I have experienced at a theatrical production. (No spoilers!) Walker crafted the play’s emotional and narrative trajectory brilliantly — the elements of comedy, romance, suspense, horror, and tragedy grow and intertwine flawlessly, like a refined symphony. As the narrative builds its story in the present, Walker uses monologues to reveal details and secrets from the past, deepening the town’s lore and winding up the gut punches to come next. There may be some plot details that I missed or may not totally understand, but unlike when that happens with other plays, I remain curious — I want to know more and to dive deeper into it. And given the story’s nuanced complexity, this is a play worthy of a repeat viewing, especially if that means seeing Theater Alliance’s excellent production one more time.
From assistant directing the world premiere to directing her own production, Autumn Angelettie’s history with Walker’s play has cultivated a stunning artistic vision, transforming this story into one of the most riveting theatre experiences of my life. Of the countless strengths I could list, this production is a masterclass in blocking. Angelettie weaves actors and transitions onstage with the grace and precision of a figure skater, swiftly flowing the story along and utilizing every creative potential of the playing space. In collaboration with the designers, she created breathtaking stage pictures, such as a solitary match flame, ominous silhouettes, and a bathing/praying movement sequence that elevated the production to a cinematic level.
The production’s highly sophisticated array of visuals will leave you in awe. Utilizing jagged, diagonal slats that dually convey a church and a home, the fiery warmth of Gisela Estrada’s all-wood scenic design brilliantly situates the play in a space between comfort and unease. Colin K. Bills’ lighting intensifies the sinister atmosphere with scattered, hazy streaks of light that pierce through the set’s cracks. As circumstances become more frightening, the lighting sharply extinguishes and returns, frequently accentuated by David Lamont Wilson’s sound design. In the most mesmerizing scene of the play, Wilson creates an immersive soundscape of a violent storm, with howling wind, pelting rain, and roaring thunder. The range of sound incorporated into this production made its story more believable, and consequentially, more terrifying. Embellishing the show even further, and delivering its most satisfying horror elements, are Ryan Phillips’ stage illusions. Ingeniously practical and flawlessly executed, his illusions manifested nightmares before my very eyes.
A horror stage play runs the risk of coming off as performative, but this production’s formidable cast ignited my imagination with their astonishingly realistic depth. Isaiah Q. Reed brings an unsuspecting boy-next-door charm to Johnny, causing audiences to doubt whether the outlandish rumor could be true. Madison Norwood is compelling as Ruthie, bringing a fluttering youthful energy that contrasts her grounded determination. A fascinating storyteller, I delighted in Raven Lorraine’s boisterous Violet. Her vibrant acting choices electrified every scene she was in, even when silent during a prayer at dinner. Fatima Quander’s stern and intimidating Mama made me sit straighter in my seat. I was especially captivated by the evolution of Quander’s performance, as Mama descended into despair and desperation in Avery’s absence. In one of the most challenging roles I have seen this year (if not ever), Renea S. Brown commands the attention of every audience member as Avery. A respectable young woman raised right, Brown’s Avery has a bright innocence and sincere yearning. Without delving too far into spoilers, Brown’s performance mutates into something truly disquieting to behold. Her nuanced, intricate physical characterization made this fictional work of horror feel unsettlingly real.
Whether or not a deal with the devil was made, the unification of this play with Theater Alliance’s cast and creative team has resulted in an experience that dazzles and rattles you to the core. Horror is a genre rarely seen onstage, and it is rarer to see it done so skillfully. A bold endeavor in every way, Theater Alliance presents a triumphant new beginning, and I cannot wait to see more of their exciting vision. A feat of artistic excellence, it is my UnProfessional Opinion that you SEE Covenant, and it is UnProfessionally Recommended!
Covenant by York Walker
Directed by Autumn Angelettie
Theater Alliance
October 17 — November 3, 2024