“Passing Strange” presents energetic, raucous story

The coming-of-age story of a young artist, brought to us by Actors’ Theatre, brings strong acting, talented on-stage music, and fluid direction that does not disappoint in its efforts to win our attention and celebrate the journey.

Titus Hankins and Marissa Baty in Passing Strange at Actors Theatre. Image courtesy Actors’ Theatre.

“Passing Strange” has been called a musical, a play with music, a street opera…and some have called it a “rock concert with a story to tell.” Whatever you choose to call it, the current Actors’ Theatre production is an energetic and sometimes raucous presentation of a young artist’s passage through the world and his return to the home that nurtured him.

What makes “Passing Strange” appealing to both younger and older audiences is the way that the story of this pilgrimage is told. Creator Stew divides the autobiographical subject of his play into the roles of a Narrator, who presides over the action from a midlife perspective, and the Youth, who experiences the teenage rites of passage and makes the unforced errors of one who has yet to learn the hard lessons of life.

Nathaniel Beals as the Narrator in Passing Strange. Image courtesy Actors Theatre.

Nathaniel Beals, as the Narrator, enters the auditorium singing an upbeat self introduction and promises of a tale that will win our attention and celebrate the journey we are about to witness. He does not disappoint.

Beals succeeds because he is able to speak, sing, and speak-sing his narrative in a way that engages his audience and connects him with action. This actor seems comfortable and at home on stage as he moves in and out of scenes, delivering humorous asides or addressing the characters directly. Most importantly, he sets the tone and the tempo for each phase of the Youth’s journey throughout the evening.

Titus Hankins, as the Youth, is believable in showing us all of the stops along his character’s progress from curious innocent to prodigal son wallowing in the pig pen of a foreign land. Hankins displays a strong voice and the ability to move with ease in a slickly choreographed show tune like “The Black One” or a head-banging punk anthem. He also takes us inside of deeply emotional moments like his quiet speech at his mother’s memorial service.

Hankins and Beals are backed by a mercurial ensemble capable of generating the characters in an Amsterdam commune or a mosh pit in Berlin. Darius Colquitt is a master of pantomimic business as he portrays Franklin, the pot smoking preacher’s son. His low-key fondling of a pink flower speaks volumes about his character.

Top: Titus Hankins as the Youth in Passing Strange. Left: Alicia Rosario (left) and Avalon Cutts-Jones (right) are the love interest for the Youth, (Titus Hankins, center). Right: Avalon Cutts-Jones. All images courtesy Actors’ Theatre. Click to enlarge.

Alicia Rosario and Avalon Cutts-Jones bring seductive joy and verve to the Youth’s love interests. Devon Jordan rounds out each of his supporting roles with the turn of a phrase. An example is his self-deprecating, vegged-out drummer who repeatedly insists “we suuu-uuuck!”

Credit Marissa Baty, the Mother, with providing a credible pillar of domestic life that ultimately beckons the wayward Youth home. Baty can play the gritty inner-city single mom, or turn on a dime to meet the expectations of more polite society at a church social. Her portrayal of this character is necessary to set up the emotional reunion across time and space in the play’s finale.

Scenes from “Passing Strange,” courtesy Actors’ Theatre.

The cast is backed by a five-piece onstage band that fills the house with rock and roll, gospel, blues, folk, funk, or punk as needed. Band members Alex Hamel, Samuel Overman, Jennifer Collier, Brandon Labelle and Brandon Hill execute each style flawlessly, play multiple instruments and provide appropriate vocal support.

“Passing Strange” is at Spectrum Theatre through November 18. Image courtesy Actors’ Theatre.

Finally, Fred Sebulske’s fluid direction overcomes a major challenge of staging this play. Sebulske ensures that the numerous rapid shifts in action and setting are seamless, and each of the characters are prepared and positioned so that the action flows with the music.

Despite competent direction, the script “Passing Strange” seems overlong at two and a half hours. Stew’s book flags during the scenes set in Berlin during the second act. In addition, the show’s ending is drawn out and could use a closing musical number with more punch.

Nevertheless, this is a polished production that will likely hold and entertain audiences throughout its run at the Spectrum Theatre.

“Passing Strange”

Music by Stew and Heidi Rodewald
Lyrics and Book by Stew
Now performing by Actors’ Theatre at the Spectrum Theatre
November 9–12, 16–18
Purchase tickets online here.

Titus Hankins in the Actors’ Theatre production of “Passing Strange.” Image courtesy Actors’ Theatre.

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