BWW Reviews: Studio Theatre Starts 2012-2013 Season Strong with Stunning INVISIBLE MAN

For 35 years, Studio Theatre has been a force to be reckoned with in the DC theatre community with productions that range from the classical to the contemporary.  Its current production of Invisible Man, based on Ralph Ellison’s best-selling novel and adapted for the stage by Oscar-nominated filmmaker Oren Jacoby, stretches the theatre’s artistic and production-related limits in a good way.   A delightful confection of a strong ensemble cast (led by the extraordinarily talented Teagle F. Bougere), a strong script, and stunning production elements make this show a must-see. 

Invisible Man first premiered as a stage production at Chicago’s Court Theatre earlier this year.  Transforming the very long, inspired yet wordy novel into a script for the stage is no small feat, but adaptor Oren Jacoby rises to the daunting challenge.  He makes good use of novelist Ellison’s words and tone, but is also able to “theatricalize” the Invisible Man’s inner-monologues, in particular, in a way that is inspiring.   He effectively balances the overall ponderous nature of the source material with effective storytelling.  Christopher McElroen’s direction is extremely effective in further focusing the complex story, perhaps even for those audience members that are unfamiliar with the source material.

We meet the Invisible Man as a weary adult recalling how he arrived at his current circumstances.   He remembers when he was an idealistic young black man in the Deep South with a passion for words and ideas and a chance at a college education.  At that point in his life, he truly believed he could overcome larger race-driven societal attitudes, beliefs, and practices which could hinder his life chances and achieve individual greatness.   After a run-in with his college administration, he leaves for New York City and settles in the border area of Harlem.   Down on his luck, he takes a series of jobs (including one in a paint factory), until he attracts the attention of a “Brotherhood” committed to forcing social change in the community.   In this experience (and the others that precede it), the Invisible Man learns some hard lessons about the power of words and community and the role of external social forces in shaping one’s individual path among other things.   

Since the tale being presented is the Invisible Man’s story, it’s hugely essential that the actor portraying him be up to the daunting challenge of sharing the Man’s emotional and physical heartaches with the audience.  Teagle F. Bougere gives a committed tour-de-force performance from start to finish.  His gradual transformation from young idealist to someone who has experienced a lot of the ugly in this world is noteworthy.  Intense at times, but also quiet, Bougere experiences a range of purposeful emotions on stage and nearly every acting moment is realistic and grounded.  Most compelling are his initial scenes where he eagerly gives his first public speech and when he reels from the experience of watching a friend get shot.   Through his nuanced portrayal, discerning audience members can identify those traits which transcend his individual character and were likely shared by many who lived through this tumultuous time in American history.

Though this production is certainly by necessity the “Bougere show,” the other 9 actors in the cast (each playing multiple roles) do a very commendable job portraying those individuals that shape the central character’s life experiences.  The ensemble acting in this piece- with contributions from McKinley Belcher III, Brian D. Coats, Johnny Lee Davenport, De’Lon Grant, Edward James Hyland, Joy Jones, Jeremiah Kissel, Deidra LaWan Starnes, and Julia Watt- is noteworthy.  There are no weak links within the cast and all make a concerted effort to work together, in an understated way, to create the Invisible Man’s world.   Two performances deserve special mention.

Edward James Hyland has a shining moment as Mr. Norton, a complex white man the title character encounters in his youth who has an indelible and lasting effect on his future.  Hyland is particularly effective in portraying someone who is visibly out of his comfort zone in a disturbing scene in a log cabin without overplaying the role of “the other.”  De’Lon Grant’s take on Tod Clifton is particularly startling.   In a few short scenes, he is able to create a character that plummets to the depths of emotional despair.  His street-vending scene is one of the most difficult in the play, but he commits to it and there is a big payoff. 

From a production standpoint, this presentation is one of the most ambitious I’ve seen at Studio.  Troy Hourie’s intricate setting design can easily allow place and time to change in mere seconds based on the Man’s recollections.  The story is told from the Invisible Man’s basement living quarters in New York City and Hourie under the glare of an inordinate number of light bulbs, which are described in the source material and the stage script.  Hourie physicalizes this important setting aspect in a realistic yet theatrical way.   The projections (Imaginary Media) further enhance awareness of the time and place of the Man’s memories.  David Remedios’ sound and Mary Louise Geiger’s lighting design is harsh and intense, much like the story being presented. 

While it is entirely possible that many theatregoers will find this slightly esoteric piece less than easy to digest, spending the nearly 3 hours experiencing the Invisible Man’s world is very much worth it.   Studio (and its co-producer Huntington Theatre Company) deserves every accolade for taking on the challenge of presenting this material.   The result is the definition of theatrical brilliance.

Running Time: 2 hours and 50 minutes including 2 intermissions.

Pictured: Teagle F. Bougere as the Invisible Man. Photo by Astrid Reiken.

Invisible Man plays at Studio Theatre- 1501 14^th Street, NW, in Washington, DC, through October 14, 2012.  Tickets can be purchased online or by calling 202-332-3300.