The New Jewish Theatre’s current show is double first: the company’s first world premiere and its first production under its new artistic director, Rebekah Scallet..
The title of Elizabeth Savage’s well-crafted script is The Bee Play. The main character is 18-year-old Carver Washington, a beekeeper in the Bronx who is overwhelmed with personal responsibilities.
Carver is deeply concerned about the threat to bee populations posed by colony collapse disorder. This phenomenon involves the disappearance of most of the workers in colony of honeybees. Carver shares what he has learned about colony collapse disorder by directly addressing the audiences in presentations with video. Michael Musgrave-Perkins provided the well-designed projections.
Carver wants to continue his study of bees at a college where he can specialize in the subject, but obligations to his family hinder his pursuit of his dream. He is the caretaker of his younger sister and his disabled grandmother, who needs help with bodily functions.
Carver can escape from his responsibilities only when he goes up to his building’s roof to care for his bees. These respites can easily be disrupted by a blast from his grandmother’s air horn.
Carver meets Devora at the farmer’s market where he sells his honey. She is recent Yale graduate from Scarsdale who has moved to the Bronx. Carver and Devora are kindreds spirits in that they both hope to repair the world. He wants to stem colony collapse. She wants to set up a kibbutz in the neighborhood.
The excellent New Jewish cast performs with distinction under Sarah Whitney’s well-paced direction. Miles Brenton as Carver and Ellie Schweyte as Devora have lovely rooftop encounters. Brenton’s Carver is the more burdened of the two. Schweyte’s Devora is always brimming with enthusiasm.
Carver’s sister, Paris, loves performing. Her passion and her talent are abundantly clear in the portrayal by Riley Carter Adams, who sparkles in Sam Gaitsch’s choreography. Margery A. Handy is a formidable presence as Carver and Paris’s grandmother, whom they call “Ma’Dear.”
Dunsi Dai’s scenic design conveys the austerity of the Washingtons’ apartment and helpfully elevates the side of the stage depicting the roof. The fine technical work includes Michele Friedman Siler’s costumes, Jayson Lawshee’s lighting, Ellie Schwetye’s sound, Michael Pierce’s fight choreograph, and Katie Orr’s props.
Savage’s ability to establish relationships though dialogue is the most impressive and appealing element of the play. A couple of areas could have used further exploration: Carver’s sexual orientation and a late revelation about Ma’Dear.
The Bee Play continues through September 25 at the Wool Studio Theatre, 2 Millstone Campus Drive. Performances begin at 7:30 p.m. on Thursdays, 4 and 8 p.m. on Saturdays, and 2 p.m. on Sundays. The playwright is scheduled to participate in post-show discussions on September 17, 18, and 22.
—Gerry Kowarsky
Photo by Jon Gitchoff
From left, Margery A. Handy as Ma’Dear and Riley Carter Adams as Paris.
