Category: Seattle Repertory Theater

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Elevator Thoughts (aka Tweet): Blues for an Alabama Sky play by Seattle Rep and The Hansberry Project. Familiar humanity. So much fodder for potential analysis. Neat rotating set. Background live trumpet jazz music from Nathan Breedlove.

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Maybe

Mainstream Appeal: Medium

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Probably

My Synopsis (No Spoilers): A charming, staunchly-conservative, handsome Southern gentleman in the Great Depression disrupts the dynamic of a tight-knit Harlem friend group, which includes an ambitious gay clothing designer, his lounge singer “fruit fly,” an innocent social worker, and a fun-loving physician.

Synopsis from the Licensor or Theatre Company: In 1930s New York, the hopes of the Harlem Renaissance have been tempered by the realities of the Great Depression. Best friends and artists Angel and Guy dream of a glamorous future but can barely eke out a living in the jazz clubs, while their neighbor Delia and local doctor Sam deal with bombs and break-ins as they try to bring a family planning clinic to the neighborhood. When Angel catches the eye of a handsome newcomer, their clashing values set off a chain of events that will change everyone’s lives. Lyrical and deeply moving, Pearl Cleage’s classic drama will immerse you in the joy, sorrow, and resilience of a society on the brink of change.

Type: Play

World Premiere: No

Several or Few Scenes: A couple

Several or Few Settings/Locations: All scenes took place in various locations inside and outside a Harlem apartment building

Static (Stationary) or Dynamic Set: Mostly static, but the set rotated

Prior Exposure/Knowledge Required: No

Defined Plot/Storyline: Somewhat, but it was more dialogue than action

Live Band/Orchestra: There was a single trumpet player

Union Actors: 3

Total Actors: 5

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.5 hours

Other Rave(s) Not Mentioned Above

• Music: Nathan Breedlove played the trumpet between scenes, accompanied by recorded classy jazz music. Justin Huertas did something similar in Seattle Rep’s recent Primary Trust on various instruments. Will live background music become a regular feature at Seattle Rep? If so, I’m all for it!
• Acapella: In addition to the trumpet music, the play also featured occasional a cappella singing. Ayanna Bria Bakari, portraying the lounge performer Angel, sang beautifully.
• Scenic Design: Matthew Smucker smartly designed the set, featuring a Harlem tenement building showing two distinct apartments where most of the scenes unfolded. Before the first act, the building facade lifted to reveal the living spaces as the audience member sitting next to me muttered, “Fancy.” The stage wings displayed a map of Harlem, adding another layer of context to the production.
• Nostalgia: This production exuded a wonderfully nostalgic, earthy New York City vibe that felt real and authentic. The retro records playing on the phonograph also contributed to this ambiance.
• Rotating Stage: The stage occasionally rotated the set a couple feet in each direction to uniquely denote scene transitions. Throughout the play, I kept wondering if they’ll rotate the stage 180 degrees to reveal more spaces. Finally, toward the end of the play, the stage spun a full 360 degrees to unveil another room. But unfortunately, this reveal was fleeting, lasting only a few seconds. It’s a shame the audience didn’t have more time to appreciate the set design of this newly-revealed space. This fleeting moment reminded me of how briefly Seattle Rep’s previous production Blithe Spirit featured scenes in the dining room.
• Meet Cute: The “meet-cute” scene between Leland (played by Ajax Dontavius) and Angel was charming. It gave me hope that happenstance romantic connections are still possible.
• Pre-sex Scene: In a similar vein, the kitchen scene leading up to sex (which remained offstage) was sweet, chaste, and tasteful.
• Juxtaposition: The script was rich with contrasts, such as the flamboyant gay “Guy” (played by Jamar Jones) paired with the straight-laced Southerner Leland. There was also the juxtaposition between the innocent hopeful Delia (played by Esther Okech Lewis) vs Dr. Sam, who’s been around the block. Additionally, the two-faced Angel shifted between her stuffy persona in a dreadful blue Annie dress and her true, bohemian self in flapper attire.
• Second Act: The second act truly gained momentum, with the script hitting its stride. I ate up the explosive, revelatory argument scene at the end.
• God: In a way, Josephine represented God. Her portrait on the wall served a similar symbolic role as the billboard eyes of Dr. Eckleburg in The Great Gatsby, representing the watchful eyes of God. Both the portrait and the billboard loom over the unfolding story. Guy spoke to the portrait in one-way communication like prayer. Guy pinned all his hopes on Josephine, much like how others place their dreams and faith in God, never knowing if their dreams will materialize until the end. Just as people obsess over the Bible, Guy fixates on the meaning of Josephine’s letters. The audience is left questioning whether the letters (like other religious texts) hold the truth or is a bunch of lies.
• Favorite Line: “I would die for Angel!” “Live for her, man. It’s a much better bargain.”

Other Musing(s) and Observation(s)

• Foreshadowing: The foreshadowing in the second act felt a bit too obvious and the playwright could have made it more subtle. However, the tragedy ultimately struck one of the characters I least expected.
• Remorse: Where was the characters’ remorse for this tragedy? I saw more genuine emotion in the audience’s tears than from the numbness the characters displayed.
• Alcohol: Why so much the alcohol consumption? It reminded me of how Company glamorized it.
• Paris vs NYC: It’s ironic that NYC represents broken dreams in this play, while Paris is portrayed as the ultimate goal. It’s reminiscent of how Carrie left NYC for Paris in Sex and the City. I don’t quite understand people’s obsession with Paris. Personally, I’d rather live in NYC.
• Will and Grace: Speaking of TV shows, this play also reminded me of the TV show Will and Grace, though with a more serious tone… and set in Harlem. Like the TV show, the script features a driven, stable gay guy and his needy chaotic “fruit fly,” who demands all the attention. When Guy says to Angel, “Sometimes you wear me out [with your shenanigans],” I swear I felt the same thing about Grace in the TV show.
• Leland: Leland was a well-crafted epitome of what I despise about pious imposing moral conservatism, particularly its ties to the South, rural areas, ignorance, violence, control, power, and patriarchy. It’s poison to social settings. He’s a timely character that resonates with today’s political climate. Is there hope?

Theatre Company: Seattle Rep and The Hansberry Project

Venue: Bagley Wright Theater at Seattle Rep

Venue Physical Address: 155 Mercer St, Seattle, WA 98109

Price Range: $25-106

Ticket Affordability Options: See the theatre’s official pages about discounts and pay-what-you-can performances

Dates: 1/30/25 to 2/23/25

Seating: Assigned Seating

Parking: There are paid lots and paid street parking. I usually park on Mercer to the West of 1st Ave. There’s usually also plentiful street parking around Safeway. If there’s an event in Seattle Center or Climate Pledge Arena, street parking is usually limited and much more expensive.

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Buy a Ticket or Learn More:

• https://www.seattlerep.org/plays/202425-season/blues-for-an-alabama-sky/
• Program

Pictures: See production pictures below by Nate Watters.

Cast and Production Team: See after pictures below.