“The Powers That Be, A Rock Opera” is presently playing a Venus Theatre right off historic Main Street in Laurel Maryland until December 15, 2019.
For those who have never seen a play at Venus Theatre, you should know that this is a Women’s Theatre that does plays written and directed by women and with a mostly all women-cast. This show is no exception. It is a feminist rock opera with words by Deborah Randall and music by Alan Scott (yes, a male). Randall also directed and is a member of the cast.
Venus usually does very edgy productions and “The Powers That Be. A Rock Opera” does not differ. If there is a theme to this show it is that women are kept from reaching their potential due to the bondage both literally and figuratively put on them by men. In order to free their spirits, they have to unshackle themselves from this “double bind.” Without giving too much away they mirror this very graphically onstage. Also true to the rock opera genre most of the dialogue comes to the audience in song. Almost all the music reflects the subjugation of women by men throughout time. It is only, the words seem to say, by collaborating with other women that these bindings can be broken.
It is a lofty theme. Just portraying those ideals is hard to express to an audience and this is a very intimate theatre. Randall’s words do succeed several times in the show.
Venus Theatre productions are always thought provoking. “The Powers That Be, A Rock Opera” is no exception.
The performances are often very moving. Jasmine Brooks plays Amina (warrior/ruler) a mother who has lost her daughter to violence. The theme of sexual violence to women runs throughout the show. Brooks’ scenes are often deeply emotional and moving.
Camryn Shegogue is Eire (Goddess of the land), and her character is a bit more questioning of the leader, Anu, played by Randall. Shegogue’s character appears to be used to set off the deep anger of Anu and the pain of Amina.
Myrrh plays Anansi (spider woman-Fear, Storytelling and Connection). Many of her songs are strongly feminist. However, her passion for her lyrics is evident.
Inari (death, kinship, ghosts, fertility and love) is played by Rikki Howie. Howie’s vocalizations have a soul and gospel sound at times which add a different dimension to the music. It is amazing to watch her sit so still. Often the actors are asked to sit like mannequins for long periods of time while others are spotlighted. Howie almost seems to be in a trance while holding these positions.
Amy Rhodes as Benten (eloquence, wisdom, art) seems to be the conscious of the group. Benten creates a truly ephemeral character.
Finally, Randall herself plays Anu (Mother Earth), and the leader of this feminist rock group. Randall definitely has developed a powerful character.
Randall, as a director, seems to have designed a modern-day Greek chorus. The women were almost like the Muses, and sometimes like the Furies, as they came in and out of character. The singing., even though modern, also has its roots in ancient Greek drama.
The only question is who is this play trying to reach? It is never clear whether Randall is playing to a feminist core trying to “rally the troops” or trying to bring in new supporters. There are strong anti-men sentiments expressed which may be off putting to a male audience. However, it is possible that Randall does not care and figures that those who support her ideas will appreciate the music and themes of the show.
The point of the show is somewhat obscure. Is it a trial of male bondage of women? Is it that women need to collaborate to survive in a male-dominated world? However, the play will have you talking about those topics after you leave. So, in that respect, Randall is successful.
The set is also typical of Venus Theatre. Randall and her crew are very good at creating atmosphere on a shoestring. The play takes place at a church. Randall and company create a religious atmosphere and mystique. Her very startling scene of woman bondage makes a strong impression.
Some of the other ambiguities and confusion could have been handled through a more concise program. There were many references to people and places that audience members may not recall or even know. Perhaps, they could be mentioned either in the program or in the lobby before you enter to make these references more meaningful. (Note: For this production, you cannot enter even to use the bathroom before the show starts.) Also, a list of the songs would be a helpful way to recall the music and the singers which is why none are noted in this review.
Venus Theatre productions are always thought provoking. “The Powers That Be, A Rock Opera” is no exception.
Running Time: One hour and 45 minutes. No Intermission.
“The Powers That Be, A Rock Opera will be playing until December 15, 2019, at Venus Theatre, 21 C Street, Laurel, Maryland 20707. For information go to their website. Tickets are available online.
Advisory: Due to graphic action and language this show is recommended for mature audiences only.
