Dane Figueroa Edidi as Ruby and Chris Stinson as Patrick. Photo by Katie Simmons-Barth.
This world premiere of “Ghost/Writer,” written by Dane Figueroa Edidi and directed by Danielle A. Drakes, is the penultimate production by Rep Stage at Howard Community College. The first act is breathtaking. When the house lights came up at intermission, I was frozen momentarily in my seat, knowing I had just seen something remarkable. It has stayed with me long after the play ended—the depth of passion and poetry; the haunting evocation of time past but not forgotten; and two characters about to become ghosts who may never be laid to rest.
…breathtaking…the beauty of Act One and the compelling performances by Dane Figuero Edidi in both roles are not to be missed.
The character of Ruby (Dane Figueroa Edidi) is almost too large, too grand for the small Studio Theatre in the Horowitz Center. Though born in Baltimore in 1920, Ruby lives in Tulsa, Oklahoma after repeatedly moving about the country—a consequence of her mysterious powers. Her home, adorned with African tribal masks, is a museum to Blackness and to time. An antique victrola sits downstage right and provides the source of the vintage blues opening the play and underlying many moments in the story. Edidi inhabits Ruby with vibrancy and power. We are fascinated equally by her tiniest actions and her anguished wails of memory. An unexpected knock at the door surprises the solitary Ruby, but she warily allows the Irish immigrant, Patrick (Chris Stinson), to enter her sanctuary. Patrick has come seeking exorcism of his guilt over murdering a man and has heard Ruby possesses such abilities. He begs for her help, her protection and, eventually, her love. She gives him everything.
Act Two throws us into 2019. The set is now a luxury apartment owned by Charles Ross (Stinson), a successful, but stalled, writer from a wealthy family. He has hired Rebecca Warren (Edidi) to help him write his next book. Rebecca bears some similar characteristics to Ruby and the audience may recall that another Rebecca Warren was a respected elder woman accused of witchcraft in Arthur Miller’s “The Crucible.” Edidi’s Rebecca appears to be possessed of an otherworldly connection as well. Or is she just a great writer?
Charles bears little resemblance to the character of his ancestor Patrick and, here, the play runs into a problem. As great as the first act is, Act Two is a bit of a letdown. The new characters are engaging and the pacing is good, but set in 2019, it all feels too familiar, suggesting no new approaches to the problem of historic racism—just one very old one: violence. Charles is so awful we come to expect his demise. In the first act, Patrick seems genuinely good and loving, if needy. Ending on the eve of the Tulsa Race Riots, we expected Ruby and Patrick to have a more complicated life together. A hasty second act reference to a sudden and dramatic change in Patrick’s character, especially after the conclusion of Act One, is hard to believe given his gentle nature. Perhaps if the director had allowed the charming Patrick to be more manipulative and selfish, we could accept the reported change of behavior.
Scenic and Props Designer Andrew Cohen and Lighting Designer Sarah Tundermann have created two beautifully disparate but connected worlds. The antique victrola in the first act is recalled by a Victrola brand record player in the second act. A black Madonna figurine given by Patrick to Ruby in Act One reappears in Charles’ apartment in 2019. The lighting in the first act is exquisite—the shadows of the windowpanes on the floor change slowly to reflect the time of day. Props and set pieces suddenly appear seemingly out of nowhere when touched by light. The beaded curtain sparkles and catches shadows that appear like ghostly apparitions of Ruby’s family and ancestors.
Act Two feels less connected to the events in Act One than it should. It’s almost like two separate, though very interesting, plays. Despite the incongruity, the beauty of Act One and the compelling performances by Dane Figuero Edidi in both roles are not to be missed.
Running time: Two hours including a 15-minute intermission.
Advisory: Recommended for adult patrons, age 18+.
“Ghost/Writer” runs through February 26, 2023 at The Rouse Company Foundation Studio Theatre in the Horowitz Visual and Performing Arts Center on the campus of Howard Community College, 10901 Little Patuxent Parkway, Columbia, MD 21044. Tickets are $40 for general admission, $35 for seniors and military. For more information and to purchase tickets, click here. COVID health and safety requirements: Masks are optional but encouraged for all visitors.
