Center Stage KenYatta Rogers, Erika Rose, Caro Dubberly, and Evan Andrew Horwitz. Photo by J Fannon Photography.
John Dunton was the first known advice columnist. He answered questions sent to his British periodical “The Athenian Mercury” in 1690, with the assistance of experts in science, history, and politics. As more people read his column, questions about relationships became increasingly popular. The first known American advice columnist, under the pseudonym Mrs. Silence Dogood, was Benjamin Franklin. He published his advice in his brother James’ newspaper, “The New England Courant,” in 1722. The advice column quickly became a popular feature in magazines and newspapers. Writers usually used pseudonyms. In the late 19th century, “Dear Dorothy Dix” and “Dear Beatrice Fairfax” were so popular that their names were included in popular song lyrics. From 1941 to 1962, even Eleanor Roosevelt contributed an advice column, “If You Ask Me,” to the “Ladies Home Journal” and “McCalls” magazines. Today, we still have advice columns appearing in some newspapers, e.g., “Ask Amy” in the “Baltimore Sun” and “Miss Manners” in “The Washington Post.”
The director, Ken-Matt Martin, has very creatively turned each letter into a mini-play…powerful, heavy, and emotionally draining…
“Tiny Beautiful Things,” now playing at Baltimore Center Stage, is based on the 2012 book, “Tiny Beautiful Things: Advice on Love and Life from Dear Sugar,” written by Cheryl Strayed and taken from her “Dear Sugar” advice columns that ran from 2010-12 in “The Rumpus,” an online literary magazine. The book debuted as #5 on the “New York Times” Best Seller list and was adapted as a play by actress Nia Vardalos (“My Big Fat Greek Wedding”). She also played Sugar/Cheryl when the play premiered at The Public Theater in New York to a sold-out run in 2016. It was revived in 2017, adapted twice as a podcast, and is now in development for a future series on Hulu. Center Stage’s production features Erika Rose as Sugar. Caro Dubberly, Evan Andrew Horwitz, and Kenyatta Rogers appear as multiple letter writers who also sometimes observe the dialogue or mime a character in a letter. The script states that casting is open to all genders, ethnicities and races, and the letter writers play multiple characters with minimal costume change.
Several things made Sugar’s advice column unique. She answered anonymously but revealed her true identity eventually; did not get paid; and, according to the playwright, “changed the tone and content by combining genuine transparency and empathy and inserted personal stories within her responses.” Ms. Vardalos selected and edited the letters (some of which were never published) so that Sugar’s advice is not just instructional, but based on her own personal experience in similar situations. Some of her answers are almost short essays on how to handle difficult emotional situations.
The director, Ken-Matt Martin, has very creatively turned each letter into a mini-play by having the actors voice the letters (without reading them) and use physical movement and expressions to convey the emotional content. They appear in every corner of the stage, on every level of the set, and even from within set pieces such as the kitchen refrigerator and living room couch. Sugar answers sitting at her computer; sitting with microphone and headset in what appears to be a podcast setting; or standing with the letter writer in front of the audience. Ms. Rose has a powerful, expressive voice and pulls out all the stops in referencing Sugar’s life to advise her correspondents. Ms. Vardalos’ script allows humor and pathos occasionally to break the tension of both the letters and the advice.
Scenic designer Sim Carpenter has provided a very functional and interesting set including pieces that represent Sugar’s living room, work area, and kitchen. The set also has several levels of openings from which the actors project. Moyenda Kulemeka’s costumes are casual clothes with changes of hats, scarves, hooded sweatshirts, etc. to effectively convey change of character. Sherrice Mojgani has designed very dramatic lighting consisting of various lit squares of elements that reminded me at first of Chinese characters and hieroglyphics. The lights move across the top of the set to indicate change of scene. It was then that I appreciated Jeff Gardner’s sound design—tones accompanying the movement of the lights to indicate the use of digital technology in the modern era.
I found the play powerful, heavy, and emotionally draining, and the presentation somewhat repetitive and exhausting. Despite the short length, I almost wished for an intermission to rest in thought and absorb what I had experienced before returning for more. The letters seemed to build in complexity from beginning to end, but the last letter and response explain the play’s title. In his introductory remarks on opening night, Mr. Martin reminded us to value the small things in life, the things we can enjoy despite the larger problems life presents. Taking this to heart, when I arose the next morning to fix my coffee, instead of my usual sweetener, I used sugar. It was a small cup accompanied by a mini bagel and I enjoyed them both.
Running Time: 90 minutes with no intermission.
Content Transparency: This production includes discussions of sexual assault, child abuse, drug abuse, miscarriage, loss of a child, suicide, death and illness.
“Tiny Beautiful Things” runs through April 2, 2023 at Baltimore Center Stage, 700 N. Calvert Street, Baltimore MD 21202. Information and tickets are available by calling the Box Office at (410)332-0033, Tuesday-Friday, 12-5 pm or by going online here.
COVID policy: For patrons who prefer not to be around unmasked people, masks are required on Wednesdays, Fridays, and Saturday matinees. Masks are optional on Thursdays, Saturday evenings, and Sundays. For more information, visit the theater’s COVID page here.
