Victor Musoni as Shawn in “Long Way Down” at Olney Theatre Center. Musoni is also the co-choreographer along with director Ken-Matt Martin. Photo credit: Teresa Castracane Photography.
Through music, dance, and pure emotion, the cast and crew of “Long Way Down” tell a penetrating story that stays with you long after you leave the theatre. Olney Theatre Centre’s premiere of “Long Way Down,” book, music, and lyrics by Dahlak Brathwaite (with additional writing by Khiyon Hursey), is based on the award-winning novel by Jason Reynolds. The DMV is seemingly loving Reynolds’ adaptations this year with Theater Alliance presenting “Look Both Ways” back in October. Olney Theatre’s choice of “Long Way Down” offers a searing look into the mind of a teenage boy confronted with perhaps the most difficult decision anyone—adult or youth—would ever have to make.
…insightful direction…a must-see, a memorable Broadway-worthy production in which everything just visually and audibly clicks.
Will (Tyrese Shawn Avery) is a typical kid. He grumbles about being told to do his chores, he idolizes his older brother, and he has dreams of what he might one day become. All of it comes crashing down when his older brother Shawn (a truly gripping portrayal by Victor Musoni) is gunned down. Enter: The Rules. The rules say that Will must seek revenge. The bulk of the play takes place in an elevator where, nod to Dickens’ ghosts of lives past, Will is visited by those whose lives were also taken much too early. Gun in hand, Will has to make a choice. Are the spirits of dead friends, a deceased girlfriend, his uncle, and finally his father, convincing enough to help him make the right choice?
With all of those characters squeezed into the confines of an elevator, each with a cigarette as the smoke summons memories, the play does an amazing job of interpreting the confusion, indecision, and precariousness of Will’s inner turmoil, as he begs anyone to answer the question, is it “no” or is it “on”?
Under Ken-Matt Martin’s insightful direction, the languid flow of the memories intertwined with the urgency of Will’s situation is somehow made seamless. There are edge-of-your-seat moments of gut-wrenching intensity, and then you’re given time to once again catch your breath as Will gets to witness what is often a wistful memory from the past.
Just as intense are the musical numbers. Driven and edgy, the songs sometimes make it feel as if the elevator is plummeting stories down, while at other times, offer glimmers of hope—though that hope is often fleeting here. Choreographers Martin and Musoni have plenty of talent to work with, and they certainly make incredible use of that talent. The dancing is tight and electrifying. For me, Musoni steals the show, both through his dancing and with his acting. The cast as a whole just seems to move instinctively together, making time rush by but still seem otherworldly and fluid. Notable standouts in this production include Quincy Vicks as Will’s father, IO Browne as Will’s mother—her powerhouse voice resonates—and Naiqui Macabroad as Will’s Uncle Mark.
The set is a feat in and of itself. Simean Carpenter (also responsible for the lighting design) creates an elaborate three-story structure that simulates an “elevator ride” artistically and also quite realistically at times. The intricacy of all production components, from Kevin Lee Alexander’s sound design to Danielle Preston’s costuming to Cedric Lyles’ music direction, elevates the play, transporting audiences deep into the life (both inner and outer) of Will. This one is a must-see, a memorable Broadway-worthy production in which everything just visually and audibly clicks.
Running Time: One hour and 30 minutes with no intermission.
Advisory: Contains the use of fog, haze, strobe effects, fake blood, prop gun and gunshot sound effects, and frank discussions of gun violence.
“Long Way Down” runs through June 23, 2024 at Olney Theatre Center, 2001 Olney Sandy Spring Road, Olney, MD 20832. For more information and to purchase tickets, go online.
