By Amanda VanNostrand.
We’ve all heard it before: change is inevitable. And right now the changes that have taken place have some wondering, ‘how did we get here?!’ Sweat, winner of the Pulitzer Prize in Drama in 2017 and written by two-time Pulitzer Prize winner Lynn Nottage, examines some of the answers to the question, ‘how!?’ Philadelphia Theatre Company is showing Sweat between now and November 4th at the Suzanne Roberts Theatre, and as November approaches all who purchase a ticket will appreciate the hard-hitting messages residing within this absolute masterpiece.
Sweat tells stories within a story. Jumping between the years 2000 and 2008, it begins in ’08 with two young men (who are not so young as they once were) finding their way back into society after spending time in jail. Leaving the audience wondering how they got themselves placed behind bars for so long, the show jumps back in time to when the two men were young, recently entering adulthood and spending their nights at the small town bar in Reading, Pennsylvania. It seems that practically the whole town is employed by one manufacturing plant, and things are going seemingly well until talks of layoffs happen, promotions occur, and the dreams of some become too big for others’ comfortability. Issues stem from drugs, sexism, classism, immigration, and racism to the after-school special-like issues between friends and community members. Change is inevitable, and the characters holding these stories realize that years (lifetimes) of bonds may not necessarily be strong enough to bind them when the world as they know it seems to come crashing down.
Sweat examines these issues as flashes of real news present on the boxy televisions hanging in the corners of the bar. From Hillary and Bill to George Jr. and Sr. and the late John McCain, these politicians whose fingerprints have pressed history forward in unforgiving ways, grace the television, reminding us that the issues we currently witness are connected to the past and will continue to shed their ripples into today for as far as we can see. Jason (Matteo Scammell), for example, does not wear a swastika tattooed on his face because he is a bad guy; he wears it because he is lost and angry that he has been affected by the greed that influenced his family and the city he once felt safe and at home in. Brucie (Damien J. Wallace) is not addicted to drugs because he is weak or bad, but because he was denied the necessary retirement that he worked for, and that was promised to him and he had little to nowhere to turn for answers in his life. The sins and downfalls of each character in this show are influenced both directly and indirectly by choices that were made by men with too much wealth and power to think of the women and men at the bottom whose lives would be totaled by their decisions. This, according to Sweat, is how we got here.
Sweat reflects the brilliance of Lynn Nottage, making evident her ability to take the past and connect it faithfully to the present through stories that are relevant, entertaining, and endearing. The stories of these residents of Reading, Pennsylvania allow glimpses into others’ realities while giving us the tools to empathize and see ourselves and our beliefs within people who may or may not live similar lives to us. Mother Teresa once said, “If we have no peace, it is because we have forgotten that we belong to each other.” Thinking of others’ issues is key at this time, and Nottage’s show encourages viewers to do so.
Every aspect of this show is stunning, adding to the shock and drama of the realities played out. The set (Scenic and Production Design by Christopher Ashe) consists mostly of a bar, and everything from the corner booth to the pool table and well-stocked bar features what seems to be a true Reading, PA hangout. Eagles banners and photos make it seem like the place to go for a cheap drink to be placed on a long-running tab and friends to walk through the door. As flashes of news are shown and heard between and during scenes, the content displayed is strikingly relevant to the occurrences of the show, giving these events that are likely to be remembered by audience members some context (while at the same time giving context to the fictitious story being played out).
Members of the cast are brilliant as well. Kimberly S. Fairbanks plays the role of Cynthia, the woman who is accused of earning a promotion by being black. This character is complex and her portrayal seems pristine; Cynthia’s strength is apparent throughout while her hurt and confusion emanate as well. Fairbanks hits the nail on the head as she plays this part. Damien J. Wallace plays Brucie and his acting is inspiring. His passion for the work and the message is evident as he strikes the audience with the deep realities that reside with his character. He plays a man both on and off drugs, and he is able to gain compassion from the audience as he shows the realities beneath men who ask (sometimes beg) for help whether they believe it will change things or not. And Walter DeShields, who plays the role of Chris, is excellent. Chris’s character exudes hope and promise throughout this show and DeShields gives him the charisma needed to hook the audience and gain their drive to see him succeed and rise above the mountains of issues that are placed in front of him and the other characters. All members of this cast are well chosen and suited to bring home the truths presented in Sweat.
Sweat is a serious, deep play that slams actualities, both big and small, through to the audience in the most intense of ways; it is painful and realistic, reflecting the problems that some of us have experienced, escaped from, feared, and/or taken part in. It leaves the audience feeling that there are just too many problems to solve, too many complications for things to ever right themselves. And it leaves us wondering if things were ever right to begin with? Though enjoyable, it can be unforgiving and heart wrenching for most of its duration. This is a must-see.