Selling Souls and Seeking Salvation - Saint James Infirmary

Screenplay Brian Tucker
Directed by Harry Lennix

Still in his 20’s, Chicago-born playwright Brian Tucker proves his wisdom is beyond his years in his presentation of the patrons of Saint James Infirmary, the saloon serving as the epicenter of his play by the same name.  Directed by Harry Lennix, the renowned actor and director of film and stage who returns this season to Congo Square Theater, Saint James Infirmary is a timeless tale of schemes, dreams and the sinister strategies for settling the debts associated with them.

In this production, Tucker – who is the youngest-ever graduate of The Juilliard School Playwrights Program – artfully applies his expertise in creating complex characters out of what, on the surface, seems to be a basic, simple existence.  With typical elements such as high-stake card games, low-shelf liquor, and bar “broads” -- both sassy and sensual – the play seems to be set up to follow a predictable pattern.  Add further, the familiar formula of the damsel in distress who needs saving from her situation (or perhaps, her own self), who captures the heart of the optimistic athlete with a promising career ahead of him and round it out with the ne’er-do-well who, like a dark cloud, casts a shadow of uncertain futures over them all, and you think you’ve got the story pegged.  But, enter the mysterious visitor whose own plans supersede all others, and all of your predictions dissolve.  It is this inability to expect the unexpected that keeps the audience intrigued.

The narrative of Saint James Infirmary relies heavily on each of the characters’ stories, and the manner in which these “back-stories” make their way to the front is what gives the play its power.  This power, however, is tested throughout the course of the play.  Tucker has shaped his characters equally from both the grit of life’s harsh realities and the ideals of fantasy and fiction and so it is each actor’s synergy of the two that brings about the play’s balance.  Seasoned veteran of the stage, Anthony Chisolm perfects this synergy as he delivers yet another compelling performance in his role as Banner -- the heartless manipulator who is more devilish than the devil himself.  As the unfairly inherited “shot-caller” at Saint James Infirmary, Banner is on top of the world, although his reign is hauntingly rooted in what lies beneath it.  Chisolm is so good is at being conniving and evil that you almost admire him for mastering his despicableness.  

Victims of Banner’s rule, Bobby Adams, played by Keir Thirus, and Autumn Mourning, played by Liza Cruzat, innocently attempt to “out-play the player” in order to save their romance and must ultimately handle the consequences.  While Thirus looks and feels the part of the handsome yet naïve boxing champion, he sometimes fails to display the conviction required by his character to fight Banner’s contempt.  Likewise, Cruzat -- a stunning beauty who certainly looks the part of the reluctant call girl, in snug dresses and shiny stilettos -- falls slightly short of convincing us that she’s authentically balancing being both vixen and victim (think:  Dorothy Dandridge in Carmen Jones).  As Autumn vies for the freedom from Banner’s grasp in order to be with Bobby, a stronger display of genuine chemistry between these two could have brought even more strength to the storyline.

TaRon Patton’s character, Lucy, proves that some strength in the story can loom behind in the background, that is, until it ultimately takes charge.  As the tough waitress with a soft heart, Patton’s Lucy spends much of the play behind the scenes until she steps forward in a heroic effort to convince her “co-worker” Autumn, that Banner’s grasp on them may not be so invincible as it is imagined.  Through the sheer exchange in dialogue between Patton and her fellow characters, Tucker’s talent of story-telling is amplified.  Fulfilling the balance of that talent is Tucker’s introduction of Jackson, the town’s newcomer, who is perfectly played by Edwin Lee Gibson.  Upon entering Saint James Infirmary, Jackson commands the attention of onlookers in the same way a whisper commands the attention of a close by-stander in a room full of noise.  Jackson challenges Banner to a play at his own game, which Jackson already seems to be winning -- as his calm, collected manner takes Banner aback.  In a brilliantly written representation of the irony of morals and ideals, Gibson’s depiction of Jackson opens the audience’s mind to the breadth of notions that we must consider when making the “deals of a lifetime,” including never truly being able to be prepared for an unanticipated twist of fate.

Saint James Infirmary is an intelligently executed account of the experiences of ordinary people seeking extraordinary means of survival, each holding on to what they deem most valuable, whether it is love, money, power or freedom.  How much we are moved by these accounts, depends on who is presiding; how impacted we are by the plot, depends on who is telling the tale.   Overall, in their delivery of Tucker’s rich, poetic language, the characters often resemble an expression of song.  In each one’s experience, we hear a different verse.  And perhaps, together, they give credence to that extremely personal world we have come to know as the blues.

Wendi Hill
Comments?  E-mail me at Wendi@so-LAZE.com

Saint James Infirmary continues at Congo Square Theatre through April 12, 2009.