Dominique Morisseau’s Skeleton Crew takes place in an auto stamping plant on the brink in 2008 (photo by Matthew Murphy)
SKELETON CREW
Samuel J. Friedman Theatre
261 West Forty-Seventh St. between Broadway & Eighth Ave.
Tuesday – Sunday through February 20, $59-$159 ($49-$99 with code FAFCREW)
www.manhattantheatreclub.com
When the audience enters MTC’s Samuel J. Friedman Theatre for the Broadway premiere of Dominique Morisseau’s Skeleton Crew, a sizzling tale of socioeconomic ills in 2008 Detroit, they see Michael Carnahan’s set, the dingy, dirty breakroom of an auto stamping plant, filled with handwritten and preprinted signs detailing various rules and regulations, advising employees that there is no smoking, when the next union meeting is, what their OSHA rights are, what they can and can’t do with the refrigerator, coffeemaker, and microwave. However, there are also multiple reminders, on paper and yellow caution floor signs, to wear a mask and turn off cellphones; those warnings are for the audience in 2022, of course, but the effect is an immediate feeling of equality between the performers and the characters they portray. We are them, and they are us, especially as we all continue to deal with a global pandemic.
The cast then heads onstage and removes all the contemporary signs with a resolute vigilance that, we soon find out, applies to the company admonitions that still remain. “I don’t abide by no rules but necessity. I do what I do til’ I figure out another thing and do that. And that’s all I got to say about it,” Faye (Phylicia Rashad) declares.
Rumors are swirling that the plant might be on the chopping block, which would wreak havoc in a city that we know is about to pay dearly during the coming subprime mortgage crisis. Faye, a divorced single mother, is the union leader with twenty-nine years on the job, intent on making it to thirty to receive more substantial retirement benefits. Despite having survived breast cancer, she smokes constantly; she also has a penchant for gambling with her much younger colleagues: Dez (Joshua Boone), a loose cannon hoping to start his own repair garage, and Shanita (Chanté Adams), a pregnant woman who is one of the line’s best workers. Both in their mid-to-late twenties, Dez ceaselessly flirts with Shanita, whose baby daddy is absent.
Their foreman, Reggie (Brandon J. Dirden), a close family friend of Faye’s since he was a child, used to be one of them before being promoted. He often finds himself in the middle, caught between the employees and his bosses upstairs, walking a tightrope that becomes even more tenuous when he admits to Faye that the plant will indeed be shutting down within a year.
Reggie (Brandon J. Dirden) and Faye (Phylicia Rashad) face a crisis in Broadway premiere of Skeleton Crew (photo by Matthew Murphy)
He tries to convince her to stay quiet about it, which she is hesitant to do. “It’s my job to protect these folks,” Faye says. Reggie responds, “Faye, I’m confiding in you. I’m putting myself on the line for you cuz I’m on your side. But I need you on mine. I need your guidance. Help me figure this out without sounding the alarm.” She agrees but feels guilty keeping the news from Dez and Shanita, who have their own issues with management.
“You youngins don’t have no respect for the blood been spilled so yo’ ass have some benefits,” Faye says to Dez, who she regularly calls “stupid.” Dez shoots back, “What benefits? I don’t hardly see no benefits.”
When materials start disappearing from the plant, Dez, who brings a gun to work and has been acting suspiciously, is a prime suspect. Meanwhile, Faye has hit some hard times and hides a secret from her colleagues. And Shanita shares her complex dreams with the others and plans on working as long as she can, piling on the overtime, before she gives birth. The tension is so thick that something has to eventually give, and when it does, everybody better stand back.
Skeleton Crew premiered at the Atlantic’s Stage 2 in January 2016, then moved to the bigger Linda Gross Theater in May of that year. It’s the first play of Morisseau’s to be produced on Broadway; she also wrote the book for Ain’t Too Proud to Beg: The Life and Times of the Temptations. The play completes her Detroit Projects trilogy, three works set in her hometown in the twentieth century, beginning with 2013’s Detroit ’67 and continuing with 2015’s Paradise Blue. Seen as a whole, the plays explore the Black experience in America in a way that evokes both August Wilson and Lynn Nottage; specific plays that immediately come to mind are Wilson’s Jitney and Nottage’s Sweat and Clyde’s as well as Erika Dickerson-Despenza’s recent Cullud Wattah, about the Flint water crisis.
Director Ruben Santiago-Hudson shows a firm confidence in Morisseau’s language and themes; he previously directed the world premiere of Paradise Blue at the Signature. He also was a close friend of Wilson’s and starred in and/or directed many of his plays, including Jitney and The Piano Lesson, both of which featured Dirden. In addition, Santiago-Hudson knows the Samuel J. Friedman well; his one-man show, Lackawanna Blues, was the previous production at the theater, completing its run in November.
Adesola Osakalumi dances between scenes in Dominique Morisseau’s Skeleton Crew (photo by Matthew Murphy)
Morisseau (Pipeline, Blood Rot) masterfully avoids any specific discussion about race, instead letting the story play out with that subtext hovering over everything like an ominous cloud. The audience knows that Detroit has had a history of race riots — from 1833 and 1849 to 1943 and 1967 — and in 2007-8, nearly twenty thousand Black men and women lost their jobs in car factories. “African Americans earn much higher wages in auto industry jobs than in other parts of the economy, and the loss of these solid, middle-class jobs would be a devastating blow,” the Economic Policy Institute reported at the time.
Tony winner and six-time Emmy nominee Rashad (A Raisin in the Sun, August: Osage County), who has directed three Wilson plays, is a powerhouse as Faye, a tired but strong-willed woman who is determined to not let a system she’s been fighting against her entire life beat her down. Rashad delivers her quips with an uncanny assuredness, her eyes revealing the wear and tear of years of battle, both personal and professional. Boone (Actually, All the Natalie Portmans) is a fireball as Dez, ready to explode at any moment but with a soft side underneath. Adams (Roxanne, Roxanne, Wilson’s Ma Rainey’s Black Bottom, directed by Santiago-Hudson) is charming as Shanita, who is wise beyond her years. And Dirden, who played Sly in the original New York production of Detroit ’67, gives a rousing performance as Reggie, a kindhearted man who has to make hard decisions that rip him up inside.
In between scenes, choreographer Adesola Osakalumi (Cullud Wattah, Fela!) dances at the front of the stage or behind the breakroom windows, moving robotically to hip-hop music that mimics the motion of the machines in the plant, which are seen almost abstractly in projections by Nicholas Hussong lit by Rui Rita. (The sound and music is by Robert Klapowitz, with original songs by J. Keys.) It equates humans with automation, as if people are interchangeable with machines. It might not be a new idea, but it is beautifully laid bare in Morisseau’s searing, intimate drama.
(MTC is currently hosting Detroit Week on Broadway, beginning February 4 at 8:00 with “Detroit Comes to Broadway,” celebrating the people and culture of the Motor City. On February 6 at 5:00, Morisseau, Dr. Michael Eric Dyson, and Michael Dinwiddie will take part in the free virtual discussion “Black Theatre: Radical Longevity.” And on February 7 at 6:00, “Morisseau Moment” fêtes the playwright with proclamations and presentations from her three latest shows, Skeleton Crew, Ain’t Too Proud to Beg, and Confederates, livestreaming from the Harlem School of the Arts.)