Native Son At Kirk Douglas Theatre: A Review

Jon Chaffin

By Darlene Donloe

For as long as anyone can remember, living while black in America, has been like walking through a minefield - often resulting in violent explosions.

That subject is addressed in Richard Wright’s classic novel, Native Son, now inhabiting the stage at the Kirk Douglas Theatre in Culver City under the solid direction of Andi Chapman.

Wright’s gut-wrenching and iconic novel is a story about everything from racism to oppression, wealth, freedom, social status, and social protest.

The protagonist in Wright’s tome, set in the 1930s Chicago, is Bigger Thomas, an impoverished 20-year-old black man who holds a job as a chauffeur for a well-to-do family.  Bigger has a longing for social justice that easily ignites his rage. Hannah, his mother (Victoria Platt) wants the best for her son and encourages him to become a man. Bigger quickly finds out he has to do that sooner than later.

Native Son is a horrific, disturbing and unapologetic story that goes something like this. 

(l-r) Ellis Greer, Jon Chaffin, and Matthew Grondin

One night when Bigger (Jon Chaffin) picks up Mary (Ellis Greer), the young, white daughter of his employer, he finds her two sheets to the wind.  While taking her home and trying to get her to stand up straight and walk into her bedroom, Mary becomes rather amorous. Bigger resists her. In the midst of this tumultuous moment Mary’s mother, Mrs. Dalton (Gigi Bermingham), calls up to Mary’s room to see if she’s home.  Although nothing to write home to momma about happened between him and Mary, Bigger knows that if he is caught in her room, he’ll certainly be fired. In an effort to keep Mary quiet so that her mother won’t come into the room, Bigger holds a pillow over her face – unwittingly suffocating her.

(l-r) Gigi Bermingham, Noel Arthur, and Jon Chaffin

His life has now been thrown into full crisis mode. About 48 hours of chaos quickly ensues. 

Beyond panicked, Bigger tries to get rid of the body and blame the horrific crime on Mary’s Communist boyfriend, Jan (Matthew Grondin).

He’s not panicking because he has accidentally killed a white girl. He’s panicking because he’s a BLACK MAN who has accidentally killed a white girl.

(l-r) Noel Arthur, Jon Chaffin, and Mildred Marie Langford

To add insult to injury, Bigger tells Bessie, his girlfriend (Mildred Marie Langford) of his crime, but then realizes he has to get rid of her because she is slowing him down due to being paralyzed with fear.  

On the run alone, Bigger tries to hide in various places throughout the city – mostly abandoned buildings. Occasionally he comes out hears whispers from both whites and blacks about his dirty deed. Of course, the whites want to string him up and the blacks accuse him of putting a blemish on the race. Close on his heels is a police officer named Britten (Ned Mochel), who is determined to bring him to justice.

Chapman’s vision for Wright’s work is brilliant. Her specific direction is fluid and on point.

The cast is exceptional and gels comfortably undoubtedly due to having done the play together a year prior at the Antaeus Theatre Company.

(l-r) Brandon Rachal, Mildred Marie Langford, Victoria Platt, Jon Chaffin, and Ned Mochel

Jon Chaffin plays Bigger and he plays him Bigger (pun intended) than life. There are so many layers to Bigger’s life.  Chaffin pulls back the layers with precision – revealing a man who is trying desperately to stay in control. Chaffin masterfully weaves in and out of the emotions of the various relationships with ease. There’s the one he has with his family, in particular, his mother, sister and his brother, Buddy (Brandon Rachal). Then there’s the relationship with his employer, his employer’s daughter, and her boyfriend.  Then there’s the relationship with his girlfriend who he may kinda, sorta love – but not really.  His emotions run the gamut of fear, love, lust, pain, deceit, anger and confusion.  Chaffin plays them all with the same intensity and verve.

(l-r) Noel Arthur and Jon Chaffin (top)

Throughout the show his inner man stands behind him in the form of a character called The Black Rat (Noel Arthur).  Chaffin and Arthur have perfected a choreographed waltz around the stage in a fine-tuned meticulousness. It’s fun to watch.

The sights and sounds of the show hit a high note, especially the historical newsreels and the various projected snowstorm scenes where the image engulfs the stage. The fiery furnace and flashing cameras are also striking.

Nambi E. Kelley's dialogue is crisp, emotional and direct.

Kudos to Edward E. Haynes Jr.’s behemoth and highly-functional scenic design, Wendell C. Carmichael’s costume design, Andrew Schmedake’s lighting design, and Jeff Gardner’s sound design.

Native Son, based on the novel by Richard Wright, written by Nambi E. Kelley, and directed by Andi Chapman, stars Noel Arthur, Gigi Bermingham, Jon Chaffin, Ellis Greer, Matthew Grondin, Mildred Marie Langford, Ned Mochel, Victoria Platt, and Brandon Rachal.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah) and E (excellent), Native Son gets an E (excellent).

Native Son, Kirk Douglas Theatre, 9820 Washington Blvd., Culver City; 8 p.m. Tues.-Fri, 2 and 8 p.m. Sat., 1 and 6:30 p.m. Sun. through April 28, no Monday performances, no 1 p.m. performance on Sun., April 21, $27-$77; 213 628 2772 or www.CenterTheatreGroup.org