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W. Tré Davis and Tyler Fauntleroy are 'Tambo & Bones'
© 2022 Craig Schwartz Photography
| By Darlene Donloe |
One of the characters in Dave Harris’ latest show, Tambo & Bones, declares that what is being presented on stage is a “thesis on race in America.”
From some people’s perspective, that’s exactly what it is, while some others, of a different hue, could get lost in the presentation.
It’s hard to define Tambo & Bones, currently playing at the Kirk Douglas Theatre in Culver City. It’s a lot of things, to a lot of different people.
It’s part minstrel show, underground rap concert, and a commentary on race in America, all wrapped up in a theatrical production that allows the audience to decide for itself what is being presented on stage.
The show opens with Tambo (W. Tré Davis) and Bones (Tyler Fauntleroy) apparently trapped in a minstrel show. Both men are down on their luck.
Tambo seems content to just sleep the day away under a “fake ass tree,” under a “fake as sun.”
Bones, on the other hand, wants desperately to get out of the cycle of poverty by doing minor acts of entertainment – and then imploring the audience to give him a quarter for the performance.
When things don’t go their way – they blame, who else, the playwright for writing them into a minstrel show in the first place.
“You had the possibility to dream up any world you could have and the extent of your imagination was to put us in a minstrel show?”
Their goal is to get enough quarters and dollars to get out of the show.
It’s mad hard to feel like a real person when you're trapped in a minstrel show.
So, they run into the audience, bring him (a dummy) up on stage and pull him apart – only to find he is full of quarters.
They are on their way.
Their escape plan: get out, get bank, get even.
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(l-r) Tyler Fauntleroy and W. Tré Davis are 'Tambo & Bones' |
The 90-minute, three-act show has been described as a rags-to-riches hip-hop odyssey, where Tambo & Bones roasts America’s racist past, wrestles America’s racist present, and explores America’s post-racial future—where what’s at stake, for those deemed less-than-human, is the fate of humanity itself.
After lifting themselves from the minstrel show, the two find themselves headlining a full-on hip-hop show complete with thumpin' music, fabulous kicks, low-riding pants, gold chains, and a flashy grill. That’s when Tambo takes the opportunity to remind America of the racist wrongs it has allowed to happen, while Bones believes the best revenge is to make that chedda, get out and live the American dream.
Unfortunately, due to the sound system, a lot of the rap’s dialogue was lost. But those who know – know!
W. Tré Davis and Tyler Fauntleroy literally bring Harris’ words to life. The chemistry between the two is what makes this show work.
This isn’t an easy show to watch or to hear. The word “nigga” is freely flung about in a predominantly white audience. At times you could feel the uneasiness of those in attendance as white people didn’t know whether it was suitable to laugh at some of the clearly-inappropriate-for-mixed-audiences dialogue. It’s clear that one of the show’s goals is to alienate segments of the audience.
The sweet spot is to read the lines and those in between. There is a message for everyone – although it is and isn’t presented in black and white.
WORD TO THE WISE: If you are white, save yourself!
DO NOT USE THE WORD UNDER ANY CIRCUMSTANCE!
This show isn't for everybody - and yet, it's for everybody!
The end of the show is when the harsh realness is unmasked.
In the third act, Tambo & Bones present two white robots meant to represent what’s left of white people. Tim Kopacz and Alexander Neher are brilliant as robots. Kudos on their performances.
When they begin to malfunction, Bones’ real emotions are revealed, he can’t handle them, and something unexpected happens.
The audience is denied a “bow” at the end of the show. To understand why go see Tambo & Bones.
Tambo & Bones, directed by Taylor Reynolds and written by Dave Harris, stars W. Tré Davis, Tyler Fauntleroy, Tim Kopacz, and Alexander Neher.
The show is a co-production with Playwrights Horizons.
The creative team includes Stephanie Osin Cohen (scenic designer), Dominique Fawn Hill (costume designer), Amith Chandrashaker (lighting designer), Mextly Couzin (lighting designer), Mikhail Fiksel (sound design), Justin Ellington (original music), and J. David Brimmer (fight director).
Tambo & Bones, Kirk Douglas Theatre, 9820 Washington Blvd., Culver City; 8 p.m., Tues.-Fri.; 2 and 8 p.m. Saturday and 1 and 6:30 p.m. Sunday through May 29, 2022; $30; (213) 628-2772.
On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), Tambo & Bones gets an O (oh, yeah)
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