Crumbs from the Table of Joy, Lyric Stage Company of Boston, through February 2. 617-585-5678 or lyricstage.com
Imagine a narrator-driven memory play that explores the changes affecting a post-World War II black family. Does this sound like a cross between Tennessee Williams' "The Glass Menagerie" and Lorraine Hansberry's "A Raisin in the Sun"? Actually the work in question is a Lynn Nottage effort-namely "Crumbs from the Table of Joy".
If this important American dramatist displayed a stronger stagecraft in her Pulitzer Prize-winners "Ruined" (2009) and "Sweat" (2011), the very heartfelt and strongly acted current Lyric Stage Company of Boston production of this 1995 play demonstrates a major talent in its early stages.
Inspired by vivid imagery from a short Langston Hughes poem entitled "Luck," "Crumbs from the Table of Joy" focuses on the changing fortunes of widowed African-American father Godfrey Crumb and his teenagers—17 year old Ernestine and 15 year old Ermina. Godfrey—determined that his family "not end up like the Scotsboro Boys"—has moved his daughters from Florida to Brooklyn in search of a better life and greater possibilities. A very caring father but struggling breadwinner, he latches on to the hope-rich radio preaching of an actual spiritual leader known as Father Divine (fully identified by the Lyric Stage in its lobby) and takes notes on his positivity-centered theology as he looks for answers to his personal questions. Repeatedly Nottage has Godfrey meticulously polishing his shoes—an action that becomes a kind of metaphor for his security blanket-like effort to get things right in his life.
Thoughtful if reserved narrator Ernestine deeply loves Godfrey—as does her extrovert sibling Ermina. They are also quickly drawn to their newly arrived adventurous and equally warm-hearted aunt Lilly Ann Green (their late mother's sister) and her inner fire. As winning Ernestine chronicles Lily's interest in Communism, her father's evolving fortunes—including an unexpected and serendipitous subway meeting-turned romance with German immigrant Gerte Schulte—and her own upcoming high school graduation-a family first, she becomes a spokesperson for Nottage herself—who spoke of trying to understand the era. At the same time, Ernestine's skill preparing her graduation outfit (kudos to designer Mikayla Reid) prefigures the playwright's very satisfying depiction of the strikingly loving relationship between the focal black seamstress Esther and the supportive Hasidic Jewish fabric-selling shopkeeper in the playwright's more tightly written drama "Intimate Apparel" (2003). Not unlike Williams' purposeful poet Tom in "The Glass Menagerie," Ernestine ultimately heads to self-determination "walking and riffing" with a memorable "Year from today" promise.
While "Crumbs" seems more promising than fully satisfying, attentive director Tasia A. Jones has beautifully tailored a stellar ensemble of rich performances at the Lyric Stage. Dominic Carter poignantly captures Godfrey's complex inner struggle seeking joy and fulfilment as a father, Lily's brother-in-law and Gerte's love. Madison Margaret Clark very naturally catches Ernestine's development as an insightful young woman and her close sibling ties with Ermina, played with appealingly exuberance by Catia . Bridgette Hayes has all of Gerte's bluntness as well as her embrace of Godfrey's family. Production highpoints include the sisters' vivid talk about movies and the start of Godfrey and Gerte's involvement. Thomika Marie Bridwell is a revelation and a total delight as outspoken yet vulnerable Lily. Lily's verbal clash with Godfrey is properly riveting.
Hughes' reflective poem speaks of love and heaven. Lyric Stage's savory "Crumbs from the Table of Joy" finds ample servings of both.