Tour de Force: an impressive performance or achievement that has been accomplished or managed with great skill.
-If you call something such as a performance, speech, or production a tour de force, you are emphasizing that it is extremely good or extremely well done or made. – Collins English dictionary.
So, there you have it! The production of Ya Mama! I saw on opening night at the Cleveland Public Theatre was exactly that – an absolute “tour de force”. Written and performed by Nina Domingue, this one woman production was delightful and thought provoking.
From the moment you enter theatre you are taken on a musical journey. From Gospel to Nina Simone, from Stevie Wonder to Michael Jackson – the music alone makes you reminisce through your life. Listening to the music you smile, bob your head and pat your feet – as you “Remember the Time”.
Ms. Domingue is a true Griot in the African storyteller tradition as she allows us to experience salient moments of her life. Ya Mama! opens with what we in the African-American community used to call “playin’ the dozens” or “snappin’/cappin’“ on one another. A person would playfully insult or make a wise crack about the other person’s mama or family member to draw laughter from onlookers… “Ya mama is so poor – her picture is on food stamps!” This always starts out as good natured ribbing, until someone said that one thing that hit a nerve – and then… oh well! In this play we smile and laugh at the cracks until we learn that Nina’s mama is dead and… it ain’t funny no more!
I found myself laughing and even tearing up as Nina tells the story of her life.
Ms. Domingue, a wife and mother of five, made me remember my own labor and delivery as she reenacted the experience of being in labor – for days! While she watched as other women happily held and nursed their babies, she was faced with the uncertain outcome of having surgery to deliver hers. I knew all too well the anxiousness of this time. I commiserated with her as she lamented that this and postpartum depression is not something that one is informed about when you read about the joys of motherhood. The topics of mental illness and debilitating depression are not ones widely discussed within the African-American community. Nina forthrightly and openly sheds light on these under acknowledged subjects.
With minimal staging Nina draws us into her tale. Using facial expression, movement, and changing vocal inflections, she portrayed over twenty different characters. You would think that playing so many different characters and age ranges in one performance would be a herculean task – but Nina does it flawlessly and seamlessly. Sally Field in Sybil, or Eddie Murphy in The Nutty Professor couldn’t have done a better job!
The set designed by Inda Blatch-Geib was used interestingly throughout the play and drew your attention. A large photo of her mom was set in a window frame, watching her daughter from the other side. An oversized bookshelf was featured prominently, with slanted shelves that sat jauntily at various angles. As Nina climbed onto and into the bookshelf, I was reminded of how, as a child – I would escape the mundane world by “climbing” in a book (I still do). There was a chandelier from which hung several items… most notably – a belt. When she pulled the belt from its perch – those of us who were raised “old school” knew immediately what this was for! I think I even flinched a bit as we were all reminded of those earlier “butt whuppins’” we received – that made a lasting impression on us, both literally and figuratively speaking! One of the best features that grew out of the set was an elevated platform that reminded me of the old “forts” we used to build in trees. This was where the live percussionist/composer, Bill Ransom was housed. Using a wide range of percussive implements – from conga drums to rainsticks, Mr. Ransom augmented each scene and highlighted each emotion with his expert instrumentation.
Skillfully directed by Nathan Henry and energetically choreographed by Kenya Woods, Ya Mama! is a thoroughly entertaining piece of theatre that earned a well-deserved standing ovation. Kudos to Nina Domingue and company!
