“Born with a silver spoon, but I couldn’t feed myself.” Milla Dejoie barks these words at her mother, Wilhelmina Dejoie in a strained moment filled with the accrued despair of unrealized love, abdicated responsibilities. Wilhelmina neglected Milla just as “grand-mère” neglected her — repeating a cycle of contempt and abandonment that the women seem likely to continue until Milla must come back home after a death in the family.
A story that picks up momentum, fervor, and narrative weight after intermission in an Act Two, packed with dramatic punch,
Love & Southern D!scomfort at The Ensemble Theatre, directed by Ensemble's Artistic Director Eileen J. Morris, presents the story of generational neglect and the journey toward reconciliation and redemption after the death of the family matriarch. Book and lyrics are by Monica L. Patton and music and lyrics by Bobby Dave.
LaShanna L. Moore’s performance as Wilhelmina, the wayward daughter-fed up with being ostracized from her family yet consumed by the common need of belonging, is the highlight and emotional center of this production. Moore commands each scene she’s in. Each moment feels relevant with her as every interaction seems laced with an accumulated history that’s been building long before the curtains went up.
Her shaky timbre and fragile tone during the standout track “Liquid Courage” showcased what it means to succumb to one’s own addiction while decrying one’s own weakness. She hit rock-bottom with the projected dignity of a woman who only wears high heels while expressing the inner decay of someone who has given up on herself. Her ability to convey the dualities and seeming contradictions of addiction is a testament to Moore’s acting craft. Only a seasoned actress can render such nuance.
Moore’s performance takes central presence in Act Two whereas Act One centers primarily on Milla’s return home. April Wheat’s (Milla) acting range is eclipsed by her spirited vocal talent. The romantic stories introduced and developed in Act One take a backseat to the plot development in Act Two which minimizes the relevance of the events in Act One.
Overall, the set design (Joyce Milford) adapts well to the limited space of the theater as the multiple locations are always recognizable by the audience. In a stunning transition, introducing the ancestral Beaumont Mansion, the video design (Adrian Washington) works concurrently with the retractable scenic façade of the house illustrating well the splendor and grandness of the mansion. Both the design climax and the story climax arrived at the same time during the funeral scene making for a visually rich and stunning moment of direction.
The projected image of a religious stained-glass window, flanked by the wings of two angels juxtaposed with the verbal tirade and jaw-dropping reveals was compelling to witness. The dynamic voices of Moore and Rita L. Hughes (Louisa), the family maid were almost too powerful for the intimate theater.
Special note should be made of the performance of Manniah Harris. Though in an ensemble role, she is present in every moment on stage from her reactions to the chaos to her listening skills as an actor. What a scene partner. Her giving the check when she was the waitress and her presence at the funeral are comedic moments the audience shouldn't miss. We look forward to seeing Harris on stage again soon.
Performances continue through October 16 at 7:30 p.m. Thursdays, 8 p.m. Fridays, 2 p.m. Saturdays and 3 p.m. Sundays at The Ensemble Theatre, 3535 Main Street. For more information, call 713-520-0055 or visit ensemblehouston.com. $41-$60.
