“Fuelled on the diesel of ardent chitchat, this play moves and purrs and swerves and does its humane thing, teaching its audience how to keep up as it goes,” vcunningham writes, about the new play “Skeleton Crew.”
Bristling and jumping and speeding forward with skillful talk, “Skeleton Crew,” the new play by Dominique Morisseau, directed by Ruben Santiago-Hudson for Manhattan Theatre Club , stakes out ground that’s viable only in the theatre: the piece offers hope—and a kind of proof—that conversation carried out seriously is its own undeniable action.
Once you shame your mama and turn up with a fast tail, you got to be put out and ain’t no lookin’ back. I was scared shitless but somethin’ in me knew I was gonna survive. Not cuz nothin’ was promised to me or cuz I could see the light at the end of the tunnel or no shit like that. But somethin’ in me knew what I was made of. I was gonna survive cuz I had to.
Reggie is “management,” but he comes from the working class, and he knows that one misstep will send him back to the other side of the line. The people he reports to seem to be white and safely distant from the fallout of a plant closure in a way that Reggie could never be. He asks Faye to trust that he’ll help the workers land on their feet—a proposition that shouldn’t fly in a union setting.
Santiago-Hudson directs the actors wonderfully: it’s an ensemble that always works and sometimes crackles, handling Morisseau’s cerebral and joyously verdant text easily. Adams and Boone are soulful as a sensitive, tentatively flirtatious pair: Shanita is pregnant but seemingly estranged from the baby’s father; Dez, head over heels for Shanita, is streetwise but tender, a classic young man in a hurry, with something to prove.
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