Rating (out of four stars): ★
The Black Theatre Troupe’s production of Frank Higgins’ “The Taste Test” sometimes comes off as a bit silly for the same reasons this year’s political debates do — it consists of participants shouting at each other without cease for no apparent reason.
In the case of the play, the constant shouting matches are mere reflections of a play written in a continuous tone of conflict. It takes some serious acting chops to keep an audience engaged with a cast of three characters who are never quite happy with one another. Add on a stripped-down set and minimal technical elements to distract from verbal sparring, and “The Taste Test” becomes a daunting project.
The cast of three performers included Racquel McKenzie, who plays Jewel, an advertising executive; Shari Watts, who plays Clair, an aging CEO; and Michelle Nakamoto, who plays Mary, Clair’s second-in-command and Jewel’s best friend from college. The trio didn’t want for energy but sometimes lacked conviction.
The play centers on the shifting power dynamic between three commanding and diverse female characters and the viciously intimate conflicts that arise from differing cultural backgrounds, attitudes and interpersonal relationships.
A stark set, consisting of nothing but a simple desk surrounded by rotating set pieces painted in shades of blue and grey, puts all the spotlight — figuratively and, at times, literally — on the changing dynamic between the three women. This presents a unique acting challenge.
Nakamoto, in particular, had difficulty believably portraying a character constantly in conflict with herself and with the other characters. A second-scene shouting match between McKenzie and Nakamoto seemed rigid and rehearsed, and Nakamoto’s final monologue, which is supposed to be tragic and moving, came off as merely confusing, as she stumbled over every other line. In general, she was unconvincing every time she needed to appear flustered — which, admittedly, the script may have made her do too often.
McKenzie’s Jewel is a stronger character, and as the narrator and main character, she does an excellent job of keeping the show together when it might otherwise fall apart into confused conflict. She is responsible for introducing the show’s central question at the outset: “What would it take to make your best friend betray you?”
With beautiful verbal expression and physicality, McKenzie delivered long anecdotes and stories between scenes that lent meaning to the production, often drawing from African tribal culture.
One story her character tells is a traditional African folk tale about a war between birds and land animals. The bat, which could pass for either, tries to fight for whichever side is winning.
The play presents Jewel as a “bat” of sorts, flip-flopping between her friend and now-colleague Mary, and Clair, her powerful boss.
But in the context of the play, it was sometimes hard to tell who Jewel was fighting for and why. Alliances, broken promises, lies, secrets and conspiracy at first keep the audience engaged and intrigued, but it’s eventually exhausting and nigh-impossible to keep up with. That could be due to flawed writing or unclear presentation, but it’s likely a combination of both.
Shari Watts’ Clair, however, lent some much-needed humor to the production. Her characterization was impeccable, her presence captivating, and her sharp, cleanly delivered one-liners (“What is the press? The last refuge of the semi-talented” was a personal favorite) stole the show.
“The Taste Test” has a lot of potential. It explores the complex relationships between three women in powerful roles, none stereotypically feminine, all from different races, backgrounds and prejudices, and all far outside the influence of males (except, perhaps, for Mary — her legal troubles with her ex-husband could be considered a factor in her eventual downfall). As an audience member used to seeing plays that explore the dynamic between male and female characters, it was refreshing to get a close look at strictly female, high-intensity interactions in a business-driven world.
But too much intensity made every new event, argument or plot twist superficial. Most of the conflicts played out in the same tone throughout the entire play, making it difficult to see the overall arc of the story.
Contact the author at Faith.Anne.Miller@asu.edu. Contact the columnist at mbilker@asu.edu
