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“Hieroglyph”

San Francisco Playhouse and Lorraine Hansberry Theatre have combined forces to provide audiences with a stirring production of Erika Dickersin-Despenza’s play, Hieroglyph. Set in the not-so-distant past of 2005 during Hurricane Katrina, this play follows the journey of teenager Davis Despenza Hayes and her father, Ernest, as they make the move from storm-ridden New Orleans to Chicago. Director Margo Hall has brought out every shining moment of Dickerson-Despenza’s beautiful text in a way that makes you forget you’re watching a streamed production and, in fact, living in Davis’ journey. 

(Khary Moye (Ernest) and Jamella Cross (Davis); Photo credit: Jessica Palopoli)

The cast of four deliver extremely nuanced, well-paced performances, each in a way that exposes their character’s mind and heart before ripping away the façade they put up to hide their insecurities and trauma. Leading the way is Jamella Cross as Davis, playing a newly-turned teenager just trying to adjust to her new Chicago life while being extremely homesick for New Orleans, where her roots are and her mother still resides. Cross finds the right balance of teenage innocence and mature adulthood based on a very traumatic experience that only months ago happened to her while staying in the Superdome*. Cross gives each relationship its due, with varying levels of vulnerability allowed to be exposed with superb attention to logical processing of emotions and trust.

(Jamella Cross (Davis) and Khary Moye (Ernest); Photo credit: Jessica Palopoli)

Cross gives the relationship with her father a tender, playful energy while still giving those hallmark “I’m a teenager, dad!” moments that most adults know all too well. Khary L. Moye delivers every bit of paternal nuance with a clear variety of authoritative protector and approachable hero. Safiya Fredericks gives Ms. T., Davis’ art teacher, a commanding empathy in the way that makes her scenes opposite Cross and Moye an enthralling match . Lastly, the bestie chemistry between Cross and Anna Marie Sharpe, playing slightly-older Chicago teen, Leah, is palpable and absolutely fun to watch, especially in their stellar dance turns courtesy of Latanya D. Tigner’s excellent choreography. Sharpe’s jovial-yet-experienced attitude makes her Leah an unpredictable character, which makes her inevitable circumstance a heart wrenching announcement to hear*.

(Anne Marie Sharpe (Leah) and Jamella Cross (Davis); Photo credit: Jessica Palopoli)

Hall directs this piece with a clear understanding of which black experiences should be emphasized and which character developments are simply universal stories and experiences. Hall does this in such a way that allows the audience to process, empathize, and relate, allowing each viewer to understand that not all experiences are the same, and there is no one-size-fits-all way to deal with traumatic events. Hall’s collaboration with Bill English (Live editor) and Wolfgang Wachalovsky (Post editor) pulls no punches in getting into the intimacy and horror of what these characters are going through. The allocation of wide-shots and close-ups tell a clear story where every emotion is given its due focus with every scene. Teddy Hulsker’s projection design gives a next level attachment to the piece as we see haunting illustrations showing Davis’ experience at the Superdome and recurring themes in her artwork for Ms. T. 

(Jamella Cross (Davis) and Safiya Fredericks (Ms. T.); Photo credit: Jessica Palopoli)

Some plays do not translate well to the streaming platform whereas others seem to be a perfect fit for the Zoom in our lives. Rarely does one come across a play which is equally appropriate for either, and Hieroglyph is one such play. At no time was I taken out of the story, nor was I ever “fatigued” from the screen or thought I missed a grand moment, a true testament to the integrity of the work on the page and the work on the stage. Thank you to San Francisco Playhouse, Lorraine Hansberry Theatre, Erika Dickerson-Despenza, Margo Hall, and all cast, crew, and teams involved in bringing this beautiful, heartbreaking, artistically sound piece to audiences. Now go see this show!

*Trigger warnings throughout this play exist. For reviewing purposes, no spoilers were given, out of respect for those readers who wish to be shocked/surprised when watching. However, should you want to investigate for yourself prior to streaming this production, I encourage you to go to San Francisco Playhouse or Lorraine Hansberry Theatre websites for more information.