Jazzma Pryor (Genesis) and Rich Oliver (Rashad) in Fleetwood-Jourdain Theatre’s “The Light” /Photo: Kara Roseborough
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“The Light” by Loy A. Webb is a seventy-minute, one-act play about a young Black couple who struggle with a revelation from the past that threatens to break up their budding relationship. It’s presented by Fleetwood-Jourdain Theatre and directed by Tim Rhoze, with set design by Rhoze and Shane Rogers, lighting design by Hannah Wein and five large murals of Black women rocking natural hairdos that change color as the light shifts by artist Jess Patterson.
In the living room of a Hyde Park apartment, Rashad (Rich Oliver)—a single father who had dreams of being a football star but settled for a job as a fireman—paces back and forth in anticipation of the anniversary of his first date with girlfriend Genesis (Jazzma Pryor). His plan: Surprise her with a sparkling wedding ring and then recreate their first date by taking her to see the same musical artist that they saw on their initial romantic excursion. He worked twenty-four-hour shifts and called in favors with friends to make it happen, so what could go wrong?
All goes according to plan until a bombshell is dropped, that the concert they will be attending is hosted by a beloved, politically conscious male musical artist whom Genesis viscerally refuses to support. She declines the invitation, dashing Rashad’s plans to smithereens. After Rashad badgers Genesis endlessly, she admits a shocking history, revealing a dark side to the altruistic entertainer that is repulsive and unforgiveable; Rashsad, on the other hand, finds her story at first unbelievable until he digs deeper.
Fleetwood-Jourdain Theatre’s “The Light,” with Jazzma Pryor as Genesis/Photo: Kara Roseborough
This is the launchpad for a heated conversation that is like a crash course in justice, politics, patriarchal privilege, intersectionality and the silencing of the voices of women. As each ups the dispute, dark secrets from the other’s past bubble to the surface and alter their footing like a verbal game of tug-of-war. In the end, there is a consensus, but will the acquiescence of one be enough to save the relationship from utter collapse?
There is a lot of ground covered in the show’s relatively short runtime. The sensitive subject matter is written using crystal-clear rhetoric and the reached conclusion is indisputable, a cathartic experience for anyone who has ever argued with pig-headed, alpha-male types about issues of feminism and equality between the sexes. Oliver plays the naïve Rashad as subtle and intelligent but firm and stubborn. Pryor’s portrayal of Genesis is strong and confident, but when she finally breaks down the effect is heartbreaking—tears burst from her eyes, perfectly timed with the show’s final cadence.
Amidst current conflicts the question remains, “What’s worth marching over?” While racism and injustice often get the spotlight, the plight of women—especially Black women—are too often ignored. In “The Light,” this truth is reflected brilliantly in this gem of a production.
Fleetwood-Jourdain Theatre presents “The Light,” running through August 20 at the Noyes Cultural Arts Center, 927 Noyes Street, Evanston. Tickets are $30 at fjtheatre.com.
