Brieyonna Monét, Christopher Leon, Bita Arefnia, Robert Jolly (Photo by Paul Davis)
Reviewed by Steven Vargas
Loft Ensemble
Through March 23
RECOMMENDED
Doris Jean (Tasia Williams) steps up to the mic for her latest comedy set at the Black Flamingo. Amid the Jim Crow era, her quips on racial injustice in 1954 Hollywood are risky, yet executed with wit. She’s a star on stage, but behind the scenes, she’s fighting for respect.
Loft Ensemble’s production of Old Black & White Hollywood by Shawanna Renee Rivon follows Jean as she navigates Hollywood as a Black woman. When producer Samuel Stahr (Ignacio Navarro) presents an opportunity to transition from being the star of an after-hours nightclub to a popular TV show, she must confront the White radio star lead — Eva Rose (Sarah Nilsen) — and the intricacies of an entertainment business that prizes the White perspective. She is cast as Rose’s maid but learns how to push the envelope to be seen as more than that. In this production, the performances shine thanks to the perfect situations igniting the characters’ emotions, but the execution tends to prolong and you find yourself waiting a bit longer than anticipated for the punchline to land.
Rivon’s script is well curated. It gives Jean a precise roadmap that allows for her monologues and reflections on the industry to land with great weight. However, some scenes keep arguments running well past their expiration date. When Jean is finally left alone with Ken (Harry Fakora), the romantic tension rises and deflates and rises and deflates, again. This pattern is common for the production. The direction by Bree Pavey and Cassandra Carmona falls into similar traps, with characters pacing through tough moments that demand a more grounded movement. This is particularly true for the scene when Stahr confronts the owner of the Black Flamingo, Dynamite Jackson (Quan’darius), about helping the Black community support Jean so she can feel more confident about reaching her breakout role. As Jackson argues, he paces back and forth between Stahr and the edge of the stage. Not much is guiding his action other than the need to move. Without the specificity, the frustration he holds falls flat.
While there are moments of stagnancy, the energy revives with the sharp comedic direction. Some of the best moments come from the side characters. Jackson’s stand-up routines are lively; they involve audience participation and utilize plenty of physical comedy. The studio workers — played by Bita Arefnia, Brianne Ingram, Brieyonna Monet, Christopher Leon and Robert Jolly — can pack a punch with the smallest movements. When deep conversations take place, they stick around to eavesdrop. The comedic bits push the limit as they find subtle yet hilarious ways to squeeze into the middle of the action by pretending to clean. Their defiance pulls some great one-liners from the other characters.
The highlight of the production is its leading women. They have a strong dynamic that keeps the story moving with vitality. They hate each other and are unafraid to show it with gestures and reactions of abhorrence. But beneath the jousts, there’s a relationship building. Rivon beautifully maps the arch.
Williams perfectly embodies Jean’s character. She’s quick and witty. In a bit for the show, Jean pretends to paint her skin white so she can spend a day as a white woman. When a “Whites Only” water fountain rolls on stage, her eyes brighten. She softly questions, “What does it say?” paired with a more abrupt, “Oh, that’s me!” She allows Rivon’s smart humor to bloom.
Yes, the show is funny. However, the most commendable part of Rivon’s writing is her ability to make heavy topics comedic. It’s a balancing act. When Stahr approaches both Rose and Jean to audition for his biopic on Cleopatra, the lights shift from the typical studio set up to an abstract one. Lighting designer Tor Brown exposes each character for a vulnerable interaction. Their reaction to the invitation reveals a stark difference between the characters. Rose brings out the humor, jumping up and down about how her skin will glimmer and how the bangs will look on her forehead. Meanwhile, Jean is more concerned about whether Hollywood would accept her skin and hair at all.
Although the show has its quirks, it’s a powerful tale of trusting in your own voice. Old Black & White Hollywooddocuments how Jean enters Hollywood and strives to tear it all down and replace it with a more accepting version. When she learns about the secret conversations happening behind her back, she takes control by wielding the fear others have of her. By kissing a White man on camera, chaos erupts, but she struts through the dust with a smile on her face. After spending two hours being told what she can’t do and be, she proves she’s worth much more.
Loft Ensemble, 11031 Magnolia Blvd., North Hollywood. Fri.-Sat., 8 pm , Sun., 7 pm; thru March 23. thru March 23. https://www.loftensemble.org/event-details/old-black-white-hollywood-by-shawanna-renee-rivon-2025-03-07-20-00. Running time: 2 hours with a 10-minute intermission.
