Hype Man
Reviewed by Ezra Bitterman
The Fountain Theatre
Through April 14
[Note: This review is part of the Z. Clark Branson/Stage Raw Equity and Inclusion Initiative for Young Journalists. Stage Raw staff are mentoring the young authors, as they build their professional resumes as arts journalists.]
Idris Goodwin’s Hype Man arrives at the Fountain Theatre from Boston, after picking up the 2018 Elliot Norton Award, among others. Deena Selenow directs.
Peep One (Clarissa Thibeaux) stays late in the music studio creating beats. She is the wheel that turns the music machine that also includes rapper Pinnacle (Chad Addison) and Hype Man Verb (Matthew Hancock). Hype Man features this celebrity rapping trio on the verge of worldwide fame, about to debut on The Tonight Show. Everything seems to be in place for the group’s last rehearsal before their appearance — until Peep One shows up late from being stuck behind traffic because of a large police chase on the highway. Shortly after Peep’s late arrival, Verb checks his phone and realizes that a 17-year-old black man has just been shot 18 times by law enforcement — the same shooting that caused the traffic snarl that Peep was stuck in. This shooting leads the group into an ethical divide over how to handle the situation, with Verb wanting to advocate for the black teen’s rights, while Pinnacle would prefer to let the situation blow over. Meanwhile, Peep is caught in the middle.
Hype Man Verb, being enthusiastic and ambitious, takes on the refined and restrained Pinnacle. This creates awkward interactions between these two characters throughout the show, with Hype Man Verb consistently taking the spotlight and dominating the conversation. While Hype Man’s dominance is often quite funny, he mostly eclipses the other characters, leaving Pinnacle to be more of a mystery, and therefore harder to relate to in a story about commitment to principles.
The bright spot in the acting is Peep One. In that role, Thibeaux sensitively provides a middle-ground between Pinnacle and Verb and helps the viewer see both of their points-of-view more clearly. Especially in the argument scenes, Peep’s proposed compromises push the story forward, and Thibeaux handles these negotiations with subtlety and intelligence.
The rapping scenes are great under Selenow’s clearly passionate direction. Addison and Hancock have great chemistry and interact with the crowd, immersing the audience in a concert-like experience. However, the raps are repetitive, and usually, lack a second verse that would enhance the songs.
The play is very funny, showing playwright Goodwin’s expertise at creating zingers and relatable back and forth insults. However, the writing lacks in other areas: Peep One often brings up her mixed race, creating interesting racial commentary. The drawback is that this commentary remains just commentary without a dramatic purpose. The audience is left expecting Peep One to find some resolution about her race, at least from the amount of time she spends commenting on it, yet by the end of the play, Peep is in pretty much the same place as at the beginning.
The play also features yarns via monologues that often seem off-topic or just redundant. The stories seem like they’re trying to force out a larger understanding of the characters; that force is strained, as these stories rarely come to dramatic fruition by the play’s end. The one silver lining in these monologues is one by Hype Man Verb, who provides an interesting history of the Hype Men who came before him.
Production elements are superb, led by set designer Sarah Dawn Lowry, sound designer Malik Allen and lighting designer Chu Hsuan Chang. The play is mostly set in a recording studio, and only a few overhead fluorescent lights and side lights illuminate the stage. Director Selenow and her design team seamlessly transform the studio into a packed concert, using these spartan lights and minimal props. All of this is enhanced by background audio effects, led by Allen.
The Fountain Theatre, 5060 Fountain Ave., East Hollywood; Fri., Sat., & Mon., 8 p.m.; Sat. & Sun., 2 p.m.; through Apr. 14. (323) 663-1525 or www.fountaintheatre.com. Running time: 90 minutes with no intermission.
