The Red Suitcase
Reviewed by Deborah Klugman
P3 Theatre Company at The Broadwater
Through September 3
Playwright Jiggs Burgess’s The Red Suitcase takes place “somewhere along the banks of the Brazos River,” a waterway that runs some 840 miles through east Texas to the mouth of the Gulf of Mexico. Like the river, Burgess’s narrative covers a lot of territory, commencing in 1969 and journeying forward four decades as it follows the growing-up years of its lead character, Pogue (Emerson Collins), from his “problematic” birth to his attainment of a mature self-acknowledgement as a writer in Brooklyn. Pivoting on the experience of an abused and bullied child, the play tells an important story while featuring graceful passages and several affecting segments. These strengths, however, are obscured by a number of less-than-assured performances, non-enhancing tech values and an over-extended catharsis.
After the local “widder woman” (Pam Trotter) predicts he’ll be a handful, Pogue is born to Bud (Bruce Melena), an archetypically super-macho Texan and April his wife (Kristen McCullough), a compliant homemaker. It’s clear early on that Pogue, with his soft manner and non-butch leanings, will disappoint Daddy, whose frustration translates into severe beatings, accompanied by demands that he be thanked for this cruel, relentless discipline. Things are no better at school, where he’s viciously persecuted by a mean-minded teacher (Trotter), or anywhere else, for that matter; uncle (Mat Hayes), aunt (Trotter) and big brother Sam (Tiago Santos) also delight in tricking and laughing at the hapless boy.
Pogue does find love in dribs and drabs with his understanding grandmother (Charlotte Louise White); a Mexican handyman who’s unfortunately deported back to Mexico (Santos); plus another boy (Hayes) from out of town — a puppy-love that ultimately creates much bigger problems than it solves. And he happily bonds with his scruffy dog companion, Sparky — a puppet (created by prop designer Krys Fehervari) whose presence in the story adds much needed comic relief).
A memory play embellished with metaphor — a person’s life is presented as a suitcase full of memories, while Pogue himself is variously compared to a sparrow or a butterfly — The Red Suitcase affectingly reflects the torment of a gay youngster growing up in an intolerant community, living under the harsh thumb of a brutal parent. Directed by Del Shores, the nightmare this boy lives is communicated loud and clear.
But multiple aspects of the production distract, chief among them the thin caliber of some performances. As bigot and purveyor of punishment, Melena makes the strongest impression in a well-crafted if non-nuanced turn as the hateful Bud. Trotter’s twisted educator, Mrs. Prig, brims with malice, and a monologue where she lets it all hang out is among the production’s most colorful moments. But Collins as Pogue, White as his grandmother, and McCullough as his ineffectual Mom settle for consistently one-dimensional portrayals that lack the gravitas needed to land an emotional punch.
The play might also benefit from a more vivid and varying lighting design (Frank McKown). With the narrative relayed by several performers, and three of them undertaking multiple roles, greater shifts and contrasts would help crystallize and heighten the drama. The scenic and projection design (Jesus Hurtado) is serviceable rather than enhancing.
Lastly, the narrative wraps with a lengthy segment that details the altered dynamic between the adult Pogue, now a writer with an appreciative audience, and his elderly ailing father. For me, a more abbreviated telling that ushers in their final confrontation sooner would strengthen the play in its entirety.
The Broadwater, 1076 Lillian Way, Hollywood; Fri.-Sat., 8 pm, Sun., 2 pm; thru Sept. 3. https://p3theatre.biz/theredsuitcase/ Running time: approximately two hours and 15 minutes with an intermission.
