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Mary Beth Fisher (The Year of Magical Thinking) and the entire ensemble of Home are among Kelly Kleinman's picks for the Best of 2010

Ron OJ Parson’s beautiful and moving production not only made the case that Samm-Art Williams’ coming-of-age story from 1981 is a deeply neglected American play, he reminded us that great directors invariably have a great sense of humor.

Four stars for 'Home,' a brilliant journey that captures African-American experience
 

...there is no more neglected American play ... than Samm-Art Williams' "Home," a gorgeously and movingly written chronicle of the mid-20th century journey through life of one ordinary, African-American man. And Ron OJ Parson's Court Theatre production makes its case unpretentiously and exquisitely.

Parson, a great advocate of this play, has directed "Home" twice before, both in Madison, Wis. and at the Signature Theatre Company in New York. He has solved its challenges and understood its rhythms. We are lucky he has brought it back home for the holidays. 

Highly Recommended ... wise, soulful, deeply musical play

 

a glorious, vividly acted revival at Court Theatre under the brilliantly “choreographed” direction of Ron OJ Parson.

 

Williams’ writing is pure poetry, and the actors at Court make it sing (and dance) at every turn.

 

Honore and Tracy N. Bonner, the two women who play countless roles, are beyond marvelous.

4 STARS ... Parson’s production distinguishes what’s a straightforward telling of a universal story in miniature, thanks to the precise and engaging physicality of its first-rate trio of actors. It’s percussive, acoustic, and told through three bodies and voices and a single heart... Despite its lyrical dialogue and everyman themes, Home feels authentic, indeed a place to be perennially cherished and sought.

Director Ron OJ Parson, who revived "Home" in New York in 2008 (with Bonner as Woman #2), clearly still has plenty to give this deceptively simple tale. He balances comedy and drama expertly, and deploys the aisles as well as the stage to make the Court Theatre space (which often feels cold and stand-offish) warm and intimate—which is to say, homey.

Tom Williams talks with Ron OJ Parson, the director of Home on the Talk Theatre in Chicago podcast. Ron talks about the show as well as bringing it to stage. (MP3 Time: 33:18)

What makes Home so riveting are the truly extraordinary performances by the three actors. Ashley Honore and Tracey N. Bonner swiftly move from one manic character to another deftly playing men, women, children, lovers and old timers to facilitate playwright Williams’ story. Honore and Bonner couldn’t be more versatile and effective. Their honesty, craft and energy give Home a feel of a large scale show despite only three players.

 

This journey is a moving, heartfelt and redeeming reflection of the human spirit.

Samm-Art Williams’ sturdy 1981 poem-play takes us on a terrific journey and defines its title with lovely specificity.  “Home,” a 105-minute, three-person one-act, captures the story of farmer Cephus Miles from the 1950s to the Reagan era.  No question, it’s both richly detailed and perfectly produced/performed in Ron OJ Parson’s Court Theatre revival.

This is a beautiful story told as only Parsons can do- with heart and soul. There are many funny moments and a lot of warmth and sentiment. Jack Magaw’s set is fairly simple as are the costumes by Rachel Laritz. Kathryn Bostic’s musical selections bring the scenes together along with some wonderful lighting effects by Heather Gilbert. This is a painting of the times and Parson puts the paint on the canvass just the way Williams wrote it.

For a director, it is one of those rare plays that you can always return to,” Parson said. “It’s always challenging, always fresh, always moving and always fun to work on.

Wiliams’ text is musical, a rhythmic, lyrical pastiche of scenes that play like movements in a verbal sonata with words that literally sing at times. Hymns, spirituals, chants to make the toil of laboring in the tobacco fields endurable are interspersed through more traditional scenes of storytelling.

Parson’s continually stretching his own understanding of the play, working with its musical and physical dimensions to explore the depths of Cephus’s picaresque journey. “I made the spoken language more musical,” he says, “so that if someone says, ‘Blues in the night,’ I would make it, ‘Bluu-uues in the ni-ii-ight,’?” sketching out a bluesy melody. “I told Samm, ‘If I’m getting too crazy with your play, you let me know,’ but he said, ‘No, man, I love to see the different approaches.’”