BWW Reviews: brownsville song in New Haven

Theatre is a collaborative effort, and such a collaboration doesn't get much stronger in the Long Wharf Theatre's production of Kimber Lee's play, brownsville song (b-side for tray).

The play is about a random fatal shooting in the tough Brownsville neighborhood of Brooklyn and makes the audience aware that the death of 18-year-old Tray (Curtiss Cook, Jr.) is not something to be quickly forgotten. Tray's proud and feisty grandmother, Lena (Catrina Ganey) will not let anyone move on. "Do not start your telling with me," she says. "It ain't the way you want this story to begin....He ain't beef with nobody. He was not the same old story."

Lee's play goes back and forth in time as Lena recalls his life, and there are scenes in which the audience is privy to extracts of it, but she is unaware. Tray's father was also fatally shot, and his widow, Merrell (Sung Yun Cho) descended into an abyss of alcoholism and abandoned their four-year-old daughter, Tray's half-sister, Devine. Four and a half years later, Tray and Merrell are still in touch. Merrell, a former ninth-grade English teacher, is coaching him on his college scholarship essay. He is loving and protective of his now eight and a half year-old sister (played by Kaatje Welsh), and is still trying to reconcile his feelings towards her. Tray, Lena and Devine always stuck together through tough times and anxious situations, even just by holding hands. He asks Merrell, "Why did you let go?"

Throughout the play, Tray moves agilely through the various demands of his young life - taking his high school studies seriously, working part-time at Starbucks, being there for his vulnerable young sister, winning boxing matches, and occasionally hanging out with Junior (Anthony Martinez-Briggs), the kind of kid Lena disapproves of intently. He does 99 percent of things right, but his life ends badly, suddenly and way too early.

The play is immensely powerful, but its telling is sometimes a bit confusing. I wish Lee, who is passionate about boxing, would have told us more about what the sport meant to Tray. We know from the notes in the program what it means to her, but it is insufficient in the play. What also could use some beefing up is Tray's relationship with Junior. Why hang onto him? Isn't Tray busy enough juggling multiple demands? But these are not major points. Lee's ear for dialog is exceptional and most of what her characters have to say are strong and haunting. The audience cannot homogenize this story with any report of urban violence. It could have been anyone we know, even if we live in our Wonder Bread enclave.

Eric Ting's direction was flawless, as was the cast, with roles in which each could shine. Martinez-Briggs was thoroughly credible as Junior, even as he deferred to Lena by turning his baseball cap so she could see his eyes, and as an impatient student who wanted his latte immediately. Welsh is delightful and touching as the sensitive and fragile Divine. Cho's clear diction is in synch with the mannerisms of an emotionally bruised woman who is trying to make amends for hurting her family. Cook is a standout as Tray, deftly avoiding any stereotypes, just as his character writes, "I am writing my own story." Ganey blows you away as Lena from the moment she opens the play, sitting at the kitchen table with its spindly legs.

The triumvirate of set designer Scott Bradley, lighting designer Russell H. Champa, and sound designer Ryan Rumery almost steal the show with its replica of life near and under the elevated trains. Even if the topic of the play doesn't interest you, go see the show if only for the set, lighting and sound. The portion of the set that represents the infrastructure of the El weighs two tons and looks exactly like its counterpart in New York City with its dirt and rust. The lights and sounds that represent the coming and goings of the trains are as jolting as if they were real. Toni-Leslie James's costumes were perfect for the characters. Claire Zoghb's program cover of a brother and sister looking ahead to life in the city is beautiful and poignant.

The show, which is 90 minutes with no intermission, runs at the Long Wharf Theatre through April 19. 222 Sargent Drive, New Haven. Ticket prices range from $5.00 - $40.00. Call 203-787-4282. Longwharf.org. If you are hospitalized for the remainder of this month, make arrangements to get to the Philadelphia Theatre Company, where it will run from May 1 - May 31 with the same cast and director. 2480 S. Broad St., Philadelphia. 215-985-0420. philadelphiatheatrecompany.org.