By Bonnie DeShong – Steppenwolf’s New Show Is A ‘Windfall’ of Emotions, Realizations, Music, and Questions
Oscar-winning playwright Tarell Alvin McCraney sets this play in Chicago. Henri “Mr. Mano” Tamaño (Michael Potts) has worked hard to own his home and raise his children. His oldest adopted child, Marcus (Glenn Davis), is dead but remains present, having conversations with Mano on a daily basis. Mano also has a youngest child, Eli (Esco Jouléy), whom he hasn’t seen in six months following an argument.
Eli, along with friends Cori (Jon Michael Hill) and Brother 1 (Namir Smallwood), starts a band that sings against injustice. They find themselves involved in a protest at a building where a child has been unlawfully taken inside. Police shoot into the crowd, and Eli is hit and later pronounced dead.
The play explores the concept of A ‘Windfall’ of Emotions through its powerful narrative and character interactions.
The City of Chicago offers Mano money to settle over Eli’s death. Letters are sent, and eventually, three strangers arrive in person. Each places pressure on Mano to accept the money, but only if he agrees to state that the City and police are not at fault. Marcus urges him to take the money. The question becomes: How much money would it take for a Black father to clear the City in the death of his child?
I asked the artistic director side of Glenn Davis how it came about that McCraney wrote this particular play for Steppenwolf. He responded, “We went to him and said, ‘Hey, would you write something to christen this theater in terms of a commission, a first presentation of this play?’ And he said, ‘Absolutely.’ Then our second request was that he write the play that he was scared to write. That was the prompt that he needed.” McCraney delivers, as only he can.
There is a great deal of audience participation, which makes attendees feel like a meaningful part of the production. Another “character” in the play is the music. The cast breaks into soulful sounds from Marvin Gaye, Sly and the Family Stone, and others. The performances are so powerful that the audience can’t help but sing along and clap.
Davis explained that while the play deals with serious circumstances, McCraney’s signature elements remain. “One of the things we may underestimate about a play like this is, while it deals with very real and serious circumstances, because it’s Tarell Alvin McCraney, whether you’ve seen Moonlight in film, Choirboy, or the Brother/Sister plays, the thing that is always infused into his work is humor,” Davis said. “Many times, he’s writing about folks who are underprivileged or from the proverbial wrong side of the tracks. One of the great things that helps folks be the best version of themselves…is music and humor.”
The casting is outstanding. Steppenwolf Ensemble member Alana Arenas plays three roles, First Lady, Miss Second, and The Last One, and portrays each character distinctly. Her performance evokes the three ghosts from “A Christmas Carol,” in the best way. She is the connective force of the play, shifting seamlessly between roles.
Michael Potts delivers a strong performance as a father who has lived a complicated life but remains devoted to his children. Throughout the play, Mano hums and sings, using music as an emotional outlet.
When asked about the role of music, Potts said, “Mono uses music when he’s sad…whenever he or Eli needs to focus or calm themselves, they use music as a way to cope. I think…he’s talking culturally as well, the power of music to soothe one’s soul.”
Glenn Davis’ portrayal of Marcus balances humor with emotional weight. Though Marcus is no longer alive, his presence drives the story forward, especially as he encourages Mano to accept the settlement. When asked why Marcus wants Mano to take the money, Davis explained, “He feels like he wants to pay Mono back…for the way he’s looked after him…There’s a specific reason I’m here, and I won’t leave until I get done what I need to do.”
Esco Jouléy delivers a compelling performance as Eli. The character evokes a full range of emotions, warmth, joy, and heartbreak, making Eli central to the audience’s connection to the story.
Davis noted that casting Eli and Marcus correctly was critical. “Eli is the subject of the play, and Mono is the object…those two need to be in sync, and they are,” he said. “Esco is fantastic…They take us into the depths of social consciousness, love of self, and knowledge of who they are.”
Jon Michael Hill and Namir Smallwood round out the cast with strong supporting performances, adding depth and balance to the production.
Asked to summarize the experience of “Windfall,” Davis said, “By the end of the play, I feel like you’re called to either do something or question your own beliefs…prepare to laugh, prepare to cry, but also prepare to be challenged.” “Windfall” is more than a play about money. As you leave the theater, you may find yourself considering a difficult question: If a Chicago police officer shot your child and the City offered you a seven-figure settlement in exchange for clearing them of fault, would you take it?
I give “Windfall” 4½ winks of the eye.
Until next time, keep your EYE to the sky!
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source chicagocrusader.com ’
