DOT at Cockpit in Court

TheatreBloom rating:

A Black family at Christmas finds love and humor dealing with Mother’s cognitive issues.

Cockpit In Court at CCBC Essex (formerly Essex Community College) presents DOT at the Cabaret Theatre in the Robert and Eleanor Romadka College Center. DOT, a relatively new play, (2016), describes itself as ‘twisted and hilarious’ but that’s not entirely accurate. Let me get through this intro and I’ll explain. It’s a family show that isn’t remotely family-appropriate, so bring Grandpa, but don’t bring the kiddos. It’s inclusive and sharp, authentic, warm, funny, and heartbreaking. I recommend it.

The college is just off 695’s Exit 7 for Rosedale, although the campus is still called Essex. There’s plenty of free parking, with sections named for the Greek alphabet, but do take care to notice that the access roads to the parking pods are one-way, and separated by a median, so if you’re unfamiliar, it can be tricky. The walkway to the building is wide and smooth, but sloped, so mobility-compromised theatergoers be aware, and bring with you all required personal assistance devices. There’s ample space to accommodate them. The Cabaret is upstairs in the pretty Romadka College Center. The elevators aren’t immediately obvious, but the stairways are wide with plenty of traction and sturdy handrails. Don’t wait downstairs- Sweet Charity (Cockpit In Court’s second musical offering this season) is playing in the downstairs “main” theater. Masks are required inside of both theaters- the whole building, in fact, unless you’re enjoying light fare inside the Cabaret Theater, which is permitted.

Dot at Cockpit in Court. 📸 THsquared Photography
Dot at Cockpit in Court. 📸 THsquared Photography

DOT is written by Colman Domingo, whom you may know as a film character actor or from HBO’s Euphoria as Ali. DOT was described to me (by someone uninvolved in the production) as “a new non-musical comedy” which was two-thirds accurate. It is NOT a comedy. It’s funny- very funny, frequently- but not a comedy. Much as I’m dismayed by jargon, I really think leaning into the description “dramedy” would adjust audience expectations for this show.

This show is a window into a couple of crucial life cycle realities that many- maybe most- families will grapple with at some point. It’s full of contemporary capital issues: adult offspring dependency, income problems, urban decline, sexual orientation, stereotypes, aging parents, resource scarcity, reproduction, estrangement and language. Right- there’s swearing, lots of it, including contextually appropriate F- bombs. 

Directing for the first time at Cockpit In Court, Rikki Howie Lacewell displays a deft hand for comedic sequences, but really shines creating believable moments of harsher hues, which she refuses to rush, minimize, or deflate with humor. Lacewell lets us sit in the moment, absorbing and processing, appreciating and identifying. Lacewell also serves as Costume Designer and delivers strongly defined signature looks which support the characters throughout the show.

Other production values are solid-  Scenic Designer Sammy Jungwirth’s set is believable as a family home, though the ‘front door’ seems to also access the ‘upstairs.’ Helen Garcia-Alton’s lighting design is subtle, almost undetectable, with at least one lighting change that may indicate meaning of some sort, but I’m not sure what, exactly. There’s a significant amount of music in this piece, so when Sound Operator Liz Boyer Hunnicutt comes in exactly on cue, it’s smooth and integrated. The props and dressings, by Stage Manager Miles Lawlor, are homey delicate details which allow a set to function as an additional performer, and this one does. Hair and Makeup Designer Shemika Renee’ gives the actors exactly what they need to complete their characteristic looks, with extremely effective results.

Sierra Young, the Intimacy Consultant, a position designed to ameliorate awkwardness between actors, gets the job mostly done, though there are a few romantic moments that seem obviously forced by the script onto actors who are uncomfortable with them, despite the intimacy consultant. This arises alongside a few clunky moments in Colman Domingo’s script as well as the nature of community theatre casting where not all performers are always going to be equally experienced in their acting skills. Dialect Coach Ruslan Abdraimov adds to the authenticity of a foreign-born caregiver. Jason Randolph’s long history as Technical Director ensures that no controllable elements detract from the actors’ performances nor the audience’s enjoyment.

The cast is a lovely representational group. I’ve enjoyed Laura E. Weeldreyer’s performance in previous shows, and as Jackie, she handles a role of the confidence-masking-inner-turmoil persona, adorned by disoriented situational comfort with a seasoned actor’s competence and nuance. Her surprised unease with her longtime chosen family is distinctly different from her shaken personal condition.

As Averie, who doesn’t appear until Act II, Randi Seepersad is every inch the hopeful Influencer personality. Her treatment of Fidel is very nearly mean-spirited. Jamal Kitchen, Jr., playing Donnie, has potential, and gives obvious stalwart effort to a role saddled with baggage he hasn’t yet experienced. As paid part-time support person Fidel, Brian Dauglash is muddled, jumpy and motivated. He and Dot have an authentic connection. In the role of Adam, Ted Burke is smooth and natural, from his first whiny exchange with Donnie to his tender handling of Dot’s confusion.

Takira Thompson as Shelly in Dot at Cockpit in Court. 📸 THsquared Photography
Takira Thompson as Shelly in Dot at Cockpit in Court. 📸 THsquared Photography

 

Takira Thompson, playing Shelly, a devoted but barely managing daughter shoehorned into a role she never bargained for and doesn’t want, is 100% authentic. That’s my life she’s living for two hours. Her wry humor is genuine, her exhaustion communicates, her desperation is real, and if her coping methods seem extreme, you maybe haven’t walked in her shoes. Yet.

In the title role of Dot, Robin Rouse is impeccable. Dot’s snappy personality and underlying warmth are established, only to be craftily obscured by Rouse’s embodiment of her increasing disconnection. Her delivery of expository dialogue is believable and heartbreaking. All of her little ways and big reactions are familiar and accurate. I’m sad to imagine her portrayal is based on her own life experience, and impressed if it isn’t, and based exclusively on deliberate study. Truly, you need to see this woman’s performance. 

I have none of what I call “book problems” with the script of DOT. That is a rarity, as is your opportunity to see this so far little-known show. The production is well worth watching, and DOT is realistic in ways that will make you think about things, gentle in its handling of a tender and often volatile situation, and the performance is in every way praiseworthy. Additionally, it is the 50th anniversary of Cockpit In Court Summer Theatre, should you wish to show some financial support when you attend the show.

Actor and Creative bios plus Director’s Notes are available at the theatre only by accessing a QR code available on your table. I advise writing the tinyURL on the back of your ticket and looking at it on a large screen at home, but I’m old like that and really prefer a paper program to scribble on. I know that’s un-green of me. If you’d like, though, you can see, download, or print the program in advance of viewing the show by clicking here.  

Sandwiches, crunchy snacks, desserts, sodas, and wine are available both pre-show and during intermission. The Cabaret Theatre, which is set up like a cafe, permits food and drinks inside. My companion and I split a deli wrap sandwich and some chips, then shared two slices of cheesecake obtained during intermission. Do please open the containers before ‘curtain;’ the plastic clamshells are startlingly loud.

Running Time: Approximately 2 hours and 15 minutes with one intermission

DOT plays through August 7, 2022 at Cockpit in Court in the upstairs Cabaret Space of The Robert and Eleanor Romadka College Center at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard, Essex MD. For tickets call the box office at (443) 840-2787 or purchase them online.


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