author: Erin Tarpley

 

“You’re my wife and I’ve grown to like you”

Relationships are complicated.  Familial, romantic, religious, friendships, cultural, marital… you name it.  Nothing is ever completely easy.  But these different types of relationships have a way of further complicating things when they come together in a sort of spider’s web of rules and expectations that can both entwine and suffocate any individual.  And in Somnia Mari Feral’s world premiere production of Bounce, she does a fantastic job of guiding her leading character Monica (played by Kayah Calhoun) through this labyrinth of oppressive expectations onto the other side with humor, realism, and above all: heart.

Directed by the Strand Artistic Director, Alma Davenport, Bounce closes the Strand Theater’s 18th season, titled: “In Her Entirety” on a solid, yet cumulative note to this theme.  In many ways, Feral’s play is the perfect embodiment of this theme.  Following the character of Monica on her journey as a single mother juggling  her mental health struggles through seeking stability in a hasty marital relationship with the recently widowed pastor of her childhood church, real life gradually chips away at the facade of a seemingly perfect life, and Monica must find a way to navigate her own way forward to embrace her own truth and live her own joy.  In the simplest sense, we are seeing Monica “in her entirety.”

Now, if you just read that and you are thinking to yourself “phew, that sounds heavy,” you’re not wrong.  This play leans heavily into exploring the various forms of manipulation through religion, cultural gender expectations, suppressed sexual identity, and gaslighting (to name a few).  But through all this, where this play truly shines is in Feral’s ability to blend the heavy with the humor seamlessly interweaved throughout. 

This is such a real show.  The dialog and character interactions feel true and authentic in a natural way where the audience truly feels like they are witnessing the actual occurrence of these characters’ interactions by sheer happenstance.  Over the course of several years, but still, by sheer happenstance!  At no time does Feral ever make the story seem too suffocating or too “light and fluffy.”  Instead, she masterfully keeps the tone buoyed in such a way that makes the story feel authentically grounded as it naturally enfolds to its conclusion.

The set, designed and constructed by Anisa Bailey, does a marvelous job of conveying a myriad of settings in its ability to shift and transform its layout from Church Sanctuary to single apartment, Las Vegas restaurant to well-to-do suburban living room.  I thought the use of stark white was an excellent choice in color as it easily conveyed the ability to transition from one setting to the next while sharing the use of the common “landlord special” shade of white that invokes a false sense of cleanliness and hidden warmth that is clearly peppered throughout the story.  Martin Sundiata’s sound design also stood out throughout the play, both in the use of “changing media stations” that captured the music and zeitgeist of the late Two-Thousand Aughts from soulful church choir, to Missy Elliot, to a sound byte from Maury where a man learns whether he is or is not the father.  But my favorite was in the simple choice used in Monica’s apartment to denote a fire detector that needed a new battery.  To this reviewer, this was a common trait that people do, as well as a metaphor for Monica needing a recharge but also letting the warning signs in her life fade to the background as ambient noise that she is able to willfully ignore.

As for the cast: outstanding!  Though a small ensemble, everyone plays their parts with authenticity and dedication to the moment. 

Wearing many hats as member of the congregation, waiter, make-up artist, and homewecker, Glen, played by Jessica Adcock does well to serve as the amalgamation of outside forces to the immediate family.  Seemingly harmless at first, then as a busybody, then, well, go see the show to see yourself.  Donte, played by Brent Warren, is fabulous as he plays the many facets of grieving son, to aimless young man, to pot stirrer within the family dynamics.  Warren is fantastic in displaying the array of emotions his character imbues throughout the years as a young man who loses his mother, sulks as he faces the idea of having a stepmother only slightly older than him, and takes delight in knowing the secrets of his father that will inevitably blow the entire status quo to pieces.

Patriarch, (briefly) grieving widower, serial monogamist, and Apostle to his church, Gerald, played by Jose Rufino, is a horrible delight to behold.  Rufino is fantastic in his ability to play the manipulator in every facet in his character’s arsenal with both a witty and charming, but also devious and smarmy, demeanor.  While his intentions to court Monica are immediately apparent from the on-start of the play (which takes place at his wife’s funeral service), Rufino oozes the stereotypical “leading man of God” with confidence and assertion in every step he takes while beautifully transitioning into the more overt manipulator behavior of a controller and gaslighter while walking the tightrope of being both reviled by the audience and a comedic force.  Gerald’s hair (uncredited, but attached to Rufino’s head) is also a character in and of itself, and Rufino does well to play these luxurious locks with grace and slight camp.  Often used as a tension breaker, Gerald’s hair is reminiscent of Terry Crews’ gorgeous mane in Idiocracy.  No notes, absolutely fantastic.

As for our leading lady, Monica, played by Kayah Calhoun, it is wonderful to see Calhoun step into such a complicated role for her first performance with the Strand.  She encaptures the youth and desperation for stability well with this character, and when it comes to the forcefulness that Monica needs to embrace in more tense moments, Calhoun steps into these moments with aplomb.  However, and this may have been due to seeing the show on opening night, there are other moments when it feels like Calhoun needs to relax more into the dialog and let the words flow, rather than push them out to get to the next line.  Monica’s mother, Evelyn, played by Bre Starr, is spot-on in showing how Monica is in need of mental health assistance.  Loud, brazen, and pushy, Starr invokes the kind of mother that is difficult to cut ties with, while also showcasing the oppressive emotional pressure that would have anyone struggling with their own confidence and self-worth.

Opposite of Monica is her best friend (and more), Rita, played by Yasmeen Mahdi.  Rita is by no means an easy character; either to be around or to be.  Assertive, proud, and self-assured, Rita is many things that Monica is not and Mahdi exudes these traits with a forceful energy that blazes bright but never outshines the rest of her castmates.  A delicate and beautiful balance that only seeks to help others around her glow more brightly.  But in the end, she is a ride-or-die best friend to Monica who waits on the benches for Monica to realize her own truth, and Mahdi does well to show this conflict between love, patience, and frustration as she supports, disengages, and ultimately bolsters Monica in her journey to live her own life.

Seeing as this special play is having its world premiere at the Strand Theater, this is an amazing opportunity to see what is sure to be a well-known play in the future.  Sharp, poignant, and real, Bounce is sure to be a hit wherever it goes next.  But don’t wait for Bounce to bounce on to somewhere else!  Take the opportunity to see this play with this cast in this theater in this time, so in the future you can say you saw Bounce back when.

Playing now through June 14th, do not let this amazing show bounce away from you!

Running Time: Approximately 2 hours with one 15 minute intermission.

Bounce plays through June 14^th 2026 at the Strand Theater— 5426 Harford Rd. Baltimore MD 21214. For tickets call the box office at (443) 874-4917 or purchase them online.