Carpenter Square Theatre’s “Crumbs from the Table of Joy”- Far Short of Joyful

                                                                                                          ……………by Adrienne Proctor

Michael Page (center) as Godfrey brings home crumbly cookies for his daughters Ernestina and Ermina, (Shermaine Taplin and Dashari Miller, Photo Courtesy of Rhonda Clark

Carpenter Square Theatre’s 34^th Season is rolling right along with their fifth of eight shows this season. “Crumbs from the Table of Joy” by acclaimed playwright Lynn Nottage first premiered in 1996. Based in 1950, “Crumbs” features an American family facing the challenges of a changing world thanks to the burgeoning civil rights movement. The two teenaged girls at the head of this story also struggle with the abrupt way their own lives are changing. Due to the death of their mother, their father uproots them from their southern home in Florida to a new urban New York life. Further complicating matters is the appearance of an unknown aunt and a new wife for their father.

This play and the young actors who lead the way have much potential to be a powerhouse of a tale, but don’t quite make it all the way to that lofty goal. Shermaine Taplin stars as Ernestine Crump, the narrator and daughter who is remembering her own past in short, at times clunky, scenes of memory and regret in her New York City apartment living room. Taplin is soft spoken, distanced from her own portrayal. Placing herself in the scenes, the monotone voice she uses to describe her memories continues into the actions of the moment, making her transitions from recounting to doing completely indistinguishable to the audience. Many times, the scene goes dark, and the audience doesn’t clap, though they probably should. Taplin needs to project more, to help the audience hear and understand her better.

Letting the audience know when, or if, to applaud is the charge of the narrator. But it can also be attributed to the director, in this case Albert Bostick. Bostick’s direction, much like the play as a whole, has great moments but doesn’t completely hit the bullseye. Bostick could, and should, direct Taplin into a performance that is bolder and more pronounced. It would help the show and the other actors immensely. The other four actors are in-turn responsible for pulling the show back to the path that Taplin and Bostick have undoubtedly veered from.

It must be noted that Taplin is a young actor with hearty potential. She carries this show through trouble and hilarity, and has the ability to keep the audience interested, hoping for the best for the young daughters of a misguided man. Taplin needs better direction, and needs to keep working. She may not yet be ready to fly, but she’ll earn her wings with hard work and the determination that she seems to possess.

Erica Tshida as Gerte attends to husband, Michael Page as Godfrey while Mariah Warren as Lily Ann Green looks on. Photo courtesy of Rhonda Clark, Carpenter Square

Dashari Miller is mildly overshadowed by the frustration of Taplin’s performance. She portrays Ermina Crump, the younger and equally repressed daughter of Godfrey. Godfrey is played by veteran artist Michael Page. Both have moments to shine, but struggle against the flatness of Taplin’s performance. Page has been fitted with a distracting wig that doesn’t seem to serve a purpose other than to make him less forgettable. 

Miller has welcome inflection and personality. She knows how to deliver and her timing brings a needed lightheartedness to the show. She’s consistent and strong. Page wanes, but overall is beneficial. His character is nobody’s hero, but he manages to inspire hopefulness. Page’s comfort on the stage is reassuring to the audience.

By far the strongest players are Mariah Warren as Aunt Lily and Erica Tschida as Godfrey’s German wife Gerte. Both share passionate exchanges that are nothing short of breath-taking. Some of the best one-liners and truth filled reminders are delivered by Warren. Warren’s portrayal is confident and well formed, with a performance that makes the whole event worthwhile. Without her it would be a drab affair indeed.

Tschida is a breath of fresh air, coming on the scene near to the end of the first half, and ramping up the drama in Act II. She seems almost manic compared to her dull counterparts. The overacting attempts to, but doesn’t quite, make up for the lack thereof from the other performers. However, she is fun and boisterous. She retains her inner strength until it needs to burst out. Tschida’s passions clash against Warren’s in the best moments of the show.

“Crumbs from the Table of Joy” falls very short of its potential. It can be disappointing to expect so much from a show that seems so very promising, only to get back so little. Much like the title suggests, it leaves the audience waiting at the table, hungry for a full meal, but receiving only crumbs.