Anna-Deveare Smith's play, Fires in the Mirror, attempts to capture a specific, largely forgotten moment in our history, suspending it in time for a little over an hour, so that it can be properly reflected upon and digested. Though, like life itself, things tend to get a bit untidy in spots, the play ultimately succeeds not by dissecting the logic behind the Crown Heights riots of 1991, but by clarifying the human toll that intolerance extracts from our society. Mustard Seed Theatre's current production is well acted and thoughtfully conceived.
History records a three day riot that occurred in August 1991 in the Crown Heights neighborhood (Brooklyn, New York) after a car being driven by a Hasidic Jew jumped a curb and struck and killed a seven year old Guyanese boy named Gavin Cato. Outrage over the driver's perceived protection by the police sparked riots that resulted in the death of Yankel Rosenbaum, who found himself surrounded by a large group of black men, one or more of whom stabbed him several times. Looting, shootings, firebombing, and general mayhem ensued until order was later restored.
Fires in the Mirror presents the story through a series of interviews with actual participants, as well as individuals who had an active interest in the outcome of the situation. Smith weaves a portrait of a troubled community beset by cultural and social differences, operating under the burden of attitudes shaped by shared histories of persecution. For much of the duration Smith just seems to be aimlessly switching gears between contrasting points of view, but then the play finds its center as it allows us to eavesdrop on the emotional recollections of those most closely affected by the tragedies; the father of Gavin Cato, and the brother of Yankel Rosenbaum.
Michelle Hand and Rory Lipede put on an actor's clinic as they portray the dozen or so characters that illuminate this tragic remembrance. Both deftly apply a variety of dialects and physical attributes to their interpretations, and this acts to clearly define each role. They're a nice complement to one another in their approaches, and the script and its conception allow them to play against type in engaging ways. Lipede's surprisingly amusing work as the Reverend Al Sharpton, and Hand's touching portrait of Carmel Cato, are especially memorable.
Director Lori Adams has constructed a neatly focused production that maintains the emotional core of the issues presented. Courtney Sanazaro contributes a clever scenic design that utilizes two monitors to provide pertinent information (courtesy of Kareem Deanes, who also compiled the evocative sound elements that accompany each transition), all set against a charred and crumbling brick backdrop strewn with debris. Michael Sullivan's dramatic lighting and Kirsten Wylder's simple, but effective costuming, adds immeasurably to the atmosphere.
Fires in the Mirror offers no simple solutions to the issues that it raises, but by presenting this material as a performance piece there exists the possibility of it inspiring debate and discourse, and the creation of a meaningful dialog is often more satisfying than a tidy ending in the long run.
Mustard Seed Theatre's compelling production of Fires in the Mirror continues through February 7, 2010 in the Fine Arts Theatre on the campus of Fontbonne University.
