Ceremonies in Dark Old Men by Lonnie Elder III is a long, beautifully constructed, old-fashioned play.  The story is laid out with laser precision within the first few minutes.  The time is the early 1950s.  The place is Harlem, specifically 126th Street between Lenox and Seventh.  We are in the barbershop of one Russell Parker (Norm Lewis), who, when we meet him, has not been doing much barbering for the past few years.  Since his dancing legs gave out, he is a man without a purpose or a desire to find one. He occupies his time sitting in his throne of a barber chair, reading the paper or playing checkers with his best friend William Jenkins (James Foster, Jr.), who has beaten Parker every single time they play.

Parker’s two sons, Theopolis (Bryce Michael Wood) and Bobby (Jeremiah Packer), are similarly employed—or not. This trio can afford to spend time on nothing because their sister Adele (Morgan Siobhan Green) has picked up the torch left by her mother, Doris, who died a few years back. Doris supported the household while her husband and sons did nothing, which led to her early and sad death—a fact that Parker carries with him.

Adele, however, has reached her breaking point.  She has given the gents a deadline.  Within the next six days, they must find work or another place to live.  Full Stop.

Theopolis does indeed get a job, but it is with The Organization of a well-dressed gentleman named Blue Haven (Calvin M. Thompson) who deals in anything that will give him control of the people who live in Harlem – this means the black folks who live there and the white folks who own businesses.  In this case, he will support Theo, who has perfected a killer Corn Liquor called Black Magic, and in return, Theo will run numbers, and Bobby will continue to shoplift wherever and whenever he can.  This switch in circumstances makes Theo the breadwinner and releases Adele from financial responsibility.  None of this is good any way you look at it.

Occasionally, we, the audience, are ahead of the game as observers, and it takes a restraining point of view to stop the actors from playing their hands too soon.  For the most part, Clinton Turner Davis’s direction does that.  There is the occasional lapse, but never for long.  The extraordinary set by Harry Feiner deserves special mention.  The barbershop and its environs reek of life.  You can almost smell the hair tonic and cologne that Parker would use if he had any customers.  While you know there is life inside, you can also feel life outside.  Well done indeed.

You will carry this family and their associates with you.  No matter your race or economic situation.  In this tiny little shop in this tiny little family rests the whole world.  Every hope and dream.  Every hurt and broken promise.  Mr. Elder packs the elements in and turns his characters loose on each other.  “Ceremonies” will stick to your ribs.   Norm Lewis bears the weight of the tale on his more than capable shoulders.  Story-wise, the tale could use a few nips and tucks toward the end of Act Two. Even Mr. Lewis seems to lose steam through no fault of his own.  Mr. Elder’s writing is strong enough to tolerate some brevity as the walls close in on the Parker family.  Perhaps in the next production, this play should never really close.

Ceremonies in Dark Old Men

Harry Feiner designed the scenery, Isabel Rubio designed the costumes, and Jimmy Lawlor designed the lighting.

Ceremonies in Dark Old Men will play a six-week engagement, April 11 – May 18, at Theatre at St. Clements, 423 W. 46th Street, NYC