Steadstyle Chicago
	May 2008 Theatre Review by Ruth Smerling
	Looking for a Ticket Broker? Check out the hottest broadway tickets from Gotickets.com The Ballad of Emmett Till Critical Evaluation: *** out of **** (Left) Morroco Omari, Philip James Brannon, Samuel G. Roberson Jr., Joseph Anthony Byrd and John Wesley; (Right) Kristina Johnson, Joseph Anthony Byrd and Samuel G. Roberson, Jr. in "The Ballad of Emmett Till" at the Goodman Theatre.  Photos by Peter Wynn Thompson. I wouldn’t call Ifa Bayeza’s unnerving and terrifying work, "The Ballad of Emmett Till" a ballad at all.  The story is dissonant and graphic and evokes too much of a gut twinge to have a musical effect.  Call it what you will, "The Ballad of Emmett Till" delves headlong into the gaping wound left by the the true story of Emmett Till, a kid from Chicago who in the summer of 1955 went south to visit family and refused to believe it when they told him he had to watch himself around white people.  On a sweltering day the kids all went into a local store to buy soda.  Emmett dared to wolf whistle at the counter clerk who happened to be the wife of a local redneck to whom getting revenge was as necessary as breathing.   Her husband and his posse stormed into Emmett’s room and dragged him out to teach him a lesson.  They said they were only going to scare him, but Emmett laughed in their faces so they had to kill him.  The attackers were acquitted.  Emmett was beaten to a pulp, but his mother, Mamie, insisted that the funeral have an open casket.  The Emmett Till incident is thought to be the germinal incident that got the Civil Rights Movement off the ground. Ifa Bayeza and acclaimed director Oz Scott do not let the audience off easily.  Bayeza says “Till is written in the footsteps of an old man, a memory; a mystery, myth; a deconstructed, reconstructed jazz play.”  Unlike Spike Lee, they do not take a stand.  Artistically and musically, they present the facts of the case as they have found them.  Each actor has enough dialogue to reveal an inner self that guides all their decisions.  Joseph Anthony Byrd is Emmett, a young boy hungry for experience.  He’s sure of himself and a practical joker, but not worldly.  Deidre Henry plays Mamie Till, Emmett’s mother, a woman terrified, yet deeply faithful that justice will be served.  Emmett was a handful, but a good kid, from a good family and he should have had a long life ahead.  "The Ballad of Emmett Till" is an emotional experience n its violence, outrage and ambiguity, gnaws at the everything sacred and demands a stark look at morality.  "The Ballad of Emmett Till" is not for the squeamish or for children under 14.  "The Ballad of Emmett Till" runs through June 1, 2008 in the Albert Theater at the Goodman Theater, 170 N. Dearborn Street.  Phone 312-443-3800 or visit www.goodmantheatre.org for tickets and information. About Ruth Smerling Ruth Smerling began work as an entertainment writer while attending the prestigious University of Illinois School of Communications.  She persuaded the school paper to assign her to review the film "Get Shorty," starring John Travolta.  Unfortunately her work was a little too brutal for the UIC paper and that was also her last assignment.  Nevertheless, the need to write and communicate could not be extinguished and fortunately her reviews received a warm welcome by the Editor-In-Chief of College News, Daphne Robinson who named her the Reel Goddess from 1993 to 2003.  Ruth covered film festivals all over the North America and interviewed countless movie stars, directors and authors.  Meeting the French Director Bertrand Tavernier at the Chicago Film Festival was the turning point in her movie reviewing experience.  He presented a brilliant film called "It All Starts Today".  He explained that she loved his films so much because American films are enjoyable, but must sell as much popcorn and Coca-Cola as they do tickets.  Since 2003 Ruth has been submitting controversial and thought provoking reviews to Theatreworld Internet Magazine and is pleased to report that people around the world send her e-mails inquiring about Chicago theatre, actors, directors and productions underway.  Ruth is delighted to be part of the Steadstyle website and looks forward to a long and happy association.    The Ballad of Emmett Till Review by Alan Bresloff In 1955, a young Chicago boy from the South side went to visit family in Mississippi and he was found dead after being taken from the home, accused of sexual misconduct with a white woman.  Many stories have been told about this historical case that in reality began the Civil Rights Movement, each one with a little different slant.  In this latest work, another World Premiere for the Goodman Theatre written by local writer Ifa Bayeza, we as an audience are told the story with the spirit of Emmett Till onstage with us even after the murder takes place and through the trial. Ms. Bayeza interviewed many family members, teachers and even some eye-witnesses to the brutal murder of this innocent young boy who went to Mississippi to become a man and instead became a historical, tragic story.  This version of the story allows us to truly get to know Emmett and his desires.  We learn that he stuttered and that often to cease the stuttering, he would whistle.  Since he was accused of whistling at this lady while he was talking a mile a minute, perhaps the whistle was just a reflex action and not meant to be a sexual advance at all.  This production directed by Oz Scott is a masterful look at history with a certain amount of interpretation of the facts that are remembered. There is mystery about the events and the people involved, but the look we get at these characters and the times gives us cause to look at our own lives and actions.  Was Emmett just a wiseguy punk going against the time in what was a segregated society?  Were the men accused of the murder really out to kill him or did the heat of the moment bring the rage to a higher intensity?  Each scene brings more life to these well known characters, the boy and his mother who left his casket open so that people could see the brutal way he was murdered.  This was a defining moment in the history of our country and one that should be taught to every student in our school system.  While this is a story of tragedy, there are some very funny and tender moments in Act One, but of greater import is what we get out of this story, a new America! Leading this exciting cast is young Joseph Anthony Byrd, a recent college graduate with a very short resume, but based on what he does in this performance, one that will grow in length and stature in the years to come.  He is outstanding.  I do want to make you aware that the actual beating scene is depicted during the production staged in a gut-wrenching manner.  Many audience members covered their eyes during portions as it appeared very real.  Deidre Henry plays his mother with style and John Wesley is a strong Preacher Mose. Samuel G. Roberson Jr., Chris Sullivan Morocco Omari, Brian McCaskill, Nambi E. Kelley, Kristina Johnson, Cliff Chamberlain, Phillip James Brannon, Kirk Anderson and Karen Aldridge round out the cast, each playing many characters and in some cases, exiting as one and entering as another within moments.  This is an extraordinary cast telling us an extraordinary story.  The set by G. W. Mercier is simple but works perfectly and Kathryn Bosytic's original music adds to the total picture.  John Boesche's projections add color and reality making this a total package worth seeing by all races and creeds.  This is truly history being told with feeling! "The Ballad of Emmett Till" will only run through June 1, 2008 (perhaps they can find a way to bring this back for a longer period, as all of Chicago needs to be exposed to this wonderful piece).  Performances are Wednesday and Thursday evenings at 7:30 p.m., Fridays at 8 p.m., Saturdays at 2 and 8 p.m., Sundays at 2 and 7:30 p.m.  There will also be a Tuesday night at 7:30 p.m. May 27, no Sunday evenings on 5/25 and 6/1.  Tickets range from $30- $70 and can be purchased at the  Goodman box office located at 170 N. Dearborn, by phone at 312-443-3800 or online at www.goodmantheatre.org.