In Leeds Theatre’s production of “Bulrusher,” race, family and forgiveness are seen through the eyes of an earnest and confused young woman as she struggles to discover herself. The coming-of-age play was written by Eisa Davis and is directed by Sarah dAngelo, assistant professor of theatre arts and performance studies. Although clumsy lines and unnecessary plot points sometimes get in the way, passionate performances by the student actors coupled with powerful characters and captivating webs of language ultimately render “Bulrusher” a convincing and engaging show.
The play centers on 18-year-old Bulrusher, so named because she was found as a baby in the bulrushes of the Navarro river in California. Bulrusher, played by Keanna Hunter ’21, was raised by the town’s schoolteacher, known as Schoolch (Robert Capron ’20). Bulrusher feels out of place, accentuated by her ability to foresee a person’s future when touching water with which they have had contact, causing the town to label her a witch. The story revolves around her interactions with other members of the town: Madam (Paola Jiménez ’20), who runs a brothel, Logger (Lemuel Burgos ’20), the only African-American in the town besides Bulrusher and Boy (Sam Masto ’21), who harasses Bulrusher into being his girlfriend.
Living in Boonville, California in 1955, the characters don’t seem to experience any racial tension, despite the violence across the country, and Bulrusher is unaware of the broader implications of her racial identity until the arrival of Vera (Alonnie Johnson ’21), Logger’s niece, from Alabama. Vera and Bulrusher immediately experience a deep affection for each other, and Bulrusher feels that she has finally met someone like her, calling Vera a mirror. Not everyone is thrilled with their relationship, however, and the revelations that come to light force Bulrusher to deal with hatred and love as she endeavors to find a family.
Water is ubiquitous in the play, from the constant mention of the Navarro river to Bulrusher’s ability to “read water,” to the set itself. The river is central to the backdrop, and everything seems to revolve around it. The lighting is often blue and green, while the musical interludes provide a lyrical and flowing effect.
Along with water, the play is obsessed with language, with most of the characters speaking in a dialect particular to Boonville. While the intricacies of language often add beauty to the scenes, they also add a strained element to viewing the performance. When Bulrusher visits the Navarro river, she speaks to it in free verse poetry, and though Hunter valiantly attempts to inject integrity into these lines, Bulrusher’s monologues at the river often feel contrived. Equally awkward are Schoolch’s lines, or more appropriately, lack of lines. The character often doesn’t speak, resulting in odd pauses that seem unnecessary.
Nonetheless, the moments when language disappoints in “Bulrusher” are far outweighed by the moments when language brilliantly drives the story. In an emotional scene between Bulrusher and Schoolch, Bulrusher asks him if she has ever had another name. Schoolch tells her that their names are their fates and they are bound by them, saying, “Once you had another name, but I forget it now. You’re a Bulrusher to me.”
“Bulrusher” will run until Oct. 7.
