Theater Review: "Fires in the Mirror" at Long Wharf Theatre

New Haven - Long Wharf Theatre is presenting a production of “Fires In The Mirror: Crown Heights, Brooklyn And Other Identities” a play written by Anna Deavere Smith. The play, which was co-produced by Baltimore Center Stage, is directed by Nicole Brewer. “Fires In The Mirror” continues for a limited run through Feb. 6.

As an actor the playwright made her mark in the role of National Security Advisor Dr. Nancy McNally in the television series “The West Wing” from 2000-2006 and as hospital administrator Gloria Akalitus in the Showtime series “Nurse Jackie.” She played Mrs. Jefferson in the film version of the musical “Rent.”

This piece of verbatim theatre was conceived and originally performed by Smith, with the original New York production by New York Shakespeare Festival. Smith is widely considered to be one of the key figures in this particular style of documentary theatre, unique one-woman plays based upon interviews. “Fires in the Mirror” was a Pulitzer Prize finalist.

This work is set in the late summer of 1991, when long-simmering tensions between Black and Jewish residents of Crown Heights, Brooklyn erupted in a series of violent events. The playwright interviewed more than 100 people about those tension-filled days, creating a tapestry of oral histories examining this moment in American history. The characters in the play include Crown Heights residents, religious leaders, a female rapper, Angela Davis, victims and perpetrators.

There are bits of comedy in the monolog of some of the characters, but most are very somber in nature.The first half serves to set up the tension building in Crown Heights, but I found the second half that includes the “rememory” (a word coined by Toni Morrison) of the violence much more effective. At 2 hours and 20 minutes, the production is probably a bit too long for many returning theatre goers, although the intermission allowed the hardworking actor a brief rest to prepare for the second half of the demanding performance.

A single performer is charged with bringing the stories to life in “Fires in the Mirror.” Cloteal L. Horne (“The Promotion”) presents a series strong performance as she plays the 26-characters included in the script. The direction of Brewer is clear, allowing each character a specific spot on the beautiful set to come to life.

Horne manages to accomplish the onstage costume changes quickly and efficiently thanks to some clever storage of the pieces of clothing. The costume design by Mika Eubanks (“Revolt. She Said. Revolt Again”) were often simple, but nonetheless flesh out each character. The work of Rachel Finley as the accent coach is admirable, especially for the various Jewish characters.

The scenic design by Diggle (“Monstersongs”) is a true work of art. It includes a circle of dark sand surrounded by a circle of white sand, with a wealth of spaces to store costume pieces and props. The angular back of the stage does not become alive until the end and then is quite stunning.

The lighting design by Porsche McGovern (“Mothers”) is very good in the first half of the play, but approaches stellar in the second act. Projection design by Camilla Tassi (“Stinney: An American Execution”) mostly helped to set each of the scenes.

The sound design and original music by UptownWorks is notable for its variety, with an approaching storm a highlight at the end of the first act.

The director, a self-described antiracist cultural worker, notes that if we can give ourselves permission to heal, “‘Fires’ perhaps reaches its goal to become a play which is no longer relevant precisely because we heeded its call.” Brewer has the show end with a relaxation exercise and affirmations led by the actress. Set up in the lobby is a meditation and relaxation area to decompress and honor the dead during the intermission or following the performance.

Be forewarned that the script contains strong language and references to racism, lynching, anti-semitism, sexual violence and the Holocaust. Ticket holders are offered a single sheet program with a code to access the full virtual program that contains a Crown Heights historical timeline.

I felt most welcome on my first visit to the mainstage at Long Wharf. Proof of COVID vaccination is required to enter and K95 masks are provided to those who need them. Opening night at the theater normally calls for a reception in the lobby, but COVID restrictions did not allow for this tradition. However, ticket holders were offered a “grab and go” snack of a small bottle of champagne and a designer cupcake to enjoy at home.

Nancy Sasso Janis is a member of the Connecticut Critics Circle.