'Fairview' at SpeakEasy Stage takes audiences for a wild ride into America's racial divide

It’s no secret that there’s power in story. But the truth that resides (or doesn’t) in narratives often gets decided by who holds the pen. In SpeakEasy Stage Company’s production of the high-toned “Fairview” by Jackie Sibblies Drury (at the Calderwood Pavilion through March 11), a birthday party for Grandma becomes the lens through which to interrogate the white gaze, overt and subtle racism, unwanted scrutiny and all the squirming discomfort that comes along with it. But it’s also funny at times, full of hijinks and clever musical choices.

Nailing down the details for the shindig sends host Beverly into a bit of a tailspin. She’s peeling carrots, dancing to Lizzo, asking her husband Dayton for more root veggies and place settings and awaiting the arrival of her siblings Jasmine and Tyrone. Amid the pre-party chaos, picture-perfect is what Beverly, an exasperated and funny Yewande Odetoyinbo, strives for.

Beverly, the always-aiming to-please Dayton (an effervescent Dom Carter), and their daughter Keisha — a talented Victoria Omoregie — appear to live a life full of love. They have a warm, middle-class suburban home with decorative vases, bold art on the walls, a portrait of the Obamas, and impeccable spaces designed by Erik D. Diaz and built by Wooden Kiwi Productions. The house offers a short foyer before opening to living and dining areas with a swinging door that leads to an unseen kitchen and another to other parts of the home.

Soon, the vibrant Lyndsay Allyn Cox as Jasmine arrives with rosé in hand and a flask in her bag. Wailing with all the fabulous drama one can muster, Cox is keen on making a delightful entrance. She made a similar impression when she rolled onstage with a house on wheels and new beau in tow in last year’s “Our Daughters, Like Pillars.” This time though, much of her energy gets spent arguing with Beverly about everything. Other relatives the family wasn’t counting on show up but not in the way one would expect. As time progresses, the party swivels and does an about-face.

In this new tableau, the cast adroitly continues its joyful family goings-on sans sound as the racial ante is upped and the audience must contend with what’s happening. And what’s occurring depends on who and what one pays attention to as well as each audience member’s core beliefs about themselves and society.

“Fairview” is an on-the-nose name for a provocative dive into stereotypes, racism and the white gaze by Drury that premiered in 2018. The tale won the 2019 Pulitzer Prize for Drama and the Susan Smith Blackburn prize. Drury also wrote “Social Creatures” and “We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Südwestafrika, Between the Years 1884–1915.”

The show’s subversive storytelling and affecting direction by Pascale Florestal provide a unique, lingering experience. The compelling narrative aligns with Florestal’s directorial ethos. As the program notes explain, Florestal aims to direct plays to create a dialogue with the audience “about the world we live in.” The stories this director’s most interested in “challenge us, make us uncomfortable, and make us want to change in some way.” “Fairview” and many of Florestal’s other careful choices — “The Colored Museum,” “Once on this Island” and “I Am This Place” — certainly check most, if not all, boxes.

A startling interlude or overlay of sorts in the play sparks laughter, disdain and murmurs from the audience as the show deepens. The action during this time brings to mind Richard Schechner’s book "Performance Theory." It states that “the drama is the domain of the author, the composer, scenarist, shaman; the script is the domain of the teacher, guru, master; the theatre is the domain of the performers; the performance is the domain of the audience.” Who performs what for whom is something Drury also tackles here.

Drury’s “Fairview” asks theatergoers to make a move of sorts. Some follow along and participate immediately, others reluctantly act and still others won’t budge. These choices are just like life when complicated or uncomfortable things are asked of us. The experience begs us to consider much. What spurs us to act, especially when doing so doesn’t benefit us directly? Who should be the arbiters of change? And how comfortable do you feel when you do nothing?

The answers to these questions are deeply personal, but what “Fairview” does successfully is hold up a mirror for us to see ourselves and how we participate in the world and then decide if we want to change what’s reflected.

SpeakEasy Stage Company’s production of “Fairview” runs through March 11 at the Calderwood Pavilion.