Theatre in the X presents Richard LaMonte Pierce’s Ordinary People/Extraordinary People

The show opens with a glimpse into the domestic strife between Brenda (Jordan Simone) and Frederick (Jerome Scott), a 30-something married couple together for more than a decade. Their daughter Amy (London DeShields) and her grandmother Ada (Maureen Henighan Booker) are frozen in the living room observing this verbal altercation about Frederick’s gambling habit, among other things.

Then Amy observes a strange man in the snow and pleads with her grandmother to allow him inside. Ada relents, but tucks a knife into her waistband. A conversation unfolds with the stranger, now known as J.C. (Charvez Grant), who is a carpenter from Bethlehem, PA. Amy becomes convinced that he is Jesus Christ.

Spark and depth

As Amy, DeShields brings a delightful spark and energy to her performance. I’m excited to see what she’ll do next. Scott powerfully conveys the burden carried by a husband and father whose simmering frustrations betray his deep fear of failing to adequately provide financial stability for his family. Simone, just as impressive, embodies the promise and subsequent disappointment of a young woman poised for triumph before her trajectory is reshaped by motherhood. Grant offers a convincing and dignified depiction of J.C., displaying spiritual depth and human fragility throughout the production. Meanwhile, Booker delivers a nuanced and profound portrayal of Ada, who uses a wheelchair due to her arthritis. We need more disabled characters with central, complex roles onstage.

Black Jesus on stage and screen

Throughout the production, I kept getting flashbacks of the “Black Jesus” episode of the iconic 1970s TV show Good Times. Though set almost 20 years apart, the play and the TV episode both feature family members who are initially hesitant to embrace an Afrocentric image of Jesus Christ, preferring the Eurocentric depiction displayed in their homes. In one scene of Ordinary People, Ada points to a rendering of Jesus Christ on the wall and tells J.C. “that’s my Jesus” and that J.C. looks “nothing like him.” In Good Times, Black Jesus appears as a painting inspired by an unexpected neighborhood character. In this production, J.C. is a living man with locs.

In both storylines, skepticism wanes as the families experience a run of good luck, believing Black Jesus is bestowing blessings throughout their homes. Despite the parallels, Pierce elevates the material by showcasing J.C. as a catalyst for the family to realize its own ability to create miracles.

Crafting a ’50s Christmas

Sound designer Adiah Hicks brilliantly integrates iconic Christmas tunes into the fabric of the show, as every song lands with sparkling clarity. The lighting design (Pamela Hobson/Zaiah Mozie/Abdullah Ibn Abdul-kareem Idris) subtly highlights the production’s scenes, never interfering with the drama on stage. Nana Nimako designs a living-room set that is equal parts functional and festive. The sprinkling of holiday decorations and 50s-era furnishings evoke a warm and nostalgic environment that effectively frames the family’s conflict. The costumes (Danielle Joh/Vendetta Sample) feature an array of penny loafers, Levi Jeans, and tight-bodice, cinch-waist dresses that also help to bring the post-World War II era to life.

A jolt of holiday magic happens when audience members are invited to help decorate the family’s Christmas tree during intermission, turning a typically quiet interval into a very festive and upbeat moment. I placed a couple glittery bulbs on the tree and many other audience members added lights, tinsel, and even a star on top. By the start of the second act, the tree was completely decked out in all of its Christmas splendor.

Solid direction by Walter DeShields successfully merges the performances and technical elements into a cohesive, all-ages production. Families will enjoy this gentle, heartfelt show that perfectly blends spiritual depth and quality entertainment.