Stephen Adly Guirgis’s play, Our Lady of 121st Street, is a raw and poignant exploration of life, loss, and redemption, all set against the vibrant backdrop of Harlem. This compelling work, presented by the Department of Theatre & Drama at the Arthur Miller Theatre in October 2007, throws us into the midst of a Harlem funeral home where mourners have gathered for Sister Rose, a beloved yet formidable figure from their childhood. However, the solemn occasion takes an unexpected turn when they discover Sister Rose’s body has been stolen, sending shockwaves through the assembled group and unearthing a whirlwind of emotions and long-buried memories.
Our Lady of 121st Street is not just a play; it’s a deep dive into the lives of interconnected individuals shaped by their shared history and the gritty realities of their neighborhood. Guirgis masterfully crafts a series of vignettes that are at once sharply humorous and deeply moving. As these characters grapple with the bizarre circumstances of the missing body, they are forced to confront their pasts, their present selves, and the elusive search for redemption in their lives. The play resonates with raw, expletive-laden language and unflinching honesty, offering a realistic and humane portrayal of people navigating the complexities of dreams versus reality on the streets of Harlem, specifically around 121st Street.
The Theatrical Powerhouse Behind 121st Street
Stephen Adly Guirgis, the playwright behind Our Lady of 121st Street, is celebrated for his unflinching and authentic voice in American theater. When this play premiered in 2002, the New York Times lauded him as potentially “the best American playwright under 40,” a testament to his impactful storytelling and character-driven narratives. The Department of Theatre & Drama previously showcased his talent with In Arabia We’d All be Kings in 2004, which received widespread acclaim, setting the stage for the equally powerful Our Lady of 121st Street.
Guirgis’s signature style blends dark humor with stark realism, using raw language and challenging situations to paint a vivid picture of his characters’ lives. Our Lady of 121st Street exemplifies this approach, immersing the audience in a world filled with “heartbreaking characters and low-down lyrical language,” as described by the Houston Press. This play is a testament to Guirgis’s gift for creating theater that is both hilariously funny and profoundly soul-stirring, inviting audiences to connect with the raw humanity of its characters.
Artistic Team Bringing 121st Street to Life
The production of Our Lady of 121st Street at the Arthur Miller Theatre was brought to life by a talented artistic staff, each contributing their expertise to create a compelling theatrical experience:
- Director: John Neville-Andrews
- Scenic Design: Gary Decker
- Costume Design: Liz Moore
- Lighting Design: Jennifer Gazdecki
- Sound Design: Kathryn Edwards
- Wig & Makeup Design: Brandalyn Fulton
- Vocal and Dialect Coach: Annette Masson
- Stage Manager: Cassandra Flowers
This dedicated team worked collaboratively to ensure that Guirgis’s vision for Our Lady of 121st Street was realized with authenticity and impact, from the visual world of Harlem to the nuanced performances of the characters.
The Cast of Characters on 121st Street
The heart of Our Lady of 121st Street lies in its rich ensemble of characters, each with their own story and connection to Sister Rose and the neighborhood. To fully appreciate the play, understanding these characters and their backgrounds is crucial. The cast members themselves compiled biographical notes as part of their character development, offering insights into the lives converging at this Harlem funeral.
Victor Trantiano: A regional sales manager from Staten Island, Victor’s presence at the funeral is deeply personal. Sister Rose was a pivotal figure in his youth, guiding him through challenging times after his father’s death. He harbored unrequited love for Rose, always comparing other women to her unattainable ideal. Returning to 121st Street, Victor seeks to honor Rose’s memory and perhaps find closure for the love he never expressed.
Balthazar Ordonez: Born and raised in Harlem, Balthazar is an NYPD detective grappling with alcoholism. His connection to Sister Rose dates back to kindergarten at Our Lady, where he met his lifelong friend Rooftop. Now leading the investigation into the missing body, Balthazar’s personal demons and dedication to his son, Juan Jose, add layers of complexity to his character as he navigates the unfolding mystery on 121st Street.
Rooftop: Walter “Rooftop” Desmond, a nickname born from his protective nature, is a complex character marked by a difficult past. Losing his father to violence in his youth, Rooftop became the man of his house early on. His relationships with women, particularly his ex-wife Inez, and his struggles with substance abuse are central to his story. Rooftop’s return to 121st Street for Sister Rose’s funeral forces him to confront his past relationships and personal struggles in the setting that shaped him.
Father Lux: Timothy Edward Lux, a priest with 46 years of service, embodies a different perspective. His experiences range from serving in the Korean War to ministering in various parishes throughout the Northeast. Father Lux represents faith and resilience in the face of life’s trials. His presence at the funeral offers a spiritual counterpoint to the more turbulent emotions of the other characters on 121st Street.
Flip: Robert “Flip” Johnson’s return to Harlem is laden with internal conflict. Having built a life away from his past in Wisconsin as a lawyer with his partner Gail, Flip grapples with revealing his sexuality to his old friends. Sister Rose’s guidance about faith and direction weighs on him as he faces the dilemma of authenticity versus acceptance within the potentially homophobic environment of his Harlem roots around 121st Street.
Gail Saunders: An actor from Wisconsin and Flip’s partner, Gail accompanies him to New York, hoping this trip will solidify their relationship. Her background as an out lesbian and her profession as an actor provide an outsider’s perspective on the dynamics of the Harlem community and the intense emotions surrounding Sister Rose’s funeral on 121st Street.
Inez: Inez’s history in Bed-Stuy and her past relationship with Rooftop define much of her present. Sister Rose was a significant religious figure in her life, offering guidance amidst Inez’s youthful promiscuity. Now married and seemingly settled, Inez’s return to 121st Street is fueled by a desire to pay respects to Sister Rose but also to confront Rooftop and showcase the life he “ruined.”
Norca: Norca Janisa Torres-Vidal’s fiery personality and troubled life are immediately apparent. Born in Puerto Rico and raised in the South Bronx, Norca’s experiences include family dysfunction, struggles with the law, and motherhood. Her resentment towards societal structures and her complicated relationship with Sister Rose make her a compelling and volatile presence at the funeral, questioning the universal adoration for Sister Rose within the 121st Street community.
Edwin: Edwin Velasquez embodies responsibility and gratitude. As a supervisor of an apartment complex and caretaker for his brother Pinky, Edwin credits Sister Rose for instilling in him the strength and resilience he needed to navigate life after his parents’ passing. His willingness to deliver the eulogy reflects his deep respect for Sister Rose and his connection to the 121st Street neighborhood.
Pinky: Stephan “Pinky” Roberto Velasquez, Edwin’s younger brother, offers a more innocent and vulnerable perspective. Pinky’s learning difficulties and his close bond with Sister Rose are evident in his heartfelt remembrance of her kindness and support. His presence underscores the nurturing influence Sister Rose had on the children of 121st Street.
Marcia: Marcia’s character is marked by loss and emotional guardedness. After her mother’s death, Sister Rose took her in, but Marcia admits to creating a facade of resentment to cope with the pain. Her complex emotions and family history contribute to the layers of grief and unresolved issues among the mourners on 121st Street.
Sonia Montgomery: Sonia, from a privileged background in Connecticut, is an observer of life. Her upbringing contrasts sharply with the experiences of the Harlem residents, and her presence at the funeral as Marcia’s friend highlights the diverse perspectives converging on 121st Street. Her social awkwardness and fascination with observing people add an element of outsider looking in to the dynamics of the group.
The Generosity Behind the Production
The School of Music, Theatre & Dance gratefully acknowledged the support of McKinley Associates, Inc., whose generosity played a vital role in making this production of Our Lady of 121st Street possible. Such sponsorships are essential for bringing theatrical works to the stage and enriching the cultural landscape.
Exploring Themes of Redemption and Community on 121st Street
Our Lady of 121st Street is more than just a mystery surrounding a missing body; it’s a profound exploration of universal themes deeply rooted in the specific setting of Harlem’s 121st Street. The play delves into the complexities of redemption, examining how these flawed characters seek forgiveness, understanding, or a sense of peace amidst their turbulent lives. The shared history and location of 121st Street serve as a crucible, forging a unique sense of community amongst these individuals, even amidst their conflicts and personal struggles.
The play poignantly portrays the idea that even in the face of loss and personal failings, hope and human connection can emerge. The characters’ raw honesty, their humor, and their moments of vulnerability resonate deeply, reminding us of the shared human experience of navigating life’s challenges. Our Lady of 121st Street leaves audiences contemplating the intricate tapestry of human relationships, the search for meaning in the face of adversity, and the enduring power of community found even in the most unexpected places, like a Harlem funeral home on 121st Street.
