Ceremonies in Dark Old Men

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Lonne Elder III’s Ceremonies in Dark Old Men was dubbed an American classic soon after its Off Broadway premiere in 1969. Though it has often been revived, it is now 40 years since its last New York performances. The Peccadillo Theater Company and The Negro Ensemble Company have pooled their resources for this solid production directed by Clinton Turner Davis, a noted interpreter of August Wilson’s Century Cycle.

At this vantage point 55 years after its premiere, like the Wilson plays which intentionally cover the previous 100 years, Ceremonies in Dark Old Men feels like an historical play wedded to its own time period. Its story and characters are a combination of a Black version of Death of a Salesman and a Harlem version of A Raisin the Sun. Like the story of Willy Loman and his hapless family, the tale of Russell Parker and his two wastrel sons could only have a tragic ending, as their values are so false. And like A Raisin the Sun, the Parker family is so desperate to succeed as Black people in Pre-Civil Rights Era America that they put their hopes in a man that even a child would not have  trusted.

Set in either the late 1950s or early 1960s in a derelict house at 126^th Street between Seventh and Lenox Avenues, Broadway musical theater star Norm Lewis plays Russell Parker, a retired vaudeville hoofer who gave up after his wife Doris died. He has been pretending to run a barber shop but has made no money in the five years since he had to give up dancing for medical reasons. Both of his adult sons have also not wanted to get jobs working for The Man and are bringing in no income. Since Doris’ early death, the Parker men have been supported by daughter Adele who gave up her college studies to come home and tend to them. Older son Theo is aware that his younger brother Bobby is supporting himself shoplifting on 125^th Street. Adele who has had enough of being the sole breadwinner has given them an ultimatum: they must all get jobs in two weeks or she is changing the locks on the house she pays for.

Then Theo is offered a proposition: allow Harlem gangster Blue Haven to use their barber shop for selling bootlegged liquor and running numbers with protection he will supply. Russell is persuaded to join in the deal for the promise of easy money and little effort from him, along with his friend William Jenkins with whom he spends his time playing checkers and reminiscing about his vaudeville days in stories that sound like tall tales. Things get off to a promising start but Theo finds he is doing all of the work and his brother has joined Blue Haven’s brigade shaking down white-owned stores in the neighborhood. Without their realizing it, all the members of the family have been corrupted by the deal: Adele has been going out nightly with a Harlem playboy and Russell has hooked up with a good time girl who is out for his money and information about their business. It is only a matter of time before things come to a crisis.

The poetic title really means games men play but by the time Ceremonies in Dark Old Men was first staged that title had been co-opted by Eric Berne’s bestselling book. Here the games include rites of self-deception, survival, friendship and family allegiances as well as economic and social dependence. The Parkers blame all of their problems on white people without doing much to improve their lot. Russell’s wife Doris is said to have died from overwork which seems to be killing Adele as well.

Lewis is charming as Russell who has apparently always gotten by on this trait. However, the play doesn’t allow him much range as he goes from ne’er-do-well to man of leisure. Morgan Siobhan Green’s Adele gives a much more layered performance as the daughter who has not acquired her father’s false beliefs and can see the whole picture. Bryce Michael Wood as Theo who reforms and Jeremiah Packer as Bobby who sinks deeper into crime are quite convincing. Calvin M. Thompson’s Blue Haven is most menacing going to the extreme of lying to Russell about his prospects just to shut him up. Though Felicia Boswell seems a bit too sophisticated and experienced to play Russell’s young girl friend, she has all the hallmarks of the two-timing gold-digger.

Harry Feiner’s realistic set for the barbershop resembles those of Wilson’s Jitney in its depiction of a workplace environment. The costumes by Isabel Rubio beautifully define the characters and the changes that occur in the course of the play. Jimmy Lawlor’s subtle lighting depicts the various times of day. Lonne Elder III’s Ceremonies in Dark Old Men is a powerful play though a grim one as the audience can see what the characters don’t as to their futures. Clinton Turner Davis’ fine production honors this important and often overlooked classic American play.

Ceremonies in Dark Old Men (extended through June 29, 2025)

The Peccadillo Company, the Negro Ensemble Company and Eric Falkenstein

Theatre at St. Clement’s, 423 W. 46th Street, in Manhattan

For tickets, visit http://www.ThePeccadillo.com

Running time: two hours and 25 minutes including one intermission