All Hail Queen Currelley

A review of Two Queens, One Castle

by j. brotherlove

Two Queens, One Castle
Horizon Theatre
Atlanta, GA
July 9 – August 29, 2004
Grade: B+

It would seem like clever timing that the play, Two Queens, One Castle opens at Atlanta’s Horizon Theatre this summer. Indeed African American men “living on the down low” has been sensationalized in newspapers, magazines and books for over a year. Even Oprah couldn’t resist highlighting the topic on her show.

Unfortunately, most of the headlines have done little to actually encourage positive dialogue between black, gay man and black, straight women. Two Queens, One Castle does not exactly offer answers to burning questions but it does provide an electric and cathartic, theatrical experience, destined to be one of the hottest tickets in Atlanta this year. Opening night bore witness to an early-arriving crowd eager to experience this “true story of love, betrayal and deceit”.

Based on the life of singer, Jevetta Steele (best known for the Oscar-nominated song “I’m Calling You” from Bagdad Café), Two Queens, One Castle uses back-to-back musical numbers to dramatize Steele’s marriage to a man who, after nine years and two children, confesses to be bisexual and HIV-positive — not your average “chiltin-theatre” fare.

The story, at times sad, funny and shocking, is told through a worldwide of catchy, musical numbers covering R&B, gospel, pop and jazz. This Atlanta production stars Chandra Currelley (former lead singer of The SOS Band) as Wife, T.C. Carson (Kyle Barker on sitcom Living Single) as Husband, and Jahi Kearse as Lover. An ensemble of three (Jill Hames, Valerie Payton and underground singer, Christine Horn) rounds out the cast and serve as dissenting mouthpieces and alternate personalities.

The staging is simple but effective. The choreography, hit or miss. However, this play is all about the music and vocal performances, namely of “Queen” Chandra Currelley. As main character, Wife, Currelley passionately conveys love, doubt, hurt, denial, anger, depression and self-acceptance, in a matter of 90-minutes. Currelley’s talent is undeniable and she knows how to work a room. Combined with the play’s topical qualities and Horizon Theatre’s intimate space, her performance challenges the average audience member to watch without reaction (especially during the power ballad, “Ain’t Supposed To Be Here”).

Sadly, male roles Husband and Lover pale in comparison to Wife; not surprising given the play’s point of view. T.C. Carson provides above-average, vocal foundation and has a few opportunities to shine as Husband. Jahi Kearse, on the other hand, is not given much material as Lover and serves primarily as perceived protagonist and prop. Although both characters have solo numbers meant to address their side of the story, the effect is minimal.

It may be tempting for some to write off Two Queens, One Castle as an oversimplified, gay/male, bash-a-thon. Some may also feel the play demonizes gay, black men. I disagree. The emotions and situations ring true with self love, honesty and acceptance at the heart of the play. Those who suffered through E. Lynn Harris’ anemic play, Not a Day Goes By, would serve themselves well by attending a production unafraid to tackle touchy subject matter without the usual camouflage and innuendo.

Jevetta Steele is prudent to mention “The villain in Two Queens, One Castle is deceit, a deceit that underminded the foundation of my sense of self.” Realizing the potential impact on the audience, Horizon’s Audience Development Director, Leigh Davis-Turner, provides resources (such as In The Life Atlanta) for audience members affected by topics raised in the play. There are also scheduled “talk-backs” after certain performances; a definite step in the right direction.

The stage is set for contemporary plays about honest black, pansexual experiences — at least from a female point of view. The question is whether black men (homosexual or otherwise) can rise to the occasion and tell their stories.

[Two Queens, One Castle was first produced in Minneapolis in 2002 and opens at New York’s Tribeca Performing Arts Center this fall.]

Excellent run down of the play er um musica?!?. I agree on all but on area, and that was Jahi’s performance as Lover. Either he’s heard your view or my expectation for this role was not as high as yours, but I felt it was a well-rounded performance at last night’s show.

In any case, those who miss this performance will be doing themselves a injustice.