Circles have been universal throughout history, Evanston playwright Gloria Bond Clunie tells us. Hoops have delighted cultures all around the world, from ancient Egypt to the Parthenon. Native American nations use hoops to tell their stories in dance. And clearly, some of the children bouncing in and out of their seats during Clunie’s play, The Hula Hoopin’ Queen, were eager to start hooping on Saturday.
The Young People’s Theatre of Chicago is staging this delightful play adapted from the book by Thelma Lynne Godin with illustrations by Vanessa Brantley-Newton. The production is lively and filled with music and movement. Music is by Thomas Johnson with movement directed by Tuesdai B. Perry. Randy White, the theater’s artistic director, directs the play and his six-member cast responds with energy and playfulness. The play is a story about the importance of friendship and community, told in an appealing way for children and adults.
The Hula Hoopin’ Queen is about three girls competing to be the Hula Hoopin’ Queen of 139th Street (from Adam Clayton Powell on past Frederick Douglas Boulevard). Jamara (Livia Robin) assumes she’ll win the crown and Kameeka (Aja Singletary) is her close competitor. Their friend Portia (Sol Fuller) does hoopin’ and is also an expert at rappin’ rhymes, which the girls do to a rhythmic beat. They’re competitors but also best friends.
When Jamara announces they will compete for the crown (based on who can hoop the longest) at a certain time on Saturday, Kameeka agrees. The girls live in a Harlem community where neighbors are friends and helpers to others. The girls forget that the same Saturday will be the 80th birthday party for Miz Adeline (Melanie Hubbard), a neighborhood event being organized by Kameeka’s Mama (Jazzma Pryor). She’ll expect Kameeka to be home helping her prepare, cook and bake—especially the “double chocolate fudge cake with fresh strawberries and real whipped cream,” which is Miz Adeline’s very favorite cake. And therein is the dilemma that the play builds on. How will Kameeka be able to help Mama get ready for the party and also compete for the hula hoopin’ crown?
Miz Adeline and Miz Evelyn (Michelle Bester) are the senior citizens of the community and friends of Mama. The three older women, we learn, are former hula hoopers and by the end of the play, all six characters, young and older, are showing their hula hoopin’ powers.
The width of the downstairs mainstage at the Greenhouse Theater Center works well for the play’s design. Scenic designer Annie Smith creates a community with two homes, 203A and 203B, with front steps and playing space nearby. A counter is wheeled in to become the kitchen and party décor appears later. The all-important birthday props and hula hoops are by Nicolas Bartleson. Lighting is by Kevin Lechner. Sound design is by Zach Stinnett. Marquecia Jordan is costume designer. Jonathan Yawn is stage manager.
Gloria Bond Clunie is an award-winning playwright, director, and educator. She is the founding artistic director of Evanston’s Fleetwood-Jourdain Theatre where she has directed productions including Ain't Misbehavin', Purlie Victorious, Ceremonies in Dark Old Men, and Raisin. Her other works include Drip; Secrets; the musical Sing, Malindy, Sing!; Merry Kwanzaa; Dreams; Smoke; Quark; and an adaptation of Patricia McKissack's Mirandy and Brother Wind.
The Hula Hoopin’ Queen by Young People’s s Theatre of Chicago continues thru May 31 at the Greenhouse Theater Center, 2257 N. Lincoln Ave. Running time is 70 minutes, no intermission. The play is best for ages 5+. Tickets ($32.50 and $22.50 for under 12) for weekend daytime performances are available here.
For more information on this and other productions, see theatreinchicago.com.
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