Bwog Staff Writer Zora Day-Friedland went to the opening night of Barnard Theatre’s Trouble In Mind, directed by Dara Malina. The show ran from October 17 to 19 in the Minor Latham Playhouse.

Put on by Barnard Theatre, Trouble in Mind is a play written by Alice Childress. It takes the viewer on a journey alongside Wiletta Mayer, a middle-aged Black actress struggling in the racist and sexist environment of a 1950s Broadway rehearsal room. This production was a senior acting thesis for John R. Howley (CC ‘25) and Caroline Adams (BC ‘25). I found the show complex, emotionally driven, and an interesting watch.

Stepping into the theatre, I was immediately struck by the set, a loose recreation of a Broadway rehearsal room. Lots of furniture on small stages can often feel cluttered and overwhelmed, but this was not the case here. Instead, the stage was intentionally eclectic, with different levels and pieces that the actors interacted with, like a coat rack and several tables. Stage designer Gerardo Dìaz Sanchez did an incredible job creating an accurate and visually stimulating atmosphere.

The set designs were highlighted by the creative lighting done by Nic Vincent. For example, before the show began, a single lightbulb attached to a stand illuminated the stage and reflected off a mirror just offstage. Direction by Dara Malina was similarly impressive, as she utilized the space meaningfully and set the actors up for success.

From the moment she strode on stage, Cameron Herring (BC ‘25), playing Wiletta Mayer, commanded the audience’s attention. Herring’s comfort on stage was evident and it was clear that she spent a lot of time and effort crafting her own interpretation of Wiletta. Not only was her acting impressive, but her stamina was commendable. Herring was onstage for almost the entirety of the two-hour runtime, with several long passionate monologues and even some singing. Herring was the heart of the show, and even when she left the stage her presence lingered. 

After some unorthodox directing methods leave Wiletta shaken, the play starts to get derailed. She grows increasingly aware of the problematic nature of the director and play, a story about a Southern lynching of a Black boy, and her relationship with the director sours.

The tense relationship between Wiletta and Al Manners, the domineering white director, played by John R. Howley (CC ‘25) was executed impeccably by both actors. Howley emulated the snippy and controlling Al with shocking accuracy, strutting across the stage with a plastered-on smile like that of a maniacal game show host. Every time he sat backwards in a chair a shiver went down my spine. When Wiletta’s frustration with Al and the script boils over, Howley delivers a furious rebuttal monologue culminating in a pointed racist attack that leaves the audience stunned.

Melisa Isado (CC ‘25) as Millie Davis, Bryan Jackson (GS ‘26) as Sheldon Forrester, and Caroline Adams (BC ’25) as Judy Sears also gave significant performances. Wiletta’s co-stars, Millie and Sheldon are Black actors dealing with the same constant prejudice on and off screen. Millie takes a more no-nonsense approach, not trying to sugarcoat the racism and sexism she experiences. Isado brought an aura of confidence and stability that made Millie shine. I especially enjoyed her interactions with the other actors, as little taps, nods and whispers served to flush out the scenes and establish the characters’ relationships. As Judy Sears, Wiletta’s misguided white co-star, Adams’ physicality added a lot to the role and made her character that much more believable. And finally, like Sheldon Forrester, Jackson brought a perfect mix of whimsy and sincerity. Funny quips highlighted his comedic abilities, but Jackson’s acting shone when he delivered Sheldon’s horrifying account of witnessing a lynching as a young boy, an attempt to get the cast, and ignorant director, to understand the subject matter of the play. 

As a fashion nerd and self-proclaimed costumer to the stars (I ran the costume department at my high school) I was particularly focused on costume design. Spoiler alert: I was a huge fan. I’m a big sucker for historical accuracy, and although I’m sure the costumes were not made in the 50s (those would all be moth food by now), the costume designer Mika Eubanks, did a great job of choosing materials and styles that mimicked what people of that era would have worn. But my absolute favorite aspect of the costuming was that each character had their own designated color. This is a technique I love to use and see used in shows because it allows the audience to immediately differentiate between characters and get a look into their personalities. For example, Millie’s bright green dress in the first act allowed for a dramatic entrance and situated her as comfortable with taking up space. Other color choices were more subtle, like Manner’s crisp black and white suit, but they all came together to paint a satisfying picture.

Although the show ends on an uncertain note, with Al’s outburst possibly being the end of the play within a play, I feel certain that the talented team behind this show executed exactly what they set out to do. They put on an incredible show that asks meaningful questions about racial discrimination and power dynamics in the film industry that are as relevant today as they were 70 years ago. This was my first time seeing a show at Barnard, and I’m eager to come back and see what they put on next.

Header via Zora Day-Friedland