You might think that a play called “Sweet Tea: Black Gay Men of the South” would cater to a relatively small audience, members of a minority within a minority. But in fact this one-man show by E. Patrick Johnson, who also performs the piece at Signature Theatre, draws the attention of a much larger audience by discussing topics accessible to all, regardless of race or gender. Those topics range from ignorance and cruelty to empathy and love. The first character in “Sweet Tea” belongs to Countess Vivian, a woman who is nearly 99 years old, who prepares her sweet iced tea while reminiscing about the men she knew in her life. Vivian returns again and again throughout the play, as a reminder of solidity in a world of uncertainty.
Johnson shows young boys growing up, going to college, coming out, learning to live in society. One of his youngsters, R. Dioneaux, learns to outwit the kids who would bully him by being the smartest at math and raising the bar for the whole class. It’s a cameo full of humor and intelligence.
| Onstage |
| ‘Sweet Tea: Black Gay Men of the South’ |
| Where: Signature Theatre, 4200 Campbell Ave., Arlington |
| When: Through Oct. 9 |
| Info: $41; 703-573-7328; signature-theatre |
Johnson’s saddest character is Stephen, a young man who fathers a child before he’s a man himself. Johnson’s writing about Stephen’s relationship to his son is heartbreaking but exquisite.
Into the tales of these 13 colorful characters, some earthy, some philosophical, Johnson weaves his own story of growing up the youngest in a large family in Hickory, N.C. Although all the characters in “Sweet Tea” are fascinating, the narrative of Johnson’s own life is the most compelling, particularly with his very honest references to his own partner.
To make his points, Johnson uses a set designed by Klyph Stanford, depicting several Southern homes, complete with porch, rocking chair, park bench and flowers. As Johnson moves from character to character, city to city, state to state, he utilizes different sections of the set. Above the stage is a screen with surtitles for his characters’ names.
Director Rajendra Ramoon Maharaj establishes a good pace for the show. He has Johnson sing and dance as well as talk, spicing up the production with stirring renditions of familiar spirituals.
“Sweet Tea” has a great deal to say about humanity and sensitivity. Given its universal nature, it wouldn’t be surprising if it continues to speak to men and women, gay and straight, outside the South and even outside the United States.
