Jonathan Filippo as Thomas Jefferson, Angelique Archer as Sally Hemings, and Olivia D. Dawson as Mary in “Sally and Tom” by Suzan-Lori Parks.
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See and savor “Sally and Tom,” a comic drama that does not flinch when it asks hard historical questions, all the while celebrating the joyful power of theater.
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Widely acclaimed writer and musician Suzan-Lori Parks has packed more big ideas and big emotions into “Sally and Tom” than the next 10 summer shows — put together.
Ostensibly, Parks’ 2022 comic drama, which runs through Aug. 23 at the Kleberg at Zach Theater, is a play-within-a-play about President Thomas Jefferson and Sally Hemings, the enslaved mother of their six children.
As more than just a framing device, Parks introduces a scrappy, idealistic present-day American theatrical troupe known as Good Company, as it rehearses, discusses, alters and then presents a piece about the historical couple written by the same artist who plays Sally.
Most of what the general public already knows about this complicated relationship was told by Annette Gordon-Reed in her 2008 Pulitzer Prize-winning book, “The Hemingses of Monticello: An American Family,” as well as ongoing public history presented at Jefferson’s home and plantation. University of Virginia scholar Yunina Barbour-Payne, a former Austinite who serves as dramaturg and assistant director for Zach’s “Sally and Tom,” has closely studied much of that public interpretation of history at Monticello.
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Austin is among the first cities to see this heady play, in part because Parks, who has earned a Pulitzer Prize and two Tony Awards, among other honors, has maintained a 30-year working partnership with Dave Steakley, the producing artistic director of Zach, now in his 35th season.
The relationship between Thomas Jefferson and Sally Hemings, the enslaved mother of their six children, was, to say the least, complicated, as told in Suzan-Lori Parks’ comic drama, “Sally and Tom.”
Axel Buecker/AxelBPhotography
Before going any further, let’s make it clear that everything about this show, seen in previews during a July 26 matinee, is in tip-top shape. That includes scenic designer Daniel Conway’s seemingly miniaturized sets that even feature scene-changing devices from the past; costume designer Nanette Acosta’s stylishly appropriate apparel that flounces from the late 18th century to the early 21st century; and lighting designer Sara E.C. Maines’ nimble, knowing illumination.
The cast is uniformly good and, in flashes, great. Special shout-outs to astonishingly proficient Angelique Archer as Luce/Sally, understated yet forceful Jonathan Filippo as Mike/Tom, humorously essential Olivia D. Dawson as Maggie/Mary and sizzling yet chill Hollis L. Edwards III as Kwame/James.
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Kwame is a rising TV and film star who plays Sally’s brother and Tom’s cook, James. His searing speech on freedom becomes a point of contention for Good Company, one that evolves into a final speech for Sally that encompasses even greater moral depth.
Yet the core of this theatrical experience is Parks’ ingenious way of making worlds that did not exist before, and Steakley’s empathy with the writer’s vision for historical Monticello, as well as the contemporary theater troupe that brings it to life.
As Parks has said: “There’s nothing I love more than putting on a show and allowing people to show their humanity.”
Parks as literary starlight
Suzan-Lori Parks attends the 2023 Time100 Gala at Jazz at Lincoln Center on April 26, 2023 in New York City.
Taylor Hill/FilmMagic
When you can count a celebrated literary figure as a friend of a theater, and as a collaborator alongside its artistic director — as well as a drama whose subject matter could not be more timely — you must do something special.
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That’s exactly what Zach Theatre did by partnering with Austin PBS, KLRU-TV, to present an enthralling program with Parks at the station’s large studio venue on July 27.
Yunina Barbour-Payne introduced the Zach company of actors who performed scenes that were even sharper and funnier here than during the previous day’s matinee. Some key, repeated lines — such as “trust the process” — took on new meaning as interpreted by actors standing at mics on a blank studio stage.
Steakley brought Parks onstage by reminding guests how literary legends James Baldwin and Tony Kushner praised Parks early in her career. Later, Parks told a revealing anecdote about a short-story writing class that she took from Baldwin. While other participants read their stories from their seats without drama, Parks stood upright and dramatized her tales.
Baldwin responded, not unkindly: “Perhaps you should write for the stage.”
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She remained a writer who performs all the roles. Parks said she wrote the play-within-a-play in “Sally and Tom” because, “I wanted to hear all the characters having their say.”
The entire Zach Theatre cast of “Sally and Tom” is good, and, in flashes, great.
Axel Buecker/AxelBPhotography
We certainly wanted to hear what Parks had to say. Here are just a few takeaways:
During the interview, Parks burst into character frequently, sometimes hilariously. Alone, she is a consummate performer. With friend Steakley at her side, Parks felt free to be herself.
Community is crucial to Parks: “Learn to pay attention when the higher power speaks to you (through) community and audience. Not me, me, me, but us, us, us.”
On the joy of theater: “It allows us to grow our hearts.”
On the core narrative of “Sally and Tom”: “It’s not a love story, but it has a lot of love in it.”
For someone of her stature, Parks is extremely accessible: She holds a weekly Zoom call called “Watch Me Work,” which is not about her, but rather about all the artists, musicians and writers who call in and want to know “how the world is made.” In addition, Parks plays regularly with a “neo-soul, funk-folk, and Afro-Americana” act sometimes called Sula & The Joyful Noise.
Parks is a certifiable expert at finding the right response to an awkward or even slightly hostile question from the audience. She listens actively; treats the questioner — usually making a statement as much as asking a question — with dignity, respect and warmth; then teases out an answer that is not only honest, but kind, even hopeful.
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In short, Parks is an extraordinary public speaker. As much as I find her play memorable — and I do — she is the real deal in person.
Few writers can hold a living audience in the palm of her hand, caress it gently, and make it feel anew.