By Patti Roberts

In “Fairview,” now showing at Capital Stage, audiences are invited into the home of the Frasiers, a middle-class African American family with sass and shenanigans reminiscent of the sitcoms ”Fresh Prince of Bel-Air” and “Blackish.” 

Mom Beverly is frantically trying to coordinate food and family for her mother’s birthday party, corralling her husband into various tasks and waiting for the drama and gossip that her sister and teenage daughter will surely bring with them.   

What ensues is quibbles and squabbles, though this family knows how to put some “fun” in dysfunctional. But just when we’re settled down for some laughter, this light fare descends into disturbing darkness.  

“Fairview,” the 2019 Pulitzer Prize Winner for Drama by Jackie Sibblies Drury, is a one-act play that takes on race and stereotypes in a challenging and shocking way that results in rather disturbing dialogue and many uncomfortable moments.  

Audiences are blindsided by a strange and unsettling shift in tone — though I won’t say when — so, be forewarned, just like many productions at Capital Stage, this play is uncompromising and controversial, resulting in mixed audience emotions, reactions and self-reflections. It won’t be everyone’s cup of tea; or swig of Colt 45 as referred to in the script

The scene is set by Beverly (Kathryn Smith-McGlynn) as she dances and sings to the iconic The Four Seasons tune “Rag Doll,” feeling overwhelmed with the tasks of organizing the perfect party and directing various family members. Husband Dayton (Adrian Roberts) patiently responds to his wife’s constant chore assignments, while sister Jasmine (Brooklynn T. Solomon) comes in with a feisty flurry of unfiltered opinions and daughter Keisha (Kali Honeywood in an impressive professional stage debut) bounces in from school full of teen vim and vigor. 

Staged as a sitcom, just as guests settle in, the lights go out, and when they come back on a foursome of who we’ll refer to as the Observers and Debaters make their presence and contentious opinions known. This disarming ambush is presented by the acting quartet of Shannon Mahoney, Brandon Lancaster, Alissa Doyle and Scott Coopwood. 

There are times when the play’s dialogue becomes discombobulated and meandering, but the talented cast and Director Anthony D’Juan manage to reign it in. D’Juan displays a stealthy and steady hand while masterfully juggling two conjoining yet conflicting storylines. On one hand is the funny sitcom feel of the first part, and on the other hand is the discussion on race and blatant stereotypes voiced by the Observers in the second.  

D’Juan brings together a gifted and brave cast, most of whom have graced various local Sacramento stages. He makes sure no one is holding back; and none of them do in their impressive ownership of their roles. 

The stage is a simple sitting area and dining table, with added balcony scenes for the Observers, while the music, sound effects and lighting range from fun to disconcerting.  

Post-performance audience chatter seemed to reflect a common sentiment: “I’m going to have to go home and really process this.” 

“Fairview” plays through Sept. 29 with various times and showings at Capital Stage. 

This story was funded by the City of Sacramento’s Arts and Creative Economy Journalism Grant to Solving Sacramento. Following our journalism code of ethics and protocols, the city had no editorial influence over this story and no city official reviewed this story before it was published. Our partners include California Groundbreakers, Capital Public Radio, Outword, Russian America Media, Sacramento Business Journal, Sacramento News & Review, Sacramento Observer and Univision 19. Sign up for our “Sac Art Pulse” newsletter here.