"The minute you find a barbershop, that's when you feel at home," states a character in "Cuttin' Up," now playing at the Arena Stage. Few homes are as lively as the barbershop home that writer-director Charles Randolph-Wright creates in "Cuttin' Up." An eclectic sampling of visitors frequent Randolph-Wright's fictional barbershop, sharing wit and wisdom, telling stories of history past and turning out some riotous banter.
This play with music is a stage adaptation of Craig Marberry's book, "Cuttin' Up: Wit and Wisdom from Black Barber Shops," which delves into the complex social world of black barbershops. The book shares vignettes from the lives of black barbers across the country, including Oprah Winfrey's father, Vernon Winfrey, as well as less famous barbers across the District. More than 20 barbers featured in the book were audience members at last Thursday's performance.
Randolph-Wright's adaptation shares these unique stories through the vehicle of Howard's, a small D.C. barbershop with three barbers from different generations and a parade of clients from diverse backgrounds. Flashback scenes provide the connection from past to present. The result is an incredibly funny and poignant piece about black culture.
A man in a barbershop has to be loaded, ready to fire, and can't run out of ammunition, says a customer at Howard's. This customer is not talking about guns, but instead about witty one-liners. The show's hilarity comes from the capacious use of these clever cracks to poke fun at the barbershop's clientele. As a character with tight dreadlocks walks in, someone quips, "Tight braids are a poor man's facelift." Later, a boisterous reverend asks, "Are you going to finish my hair or are you waiting for the rapture?" Audience members will leave "Cuttin' Up" with stomachaches from laughter and an arsenal of new wisecracks at their disposal.
Another impressive aspect of Randolph-Wright's script is that it calls for timely improvisation from the actors. Barbershops are a place where men can converge to discuss the day's news, so on any given night the audience may find the shoptalk at Howard's filled with references to Katrina, the riots in France or the bombings in Jordan. This element of improvisation adds richness and reality, helping one feel like he or she is experiencing an authentic barbershop.
In "Cuttin' Up," Randolph-Wright seeks to go beyond impressing and entertaining the audience. He wants to remind viewers of black history and the social problems still facing the black community. Sometimes he successfully achieves this goal, while other times his attempts are tainted with contradiction. There are two particularly moving scenes, one in which the audience is reminded of the black soldier's contributions to protecting America and another that discusses the prejudices facing the black gay community. However, attempts to make critical statements about the current black generation are less effective because they are contradictorily preceded by scenes in which characters seem to laugh off such issues as fathering illegitimate children and stealing.
What cannot be denied is the quality of the show's cast members, who effectively meet the challenge of constantly transforming themselves into the diverse spectrum of characters who visit the barbershop. A cast of five plays all extra parts convincingly and beautifully.
District residents will find an extra dose of pleasure in "Cuttin' Up." The movie is peppered with D.C. references, including a sharp joke about the personalities of girls from the different regions of the city. Watching "Cuttin' Up" is like taking a tour of D.C.'s black communities without ever leaving the theatre.
Those that enjoy good music, hearty laughs and witty conversation should grab tickets to see "Cuttin' Up" and visit Howard's barbershop at Arena Stage. One might just become a regular customer.
