White Noise: Fairview at Capital Stage Flips the Script
Or: The First Rule of Fairview, You Don't Talk About Fairview.
September 12th, 2024 - Sacramento, CA
Kali Honeywood, Brooklynn T. Solomon Photo by Charr Crail
It’s opening night of Fairview, the first production in Capital Stage's 20th season, and we need to talk about it.
At the recommendation of those familiar with the script, I went into Fairview by Jackie Sibblies Drury completely blind. As a reviewer, I usually prefer to prepare beforehand—it makes my job easier. While I don’t always look up full plots, I try to get a tonal “gist” so I can start shaping my review during the performance.
But for this, I skipped all of that. And while I'm glad I did, I was not prepared. On several levels. But as I want you to have the same experience that I did, I am making this review as spoiler-free as possible.
At first glance, the Frasiers seem familiar. Beverly (delivered with perfection by Kathryn Smith-McGlynn) meticulously organizes a birthday dinner for her mother while juggling the quirks and chaos of family life. Her sister Jasmine (Brooklynn T. Solomon) and husband Dayton (Adrian Roberts) add comic relief, and the dialogue feels natural, almost sitcom-like—actually, exactly like a sitcom.
Brooklynn T. Solomon, Kathryn Smith-McGlynn Photo by Charr Crail
Yet, beneath these everyday family interactions, there’s a disquieting undercurrent, hinting at the storm that's about to break loose. From here, the shift from the mundane to the menacing begins—but that's all I’ll say about the plot.
Under Anthony D’Juan’s masterful direction, Drury’s razor-sharp writing takes center stage, expertly balancing tension and humor while probing deeply into race. If I had to compare the experience, I’d liken it to the creeping dread of a supernatural horror film like Poltergeist. The first act lulls you into a false sense of security with its portrayal of a lighthearted family gathering, only for the second half to rip away that comfort, delivering theater that is not just unsettling but profoundly necessary. Isaiah Leeper’s mind-bending lighting design and Ed Lee’s eerie soundscape contrast beautifully with Eric Broadwater’s richly detailed set, further heightening the unease. I half-expected a blackout, followed by a static-filled television and a childlike voice whispering, “They’re heeeeere...”
From a performance standpoint, the ensemble cast is without weak links. Scott Coopwood and Adrian Roberts bring gravitas and grit with their seasoned stage presence, while Alissa Doyle, Brooklynn T. Solomon, and Brandon Lancaster nail their comedic timing. Kathryn Smith-McGlynn, fresh off her powerhouse performance as Clyde in Clyde’s at Capital Stage, grounds the production with her nuanced portrayal, making her range perfect for this genre-bending piece.
Still, it is Cap Stage mainstay Shannon Mahoney and newcomer Kali Honeywood who tie the bow on this visceral piece of American theater. Their performances draw the curtain back—literally and figuratively—on race relations, exposing the power dynamics that often go unnoticed in everyday life. In the final act, Honeywood drives a visceral, bold conclusion that demands introspection from every audience member.
And, much like a horror movie it resembles, no one gets out unscathed.
The rating: Unmissable.
FAIRVIEW by Jackie Sibblies Drury runs September 4-29, 2024. Tickets can be purchased at this link.
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