New York City might have been extremely cold the night Broadway Black went to see Colman Domingo’s Dot, but inside the Vineyard Theatre was a story that was sure to warm your heart.
From the start of the show, you can tell there is something not quite right with Dotty (Marjorie Johnson), the spunky matriarch of a black, middle-class West Philadelphia family. At first glance, it seems like her oldest daughter Shelly (Sharon Washington) is being overdramatic and being short with her mother for no reason, but it soon becomes clear that there’s a good reason for her stressed-out behavior. Dotty shifts from being mildly entertaining and funny to slightly forgetful and upset. She repeatedly asks her daughter what time it is, retells stories to their visitor, and it’s clear to the audience she’s showing increasing signs of Alzheimer’s.
To make matters worse, Shelly can’t get in contact with her two other siblings Donnie (Stephen Conrad Moore) and Averie (Libya V. Puch) to help bear the burden of keeping tabs on their mother. It isn’t until Shelly’s breaking point that Donnie finally arrives with his husband, in the midst of their marital issues. Moore truly brings Donnie to life, as we see him struggle with what he wants out of his relationship with Adam. There’s also a heartbreaking moment with Johnson, that requires Donnie to literally put himself in Dotty’s shoes, and the results are some of the strongest acting moments on stage. Averie soon comes after, her diva-like presence certainly brightens up the mood of the show and her character offers some of the plays most hilarious lines. Puch could easily over-do the extravagance of the character, but she plays her with humor, truth, and vulnerability. I’m sure everybody has an Averie in their family.
The standout performances have to be from Washington and Johnson alike. For me they were the most relatable, it was like seeing my family on that stage. Johnson’s Dotty was funny, lucid, mean, warm, loving, vulnerable and Johnson was able to play all of those emotions with such truth. It never felt like you were feeling sorry for Dotty, but you were able to empathize with how she felt about the situation. I think often times when dealing with dementia, the caretakers are so caught up with how they feel about the situation they don’t consider the perspective of the person who is actually dealing with the situation. That’s the case for Shelly. Washington played the part of the overstressed and micromanaging oldest daughter who still lives by the “I know what’s best,” mentality. There is a moment where her headstrong character indeed gets a crack in her armor and Washington plays it with such a natural child-like vulnerability.
Dot also features Colin Hanlon as the likable Adam, Finnerty Steeves and the neighborhood friend Jackie, and Michael Rosen as Dotty’s home-care provider Fidel.
I never would have thought I would use the word hilarious to describe a play where the lead character struggles with dementia, but it only seems like an appropriate adjective for this show. I’m reminded of a quote I was told by my grandmother once, “you laugh to keep from crying,” and with Dot I admit I actually did both. Even through the comedic moments, Dot never felt like it was tackling the issue lightly or making fun of the seriousness of dementia. In fact through the humor of the show it felt more real. Dot was funny, messy, rude, heart-wrenching, and all too familiar if you’ve ever had to deal with the deteriorating health of the family matriarch. And like any family, even though there are problems, the love you share for one another trumps all else, and by sticking together you’ll get through it.
Dot is playing at the Vineyard Theatre (108 East 15th Street New York, NY) until March 20th, tickets can be purchased here.
