Pittsburgh Public Theater resurrects a scathing satire with Trouble in Mind

An old Devil moon glowed above the stage of the O’Reilly Theater as a saxophone droned a jazzy reverie to awaken the timely and timeless characters of Alice Childress’ Trouble in Mind from unjustified obscurity. This seldom-performed American satire is a true ensemble piece that stands out in the Pittsburgh Public Theater’s latest season.

The play follows a diverse collective of actors as they attempt to mount a Broadway play set in the Antebellum South. They navigate the racial overtones of the show’s fictitious play and the racist undertones of the production team. Although Childress’ play first premiered in 1955, the dialogue is strikingly modern and achingly poignant. With a few small changes and an alternate set of costumes, the show could easily and believably be set in the present day as an indictment of the current theater industry.

Throughout the production, Justin Emeka shines as a director, choreographer, and fearless maestro able to achieve a perfect pitch and tempo in the complex dance between comedy and drama, fiction and reality, and oppression and liberation. Emeka’s direction ensures the power dynamics in the play are crystal clear and serve as a sparkling mirror for a modern audience saturated in a culture of racism, patriarchy, and white supremacy.

The actors play characters who are themselves acting, not just in the play within the play, but through the obvious code-switching required for them to exist in this white, patriarchal space. In this 10-person ensemble, there are no weak links. Every actor brings themselves fully to this dynamic and thought-provoking production with unbridled honesty and apparent commitment.

Sinnerrie D. Jackson, as leading lady Wiletta Mayer, is the powerhouse of the production. She guides the company with her character’s journey from quiet obedience to outspoken rebellion. Her performance feels intimate while remaining big enough for the O’Reilly stage, and she endears the audience with her sharp humor and veteran stage presence. Near the middle of the show, Jackson’s character takes center stage to rehearse a song for the seminal scene of the metadrama. Her voice is a battle cry and an expression of pain that resonates throughout the theater.

In response to Jackson’s show-stopping power, Joseph McGranaghan proves a master of despicable villainy as director Al Manners, the self-righteous white savior in a 1950s-era Broadway world. I imagine a chill shot down the spine of every woman in the audience who has ever been touched by a powerful man in the workplace when, at one point, Manners stands directly behind Judy (played by Emma Brown Baker) and wraps his hands around her shoulders. 

Manners is easily outnumbered during the show, but the illusion of his supremacy and financial power reaffirms his grip on the company. He slowly unravels as each company member challenges his judgment, intentions, and assumed superiority. McGranaghan captures the griminess of Manners and foils Jackson’s heroic performance as Mayer beautifully. KJ Gilmer’s costume design acts as a sturdy scaffolding for each performer. While period costumes can run the risk of stealing the show, Gilmer’s work enhances, rather than distracts from each actor’s performance. Emma Brown Baker, as Judy, struts onto the stage for the first time in a bright blue skirt suit, looking like the spitting image of a Pan Am stewardess in a vintage LIFE Magazine ad. This complements Baker’s portrayal of Judy as a follower, someone willing to go along with trends, a struggle she straddles throughout the show. With every outfit, Gilmer re-establishes the power dynamics Emeka sets up, adding an extra layer of strength to the impressive production.

Martin Giles as Henry, the aging Irish theater doorman, is the icing on top of this stunning production. He gently bumbles about the stage with the charm and warm-heartedness of a beloved grandfather. His brogue crackles like a gentle fire and adds a cozy twinkle of paternal love to the character dynamics.

With its salient discussion of race, gender, class, and power, Trouble in Mind continues a much-needed conversation about inequality and inequity in the theater industry and beyond.

This article appears in Feb 12-18, 2025.