The devil’s voice is sweet to hear.
— Stephen King, from the novel Needful Things
Steppenwolf’s production of Leroy and Lucy by Ngozi Anyanwu is a seductive and life-affirming reimagining of the legend of Robert (Leroy) Johnson and his deal with the devil.
Little is known about Robert Johnson’s life, largely because it was so short. Johnson died of unknown causes at just twenty-seven, but he had already left a lasting mark on the music industry. Known as the father of the Delta Blues, Johnson is also referred to as the first ever rock star, and his talents led some to believe he had supernatural powers. A legend was born that Johnson met the devil at a local crossroads and made a deal.
Anyanwu’s play — which opened last night — reimagines what may have happened at the crossroads that legendary night, reclaiming the folk tale and casting the two parties in a new light. This isn’t a cautionary tale or a scary story. This is a sonorous imagining of the moment a person chooses to pursue their life’s calling despite its risks and hardships. Anyanwu gives her two characters, Leroy and Lucy. space and time to get to know each other and cleverly pursue what they want over the course of ninety minutes. We never leave the crossroads, and we never see another character. We don’t need to. Leroy and Lucy are commanding enough on their own.
As Lucy, Brittany Bradford dominates the stage from the first note she hums. She moves and speaks with grace and strength to embody this more than human character. In her flowing dress and straw hat (costumes by Yvonne L. Miranda) Lucy walks barefoot, making her feel connected to the earth. With her confidence, beauty, and magical way of moving, she takes up more space in the room than perhaps Leroy expects a woman to.
Jon Michael Hill brings humor, charm, and immense musical talent to Leroy. He starts almost boyish, approaching Lucy with curiosity and humility, but Lucy brings him out of his shell. He gets cheekier, bolder, and surer of himself. When he finally pulls out his harmonica and plays, the room leans in.
The two actors are intimately connected with each other throughout the whole piece. They are locked in through every beat. Awoye Timpo’s direction and Adesola Osakalumi’s choreography sometimes even have Lucy and Leroy mirroring each other’s physicality.
The scenic design by Andrew Boyce deserves its own mention. The space is evocative of a tree with clusters of greenery hanging from the ceiling. The stage is reminiscent of a trunk with rings showing the years, perhaps to indicate that we are at the center of time, at the beginning of everything, in a place where time doesn’t exist, at least temporarily. Boyce also includes a gorgeous gasp-worthy surprise toward the end of the play, which you’ll have to go see for yourself.
If you’re in need of a little color, music, and magic (who isn’t?), head over to Steppenwolf for this life-affirming play. Sounds like a perfect evening to me.
photos of Brittany Bradford and Jon Michael Hill by Michael Brosilow
Leroy and Lucy
Steppenwolf’s Ensemble Theater, 1646 N. Halsted St.
Tues-Fri at 7:30; Sat at 3 & 7:30; Sun at 3; Wed at 2 (Nov. 27)
dark Oct. 29, Nov. 6, 12, 13, 14, 19, 20, 21, 28, Dec. 10
ends on December 15, 2024
for tickets ($20 – $92), call 312.335.1650 or visit Steppenwolf