Review: HOLD ON at Edison Theatre on the Washington University Campus

The Black Rep opens their 47th season with a compelling world premiere production of Paul Webb’s new play HOLD ON, the stage adaption of his screenplay for his critically acclaimed film “Selma.” Directed by Ron Himes, HOLD ON is the historical retelling of the civil rights marches in Selma, Alabama led by Dr. Martin Luther King, Jr. that resulted in the introduction of the Voter’s Rights Bill of 1965 by President Lyndon Johnson.  

Historians have often cited the collaborative relationship between Dr. King and President Johnson on civil rights legislation. Webb’s script presents more of a contentious relationship between Dr. King and The President, suggesting that Dr. King forced Johnson’s hand on the legislation demanding he act on it immediately. The adversarial relationship between the two men may have been exaggerated for dramatic effect, but Webb’s script made for powerful story telling.  

Webb’s historical drama is spectacularly brought to life by Ron Himes’ direction. Himes blocking smartly divides the stage into thirds, using stage right and left to allow for in the moment reactions from MLK, The President, Alabama Governor George Wallace, and the rest of the cast. Himes coaxes dynamite performances from his entire cast and keeps the tension high.  

The cast is led by Enoch King (Dr. Martin Luther King, Jr.) and Brian Dykstra (Lyndon Johnson) with authentic and believable performances as the civil rights leader and The President. King exudes all the charisma and passion of MLK as he delivers orations to the congregations of his followers in Alabama. While his big and bold scenes are impressive, King is equally impressive when confronted by his wife Coretta about his indiscretions. He shows an impressive range of emotion and is at his best when he is contrite while his wife is emasculating him for his behavior. Evan De-Bose is spectacular as Coretta King showing strength while illustrating the disappointment and hurt of a spouse betrayed by their partner. De-Bose is only on stage for minutes but delivers a memorable performance. 

Dykstra paints Johnson as a shrewed and strong-willed negotiator with a staunch personality. In his performance, Dykstra disappears into his character and conveys his frustration that he cannot convince MLK to flex on the immediacy of The Voter’s Rights Bill. Dysktra and King’s chemistry is genuine, especially when King argues that crimes against Black Americans will not be prosecuted until they are able to serve on a jury. Dykstra remains true to his characterization of The President but is transformed by the actions of MLK and the protesters in Selma.  

The other standout in the cast is Eric Dean White in his dual roles as Governor George Wallace and Dallas County Sherrif Jim Clark. In both roles, White takes the opportunity for significant scene chewing. His tantrums as Governor Wallace offer a bit of levity while still conveying Wallace’s ire that his state was at the national forefront of the civil rights movement. His manifestation of Sherrif Clark is downright evil in hatred and racism, using his law enforcement authority for oppression through intimidation and physical beatings. When White is on stage you cannot take your eyes off him. He gives the best performance among a cast of spectacular actors.  

Webb’s adaptation provides the historical context and brutality experienced by the demonstrators during the events surrounding the marches in Selma. As historical drama, his play succeeds because he conveys how Dr. King used the demonstrations to shape his relationship with President Johnson and effect legislative change that advanced the civil rights movement. Webb missed the perfect opportunity to wrap the story following the final phone call between Dr. King and The President. It was at that moment, when the lights faded to black, that the impact of the piece was striking.  The superfluous following scenes of Corretta Scott King and The Freedom Concert seemed unnecessary and softened the impact of Webb’s story. 

The Black Reps production of HOLD ON is spellbinding storytelling. It is a first-rate production of the momentous events that shaped the civil rights movement and resulted in important legislation. Himes, his cast, and crew have produced an exceptional piece of theatre that honors the legacy of Dr. Martin Luther King. HOLD ON, produced by The Black Rep, continues through January 28th at the Edison Theatre on The Washington University Campus.  

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