Knock Me a Kiss, a fictionalized account of what happened before and after the spectacular wedding of W. E. B. Du Bois’s daughter and Harlem Renaissance poet Countee Cullen focuses on the former. But the frame of the picture is her father’s major role in the Civil Rights Movement and his desire for integration.
Spoiled Yvonne Du Bois, 26 (Emerald Rose Sullivan, bright and beautiful), plans to teach downtrodden youth but not necessarily identify with them. She’s in love with outspoken jazz musician Jimmy Lunceford (charming, sexy Joel Patrick King), but her priority is sailing first class to a Paris honeymoon. She doesn’t appreciate Jimmy actually wanting to marry her and, as much as he can, furnish support.
As a major contributor to the Harlem Renaissance, poet Countee Cullen (rightly reserved but congenial Ethan Henry) fits W. E. B.’s plans for his daughter and the movement. Much of the play concerns whether Yvonne will please Daddy or follow her desires. Du Bois, by his putting his causes before his family, is more or less a villain of the piece. E-Mani Cadet presents him, though, not as gruff and bossy as much as he is a dedicated leader and visionary. His most unsympathetic moments come as he describes to Cullen how domestic and helpful to his career a homemaking Yvonne will be or when he treats his wife like domestic help.
Yvonne’s best friend Lenora (LaNisa Frederick, sassy, sexy) is a foil for her. With her honesty about her sexuality, she also contrasts with Cullen, whose unseen pal is really his partner. Unfortunately for her, Yvonne, raised almost in ignorance about sex, finds this out only after marrying. Her efforts to change the direction of her life bring the drama to a crisis.
A dead child figures in the background. He has profoundly affected Makeba Henry’s pathetic Nina Du Bois, wife and mother. Her referencing what happened to the boy illustrates how her husband’s family life suffered from his being rapt in his public life’s concerns. Somewhat mad, she delivers a monologue that shatters.
Steve Parmagrian’s appropriate set prominently features Du Bois’s many books and study, right next to his staid living room.
Costumes reflect the period. Granted Yvonne’s taste in clothes being satisfied, they still seem a bit too beautiful, too extravagant to be used for everyday wear.
Despite most of the characters lacking dimension, the cast does fine work making them seem deeper. Director Chuck Smith often brings out what he can of their individuality. He succeeds particularly in not having Jimmy be stereotypical. The playwright may intrigue enough that one will want to hear a Cullen poem or consult history to find what’s true beyond the melodramatic.
