The Masqueraders’ production of Soul Force at the United States Naval Academy is an inspiring exploration of a pivotal moment in U.S. history. Written by Margaret Hambrick and Christy Stanlake, it is “documentary theater,” using letters, sermons, and other documents to tell the story of the Montgomery Bus Boycott, with actors portraying the real people behind this monumental Civil Rights action. Directed by Christy Stanlake, it captures the movement’s drama and conflicts as well as the power and hope in nonviolent protest. Alexis Hamilton gives a fierceness to Inez “IJ” Jessie Baskin, a reporter and member of the Montgomery Improvement Association (MIA) leadership. She reminds the Committee that a women’s organization started the idea for the boycott and that all the plaintiffs in the Supreme Court case challenging Montgomery’s bus policy are women. She tells the audience about the women before Rosa Parks was arrested for protesting the law. IJ Baskin (Alexis Hamilton) and Jo Ann Robinson (Shakinah Jaze) review ‘Work for Women’ in ‘Soul Force.’ Photo by Capt. Herb Lacey Sr., USN, retired. Shekinah Jaze plays Committee member Jo Ann Robinson with a quiet strength. Playing a white woman in a “sociodrama,” or roleplay, of what might happen when challenging segregation, she yells at the Black woman sitting next to her. She fights back against some Committee members’ distaste for the gay Bayard Rustin or the white Glenn Smiley, countering Bible verses with others. She also comments sarcastically on the work given to women for the cause, including putting up field workers and calling people about the boycott. She sings “Strange Fruit” with a quiet power. Chloe Casbohm plays Claudette Colvin, telling her story of protest and arrest with passion and drama. Christine Browne plays fellow protestor Mary Louise Smith. In a sociodrama, she responds to violence with powerful words, asserting her right to sit anywhere. Tirzah Daniel gives an enthusiasm to Lucille, in another sociodrama as the congregation and Rustin tell her backstory. Kobe Morrison gives charisma and energy to Bayard Rustin, a northern activist teaching the MIA about nonviolence. He expresses the tactic’s philosophy through his hands while walking across the stage. He enthusiastically creates backstories for participants in practice sociodramas, preparing the community for the pushback. He also stands firm in his sexuality, even in the face of opposition from the Committee. He jokes about how he flees Montgomery. He fills “Sometimes I Feel Like a Motherless Child” with deep longing. Casey McDonald gives a quiet stability to Rev.. Glenn Smiley, a white minister helping teach nonviolence. He poignantly reads a poem about missing his wife while away. He quietly but firmly stands up against criticism about his role in the movement, while joking about the opposition from other white ministers and leaders. Smiley’s journals, correspondence, and connections to other activists form much of the play’s material. Kares Mack plays the 27-year-old Dr. Martin Luther King Jr. with passion. Conflicted over preaching nonviolence to the cause while going home to armed guards, he eventually sees the idea’s necessity. His sermons are filled with justice and righteousness. Chorus (Skyy Beeks), Fred (Corban Sseba), Mary Louise Smith (Christine Browne), Rev. Glenn Smiley (Casey McDonald), Dr. Rev. Martin Luther King Jr. (Kares Mack), Jo Ann Robinson (Shakinah Jaze), Lucille (Tirzah Daniel), and IJ Baskin (Alexis Hamilton). (In background:) Claudette Colvin (Chloe Casbohm) and Rev. Ralph Abernathy (Elijah Millington) in ‘Soul Force.’ Photo by Capt. Herb Lacey Sr., USN, retired. Elijah Millington gives a strength to Rev. Ralph Abernathy, introducing Dr. King and reading from the resolution to boycott city buses. As sociodrama participant Avril Dean, he is deeply uncomfortable with the roleplaying, quickly rushing off. Corban Sseba plays Committee member Fred with anger, quoting Bible verses against Rustin’s homosexuality and wondering why a white man needs to be involved. As Ed, a sociodrama participant, he eagerly gets into the role, shoving the other player off her chair. Luke Hamilton gives a quiet energy to Committee member Clifford, proposing ideas and occasionally interrupting the women. The Chorus (Skyy Beeks, Kendall Itobi, Konnery O’Suileabhain, and Tara Thompson) leads the cast in songs and occasionally interjects from the audience. From offstage, the musicians (Matthew Tucker, Timothy Steele, Steven McBryde, DeAsia Oliver, Mike Scott, and Tonaee’ Burgess), with Michael Scott as musical director, play spirituals and gospel songs at various points. Some scenes are primarily musical, with the cast joining along and bringing the audience on their feet. Set Designers Danielle Bocanegra and Enzo Constanza reflect the Civil Rights Movement’s religious origins, with a long table in back holding an open Bible and small pews throughout. On the edge of the stage are marble-looking walls with stained glass images. A pulpit rolls out as needed. Alisha Uddin, Murduq Ernneus, and Maddy Angle handle the projections on the screen in back, throwing out photographs of the people involved, important documents, poems, and images of the struggle. Costume Designer Sondra Duplantis and Hair and Makeup Designers Shekinah Jaze and Alexis Hamilton capture the era of the 1950s, with the women wearing skirts, dresses, and gloves, and the men in suits and ties, while keeping each character identifiable. Ruskin looks particularly dashing in beige pants and sport coat. Lighting Designer Leonardo Grisard reflects the play’s many emotional moments, dimming the lights for powerful songs, and a dramatic “split scene” between Rustin and the Committee. Sound Designer Emiliano Torres Valencia throws out sound effects, including protests. Christy Stanlake keeps the action and the drama going throughout. Each scene moves quickly and purposefully. While capturing the courage, dedication, and sacrifice of the people involved in the movement, the play also addresses issues that divided them, including Rustin’s homosexuality, for which he was jailed, and the often subservient role women were expected to play. The production blends idealism with humanity in dramatizing this important moment. And seeing so much diversity onstage and in the audience is joyful. Only a few performances remain, so go see Soul Force while you can! Running Time: Two hours including one 15-minute intermission. Soul Force plays November 16, 21, and 22, 2024, presented by the USNA Masqueraders performing in Mahan Hall at the United States Naval Academy – 121 Blake Road, Annapolis, MD. Tickets are free but must be reserved online. Photo ID is required to enter Academy grounds. Soul Force By Margaret Hambrick and Christy Stanlake