By: Darryl Reilly
Seal’s “Kiss from a Rose” is the accompaniment to an entrancing dance sequence between a young Black man and a young white woman early on in playwright Victor Vauban Junior’s intriguing The Decay of a Rose. It is a dreamy and edgy performance piece rather than a conventional play. Billie Holiday singing “Strange Fruit” is later heard.
This fable-style scenario takes place in a park. Graham and Leah meet there frequently and converse. They love each other and plan to eventually marry; she refuses to have sex with him until that happens. Leah regularly brings Graham presents including many books. William Shakespeare, Lorraine Hansbury, and August Wilson are among the authors mentioned during the couple’s philosophical discussions. The stage is set with a multitude of books, ones on the floor are open.
From recorded voice over clips we learn that this interracial couple incites hatred. We hear vicious racist declarations from a variety of people, most crucially Leah’s mother and a sheriff.
Mr. Vauban’s sensitive and expressive dialogue is scant on background information and locale. There is instead focus on the sensations and emotions of a monumental romance which enrages much of American society. Vauban’s treatment of this theme is absorbing, moving, and sadly realistic. He has also directed The Decay of a Rose; the totality of his otherworldly physical staging is hypnotic. Stylized movement, choreography, and passionate confessions are all plentiful amidst smokey dimness. The show opens with fanciful projected imagery of trees and the couple walking.
The lean, beaming, and soulful Dimitri C. Dewes Jr. is magnetic as Graham. Mr. Dewes’ winning characterization fully conveys a young Black American man’s curdling idealism. Radiant Donata O’Neill is enchanting as Leah. Ms. O’Neill captures the role’s sunny girlishness with her pleasing voice and lively presence. Dewes and O’Neill’s ravishing performances and intense rapport is integral to the production.
The scenic design by Vauban with design execution by Lytza Colon and Team artfully and theatrically connote the park location through a monument and strategic shrubbery and foliage. Alexander Bartenieff and Vauban’s lighting design vividly achieve an ominous dimension via an enveloping dark sheen. Costume designer Everett Clark’s lustrous garments have a clever twist; the Black Graham wears a white ensemble, and white Leah wears a black dress.
“I do like roses, but they’re going to die” says Graham when Leah presents him with a bouquet. The Decay of a Rose is a powerful and haunting experience.
The Decay of a Rose (through April 26, 2026)
Theater for the New City, 155 First Avenue, in Manhattan
For tickets, visit www.theaterforthenewcity.net
Running time: 60 minutes with no intermission