Bars and Measures @ Bishop Arts Theatre Center
—Jill Sweeney
The title of Bars and Measures, Idris Goodwin’s 2014 play making its regional premiere at Bishop Arts Theatre Center, is doing a lot of heavy lifting. Most obviously, “bars” and “measures” are musical terms, and the two brothers at the heart of Goodwin’s play are both musicians. Though the terms are often used interchangeably, bars are in fact simply the lines on a musical staff, while a measure refers to the beats the bars contain. Then there’s the other meaning of bars in this context—one brother is behind them.
Based on the true story of jazz musician Tarik Shah, who was caught up in a vast entrapment effort by the FBI—and eventually arrested in 2005 for allegedly supplying aid to Al Qaeda’s terrorist activities—the play lightly fictionalizes the relationship between Shah and his brother, using it as a springboard to explore a swath of big-picture issues: jazz music versus classical, family, religion, race, anti-Muslim sentiment, the prison industrial complex, and more. Goodwin is swinging for the fences, and while not every aspect of the piece is a home run, it certainly touches on a lot of hot-button issues. Bishop Art’s production, directed by Jiles King, boasts an enthusiastic and committed cast who, despite some stumbles, carry the play off credibly.
Eric (Christian Wilson) and Bilal (Eric Carter), brothers though they may be, differ on several fundamental levels. Eric is Christian, Bilal a converted Muslim. Eric plays classical piano; Bilal plays jazz. But the brothers’ mutual love of music—transcending genre—acts as the lifeline between them while Bilal suffers in solitary confinement, and at the hands of brutal prison guards like Wes (Alexander Joshi), who seeks to break Bilal’s spirit before his trial on conspiracy charges. Eric is prepping to play a benefit concert for his brother at a jazz club, but needs to sharpen his skills (with his brother’s sometimes overbearing help). Eric is unshakably loyal to Bilal, visiting him in prison weekly and working to clear his name and pay his legal fees. But when ugly truths come to light at Bilal’s trial, can their relationship survive?
Wilson is the production’s standout, bringing a sharp, kinetic energy to their portrayal of Eric when sparring with Bilal, and a bashful charm when tentatively flirting with fellow music student Sylvia (a warm, wry Marena Riyad). Carter, a professional musician by trade rather than an actor, does well in segments—his impassioned final courtroom statement show good control as it builds in intensity—but sometimes struggles to find the peaks and valleys of his complex, layered character. That said, under King’s light directorial hand the two actors bring a real sense of brotherly camaraderie to the piece, and a nicely lived-in chemistry, especially in flashback scenes.
Laila Kharrat (Sadeem, Carl, First Reporter) and Alexander Joshi (Wes, FBI Agent, Haines, Second Reporter) hustled through costume changes for their multiplicity of roles. Kharrat’s accent was pitch-perfect as the duplicitous Sadeem, the FBI informant and agent of Bilal’s downfall, and Joshi showed flair as the hard-nosed prosecutor during Bilal’s trial.
With music playing such a large part in the piece, sound design is key, and for the most part the design here works, though transitions from live piano to recorded music were occasionally a little rough, and a moment of recorded singing from Riyad overlaying her live singing felt like an odd choice. The set design (by Joey Folsom) was sparse but effective; however, the projected backgrounds were washed out almost entirely by the stage lights, rendering them ineffective. If possible, a better balance should be found.
All told, Bars and Measures is an ambitious choice by Bishop Arts, and an intriguing, topical piece that resonates in many ways with our present moment. One might even say it strikes a chord.
WHEN: Through May 1st
WHERE: 215 South Tyler St, Dallas, TX 75208
