‘Fabulation’ stretches for fabulous, returns with good

Good ensemble comedy requires tight timing, connected actors and clear direction. “Fabulation, or the Re-Education of Undine,” at Riverwalk Theater, stands just on the threshold of delivering this seriocomedy at a perfect level. But it falls just short because of timing issues, clunky line deliveries, unprojected voices and overbearing sound. 

In short, “Fabulation” is part class reality check, part family comedy and all love. Lynn Nottage’s script has moments of astonishing power, beautiful self-realizations and moments of heart for the heroine.  

Vanessa Mashangara, as Undine, is charming and vulnerable. Her performance as the once go-to public relations person in New York City to an expectant mother who has lost everything is delivered to near perfection with asides to the audience, containing fear and self-possessed confidence. It’s a nuanced and beautifully delivered performance around which the plot revolves. However, during the first act of Sunday's performance, her performance suffered from a lack of vocal clarity. That changed in act two.  

The ensemble plays a variety of roles. From a Yoruba priest to a flustered administrative assistant and, of course, Undine’s family, whom she declared dead in a “misquote” in a magazine article because she was ashamed of them. Some of the performances shine, and some teeter on the edge. 

As Undine’s grandmother, Janell Hall delivers a potent performance as a woman with a secret. Revealing more would reveal plot twists. She shines as the human services caseworker who mixes up the forms and is a drone at her job. She’s condescending, cruel and dismissive in a way that makes Undine’s attempt to get medical care from the state real, but with humor and heart. The scene is not to be missed.  

As Undine’s security guard brother, Norrlyn-Michael William Allen explodes into a beautiful, powerful spoken-word monologue about the state of the world. It’s an extraordinary moment, but the power is lost because, up to that point, Allen’s character has no hint of broiling conflict brewing in his mind.  

Perhaps the actor who steals the show with small but important moments is Jordan Taylor. His Yoruba priest and other characters are fully fleshed-out human beings. He delivers not only with extraordinary comedic timing but with humanity. He’s a joy to watch on stage. Unfortunately, part of his priest performance is drowned out by the music. 

Director Rose Jangmi Cooper generally has staged a fine performance. However, her handling of the difficult thrust stage at Riverwalk diminishes the production, leaving the audience on the sides unable to hear and dismally complicated placements with actors missing their light.  

The simple set by Tom Ferris is just that: simple. Two platforms at the back of the stage and a projection screen.  

Two more weeks of rehearsal would have taken this show from good to extraordinary, allowing Cooper to tighten the rhythm, speed up set changes and propel the audience through Undine’s — and our — re-education of life.