NRACT's "Southern Baptist Sissies" Leaves a Lasting Impact

Adolescence is a trying time for just about everyone. But, as Del Shores’ thoughtful play, Southern Baptist Sissies, onstage now at North Raleigh Arts & Creative Theatre, demonstrates, it’s particularly tumultuous for those who are struggling with their sexual identities, especially if they’re not met with the love and acceptance they deserve. 

Shores’ emotional script takes a close look at four young boys who are deeply invested in their heavily conservative Southern Baptist church. There, they regularly hear that homosexuals are evil, unnatural, and destined for a fiery hell. The impact of these messages affects each one in very different ways, ways which are unveiled, bit by bit, until and including the hard-hitting ending scenes.

As their stories play out, viewers are also introduced to two self-proclaimed “barflies,” Odette Annette Barnett (Rose Higgins) and “Peanut” Leroy (Timothy E. Locklear). During several brief vignettes, all of which play out at a smoky club, they drink, talk about their lives, and slowly build a bond. Their connection to the central characters and their plight, however, is another piece that gets a later reveal.

Thus, viewers get to watch two stories (which are really six stories . . . and then some) play out simultaneously. But, with Landon’s Henry’s apt direction and Michael Anderson’s clearly delineated set, each tale unfolds smoothly, intersecting beautifully with the others, and giving each well-written character their time to shine.

The central set, where most of the action takes place, is a perfect replica of a real, old-fashioned Southern Baptist church. Each and every detail—from the stained glass windows to the Bible-backed wooden pews and “in remembrance of me” communion table—has been thoroughly thought out. On opposite sides of this sanctuary set, a bar table and a church office give room for other vital scenes to take place. The effect, however, is that the church is always looming in the background, always present, no matter where these characters go—a nice touch and a chilling reminder of how religious experiences have shaped and will forever shape their lives.

The intimate theater space and carefully-designed set enable viewers to really connect with and care about each young character who frequents the church. Intelligent and analytical Mark Lee Fuller (Jake Bryant) is the “holy holdout” amongst his peers, asking lots of questions and delaying his “salvation” and baptism. His friend and love interest, T.J. (Nathan Hamilton), is on the opposite end of the spiritual spectrum. He embraces and doggedly believes every teaching he’s subjected to, putting him at odds with himself and his true feelings. Then, there’s sweet Benny (Hunter Taylor) and burdened, confused Andrew (Nicky Taylor). Together, they bring to life experiences that are all-too-real and relatable for many who deal with spiritual trauma.

Bryant effectively represents not just Mark, but the viewer as well. Their character navigates all the anger, outrage, and sadness that the audience feels, and Bryant possesses a magical, trustworthy quality that enables them to guide viewers down the difficult-but-worthwhile path that the script presents. 

Viewers also willingly (but fearfully) follow Nicky Taylor’s Andrew, a character that embodies the shame, devastation, and pain that come with not being allowed to be one’s true self. His emotionally-charged performance is both painful and beautiful, hopeful and hopeless, and profoundly believable.

Thankfully, the “sideline” characters are there to provide some comic relief, though they do share some poignant moments of their own. Locklear is sassy and oh-so-Southern as the wise Peanut, while Higgins makes for a realistic, down-on-her luck character. Their blossoming friendship and perfectly-delivered one-liners add a dose of lightheartedness to the production. Plus, these two characters benefit from Yvonne Anderson’s quirky costume choices. Their outfits are topped only by those worn by drag performer Iona Traylor (Hunter Taylor). Other effective touches include the purposeful lighting and sound effects (Teresa Johnson and Jackman Ellington) and the intricate blending of music and musical styles.

Ultimately, this production is a well-tended mix of comedy and honesty. It’s relatable on multiple levels and for people from all walks of life and every spiritual and sexual identity. Perfect for pride month and for anyone who needs to feel seen, heard, and acknowledged, Southern Baptist Sissies represents the type of brave, daring theatre we could all use a little more of.