Raw honesty, anger & more taking center stage at IRT

By DANIEL SHOCK
A Seat on the Aisle

Walking into the MainStage Theatre at IRT for Nina Simone: Four Women, I was immediately confronted by the charred remains of what had once been a sanctuary. Pews lay in disarray, the red carpet scorched and burned, shattered glass everywhere.

The further upstage I looked, the more intact the church appeared – stained-glass windows still standing behind a piano perched near the wreckage – like a stark reminder of what once was, and what might yet be. I braced for raw honesty and anger. We got that and so much more. We got four women who sang with heartbreaking power. We got to witness the pain and the arguments that happen when anger turns inward, blinding us to the real enemy.

Set in the aftermath of the 16th Street Baptist Church bombing in Birmingham, Ala., Nina Simone: Four Women shines a searing spotlight on a pivotal moment in the Civil Rights Era. The story focuses on the famed singer and pianist Nina Simone (played with volcanic intensity by Akili Ni Mali), haunted by the violence that claimed the lives of four young Black girls. Out of this trauma, she channels her anger into the creation of a new protest song, “Mississippi Goddam.”

While Simone was herself a prodigious pianist, in this production the onstage piano duties mainly fall to Music Director Morgan E. Stevenson, with support from Associate Music Director Teneb E. C. Karimu. This allows Ni Mali to devote her energy to inhabiting Nina’s fierce, commanding presence – a striking blend of fear, vulnerability, and righteous fury.

The action unfolds in Nina’s living room, then shifts to the bombed-out church – constantly reminding us that these conversations take place amidst unimaginable loss. Over the course of the play, three other women emerge, each embodying an aspect of Simone’s famous song “Four Women”:

• Jamecia Bennett (Sarah): She arrives in a maid’s uniform, reflecting her dependence on white employers. In hushed conversations, it’s clear she’s weary of a life defined by servitude and whispered prayers. Bennett’s vocals capture a deep-rooted pain that finally breaks the surface.
• Aeriel Williams (Sephronia): With a more modern style of dress, she is lighter-skinned and lives “between two worlds.” The financial and social privileges she sometimes enjoys provoke suspicion from the others, who wonder if she truly understands their struggle.
• Precious Omigié (Sweet Thing): Her flashy outfit radiates sexual bravado. She wields her sexuality as a means of survival and validation, challenging the others with her boldness – and revealing her own hidden hurts.
• Meanwhile, Nina Simone herself (Ni Mali) stands apart in an elegant performance gown. This “fancy” dress becomes a point of contention, a visible marker of her relative wealth and success – and to some, a sign that she might not fully grasp the grinding realities the others face.

Akili Ni Mali (left) as Nina Simone with Aeriel Williams as Sephronia. (Photo by Zach Rosing)

Director Austene Van creates a simmering sense of unease that flares into raw confrontation. The friction among these four women underscores a profound message: systemic racism and oppression too often divide communities from within, forcing individuals to turn on each other rather than unite against the real source of injustice. Yet out of this tension comes moments of tender solidarity – especially when the women merge their voices in song. Those harmonies hit like a tidal wave, reminding us of the power found in collective resistance.

Playwright Christina Ham masterfully interlaces historical fact with stirring emotional arcs. The script uses Simone’s iconic songs – like “Sinnerman” and “Four Women” – as both dramatic turning points and deep wells of empathy.

Scenic Designer Regina Garcia sets the tone with the devastating wreckage of a church, a constant visual reminder of the violence that sparked Nina Simone’s artistic and political awakening. Lighting Designer Nic Vincent and Sound Designer Jeff Bailey create a haunting atmosphere, shifting between the hushed darkness of a grieving world and the electric intensity of Simone’s resolve. Costume Designer Mathew J. Lefebvre defines each character’s identity – from Sarah’s maid uniform, to Nina’s elegant gown, to Sephronia’s modern dress, and Sweet Thing’s revealing style – making clear statements about class, colorism, and survival strategies within the Black community.

Music Director Morgan E. Stevenson remains a near-constant presence at the piano, guiding the songs so they emerge organically from the characters’ emotional battles.

One of my favorite lines in the play came from Nina (paraphrased): “Real freedom is having no fear.” For so much of my privileged life, I’ve lived without fear; Nina Simone: Four Women crystallized how deeply that fear runs for so many who’ve lived with it, sometimes silently, for generations.

This production’s power lies in showing how easily righteous anger can turn inward – unless we direct it at the systems that oppress us. With its thought-provoking themes, soaring music, and unflinching look at injustice, Nina Simone: Four Women both breaks your heart and stirs your spirit.

Catch Nina Simone: Four Women on the MainStage at Indiana Repertory Theatre through March 2. For tickets, visit­­­ irtlive.com or call (317) 635-5252, and experience the indomitable spirit of an artist who refused to be silenced.

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