As cynical as it sounds, there’s something about espousing the power of art as a vehicle for youthful expression that raises skepticism, noble intentions aside. At first glance, it would be easy to dismiss Company One’s “ARTiculation” at the Boston Playwrights’ Theatre as another shallowly optimistic performance piece seen from the rose-colored perspective of the Obama generation’s unshakable belief in its own power.

But within moments, “ARTiculation” succeeded in destroying all of my preconceived notions. And by its finish, it had fashioned a new view of youthful artistic power that is raw, urgent and utterly convincing, even to a skeptical critic.

A series of loosely interconnected poems performed by five young Bostonians, “ARTiculation” opens with Tory Bullock, the 21-year-old Dorchester native who conceived the play, and his castmates declaring their intent to change theater and reclaim the power of poetry for their generation. “It’s about you and me and us and this,” says Bullock, underscoring the show’s feeling of intimacy and urgency.

Without a narrative thread or scripted characterization to lean on, “ARTiculation” relies on the ability of its cast. Director Lois Roach has assembled a fantastic ensemble (that also includes Nik Walker, Danny Balel, Terri Deletetsky and Marvelyn McFarlane) that maintains a delicate balance between humor and depth and saves “ARTiculation” from ringing false.

Poems like “National Amp-Them” and “Boston” exemplify the group’s chemistry and sharp intellect. On the former, the “Star-Spangled Banner” is twisted into a darkly funny update for a generation raised on watching bombs bursting on TV. The latter is a bittersweet ode to the city that alternates taking swipes at shoddy public transportation and the gluttonous enormity of the Big Dig. “For $14 billion, I could have built affordable housing for my entire community,” Bullock says, spitting in disgust. McFarlane’s sarcastic response: “I could have gotten a man with no legs to tap dance.”

“ARTiculation” moves with a musical pulse and physicality worthy of its rhetorical energy. As a silent but essential cast member, DJ Reazon provides the sparse soundtrack from behind the turntables or on acoustic guitar.

Give the creativity and enthusiasm of this highly talented group of young poets a chance. Their performance is good enough to make even a cynic believe in the power of art.

 

 At first blush, "ARTiculation" looks like a free-form poetry slam driven by some well-intentioned young performers. But don't be fooled. "ARTiculation" is a sharp, smart, funny, and fearless evening of stories and comments told through spoken word and music, delivered by five powerhouse performers and one DJ, all of whom surprise and enchant with their unadorned honesty and lyric dexterity.

The evening is organized around a set list of poems and sketches that cover a range of topics - love, abuse, expectations, racism, violence, betrayal - all of which were written by the performers. "ARTiculation" opens with "I Teach," a kind of explanation of the performers' motivation for writing: "pen in hand, word in mouth, beat in feet." Then Tory Bullock delivers "World Changed Colors," a rhythmic examination of how skewed the world has become for teachers whose students now see that "green is for money, not trees" and "the land of milk and honey is now cheesy fries and burgers."

Reaching out to help one another navigate the unstable world in which they are expected to survive and thrive becomes an underlying theme of the poetry in the show. And nothing is off-limits, whether it's a dead-end job that offers the opportunity to be "contractually obligated to be degraded" or thoughtless racism, illuminated in the clever sketch "Race Talk."


Although the performers are clearly comfortable working together, they also celebrate their distinctly individual personalities. Nik Walker nearly brings down the house with his hilariously over-the-top "Devil Woman" and a brilliantly rhythmic name-dropping litany of poets through the ages, but Bullock matches Walker's commanding stage presence with "All Up in MySpace," about a virtual relationship that falters when reality intervenes. Marvelyn McFarlane only has to strike a pose to have the audience's attention, but just when we're sure she's only teasing, she reveals a character's deep wound in "I Know Her." Terri Deletetsky's powerful singing voice adds poignancy to a tale of lost love, and Danny Balel's simple plea for faith aches with longing and regret.

The performers are accompanied by DJ Reazon, whose creative scratching, percussive rhythms, and guitar riffs not only add a layer to the production but become another character with a story. Reazon provides moody backgrounds and works in snippets of familiar songs, and this talented ensemble doesn't hesitate to break into a cappella harmonies, including a haunting section of "Amazing Grace."

Director Lois Roach has a knack for bringing out the best in performers. For "ARTiculation," she's clearly given the group some polish and precision and created a flow for the collection of poems and sketches. Roach also makes great use of Jarrod Bray's creative stage design for the Boston Playwrights' Theatre, where two sets of stairs move up toward a balcony over the DJ, allowing for a dynamic flow of performers on several levels. A giant sheet of industrial plastic is draped across the upstage wall, and Mark Abby VanDerzee's lighting transforms it into dramatically different backdrops.

The poet-performers of "ARTiculation" embrace the complexity of life with passion, humor, and poetic flair for one of the most energizing and entertaining evenings seen in a long time.

 ‘ARTiculation’ a sensation

Company One has a slammin' new production

 

REVIEW. Initially, Company One’s “ARTiculation” feels like your average run-of-the-mill slam poetry-style performance piece, a bunch of young artists chanting, clapping and rhyming their dismay at the system.

But after initial rants about “only getting the scholarship to attend street university” (even though one of them attends NYU and another later speaks of having a degree) and proclaiming that they “fight the good fight with pen in hand and word in mouth,” the troupe settles into a rhythm and the result is a refreshingly engaging, honest, thoughtful piece of theater.
At a time when so many performers are talking about “keeping it real,” this supremely talented troupe actually do it. They talk God, love, sex, politics, art, and a “14 billion dollar tunnel that just don’t work.”

They laugh often, clearly enjoying their time in that elusive zone performers strive for. And they laugh at themselves admitting, “We know nothing about Bob Marley’s philosophy but we will all rock his shirts.” But mostly, they’re honest, especially when they tackle race, speak frankly about instant message hookups and make an observation about Barack Obama nobody else will.
Sure they’re a courageous young troupe working hard to earn their right to be heard and respected. But at their core, the actors and poets of “ARTiculation” are supremely talented performers.

Even if young twenty-something straight guys aren’t your thing, Nik Walker will make you swoon. He’s got that rarely seen stage presence most actors would make a deal with the devil to have. And he’s got impressive vocal chops that’ll leave you wishing he’d finish that Tracy Chapman song he starts a couple of times in the show.

But Walker’s hardly the only star shining in this production. Tory Bullock displays incredible emotional range and, together with the hilarious Danny Balel, delivers the most sensible dialogue on race you may ever hear.

Teri Deletetsky shines in a delightful take on sex ed class and later a touching piece called “Dear Israel.” Marvelyn McFarlane comes awfully close to stealing the show with impeccable comic timing and incredibly joyful presence.
Though “ARTiculation” offers an incredible message, it’s the messengers in this production that make it special.