A protest scene from SteppingStone Theatre’s production of Ruby! The Story of Ruby Bridges by Christina Ham.

It’s February in the United States, a time that some see as set aside for the contemplation of the history of Blacks in the United States and the world at large. For others, it’s a time whose very need to be set aside speaks to an ongoing mental segregation of the events, actions, and experiences of a large and important portion of the U.S. and world populations. In this particular case, it’s a catalyst for SteppingStone Theatre to revive its now-classic production of Christina Ham’s Ruby! The Story of Ruby Bridges.

Editor’s Note: Steppingstone Theatre gave the world premiere of Ruby! The Story of Ruby Bridges in 2013. This review describes the company’s 2017 revival of this children’s musical. 

• Listen to the real-life Ruby Bridges and area residents describe her first day at an integrated school.
• Read more about the real-life Ruby Bridges.

Ruby! evolves a little each year; this year, Ansa Akyea helms the production as director. The result is a little less raw in some scenes than last year’s – it gets the point across, but the bitter realities of Ruby Bridges’ experience seem a little, well, faster to resolve. The product is still a fine children’s show, but it seems an oddly calibrated choice given some of narrative’s resonance with present-day events.

Vocally, the musical sections have some extra pizzaz compared to last year, in no small part due to the addition of the excellent Nicole Korbisch as Mrs. Barbara Henry. As the titular Ruby (in her younger incarnation), Brianna Bergin plays the part well, especially in the more tense scenes with protestor confrontations.

Come for the story, stay for the talkback with the cast – and the questions from the audience.

—
Ruby! The story of Ruby Bridges plays through Feb. 26 at Steppingstone Theatre in St. Paul, MN.

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Basil Considine

Basil Considine is the Editor of the Twin Cities Arts Reader. He served as Performing Arts Editor and Senior Classical Music and Drama Critic for the Arts Reader's first five years before succeeding Hanne Appelbaum. He was previously the Resident Classical Music and Drama Critic at the Twin Cities Daily Planet and remains an occasional contributing writer for The Boston Musical Intelligencer and The Chattanoogan. He holds a PhD in Music and Drama from Boston University, an MTS in Sacred Music from the BU School of Theology, and a BA in Music and Theatre from the University of San Diego.

Basil was named one of Musical America's 30 Professionals of the Year in 2017. He was previously the Regional Governor for the National Opera Association's North Central Region.

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