You’ll Laugh, You’ll Cry with the Families of Fremont Ave. at Arena Stage
Fremont Ave.
Arena Stage
Jordan Wright
October 21, 2025
Special to The Zebra
Bradley Gibson (George/Robert/Joseph), Stanley Andrew Jackson (Walter), Wildlin Pierrevil (Frank), and Jeffrey Rashad (Tony) in Fremont Ave. at Arena Stage. (Photo/Marc J. Franklin)
Reflect on any TV all-Black cast comedy series, then go deep, then deeper. In a richly complex and cleverly funny three-generational play, we meet George, a newly rich, music therapist with a PhD living in his mid-century modern home. It’s 1968 and George is living alone. He’s interviewing a woman in his living room, barely furnished save for an upright piano. During an overly familiar conversation (Audrey is there for a housekeeping position), he tells her his personal story and propositions her. Audrey tells him she’s married with a son, and he lets it drop… temporarily. He plays “Blue Skies” for her, and they cuddle. Things happen quickly. He hires her, she divorces her husband and marries George. There are three acts and three generations to follow, so it all kicks off with a bang.
Playwright Reggie D. White, who is also the Senior Director of Artistic Strategy and Impact at Arena Stage under Artistic Director Hana S. Sharif, wrote Fremont Ave. based on conversations with his own family. It is raw, humorous, honest and believable – a real-life reflection of one family living in a Southern California suburb and a truth-telling world premiere production affording an insightful glimpse into the impossible struggles and indelible bonding within these African American families.
When the next generation appears, we are introduced to four young Black lawyers who speak in street jive when they hang out together. George’s stepson, Robert, plus the children of George’s friends and family who have become best friends. As they convene, they reference Loving v. Virginia – the seminal civil rights case in which bans on interracial marriage were found to be unconstitutional – and news of the Rodney King beating comes on the radio. The political references hit hard, and you begin to sense both the stresses and successes in their young lives.
Jeffrey Rashad (Tony) and Wildlin Pierrevil (Frank). (Photo/Marc J. Franklin)
As the music switches to Rap, the men drink, play cards, trash talk and dance to the latest hits. Robert is despondent. He has failed to pass the bar exam – nine times – and he feels he is letting down his father as well as his friends. Interspersed with the hilarity and the drama are musical snippets reflecting each generation. These transitions mirror the changing cultures and each generation’s tastes. From George composing on the piano or playing the hits to serenade Audrey, to the men breakdancing to the sounds from a boombox in the 1990’s, to the youngest generation busting moves in the 2020’s.
In the final act, when the third generation is introduced, we meet Damon, Walter’s son and Joseph’s significant other. They fight and love and stretch the dynamic to the nth degree. It’s explosive, raw, R-rated and wildly hilarious as the three generations assemble to show wisdom, tolerance, acceptance and faith.
There are fine performances by the entire cast who infuse their characters with distinctly engaging personalities. I wished Audrey’s character had a greater part – Jerrika Hinton was terrific. Credit to the brilliant direction of Lili-Anne Brown for this seminal piece.
Bradley Gibson (George/Robert/Joseph), Doug Brown (Older George), Kevin Mambo (Older Robert), and Galen J. Williams (Damon). (Photo/Marc J. Franklin)
This flawless cast stars Bradley Gibson as George/Robert/Joseph; Jerrika Hinton as Audrey/Voice of Hazel; Wildlin Pierrevil as Frank; Jeffrey Rashad as Tony; Stanley Andrew Jackson as Walter; Doug Brown as Older George; Kevin Mambo as Older Robert; Galen J. Williams as Damon.
Directed by Lili-Anne Brown; Set Design by Tim Mackabee; Costume Design by Jos N. Banks; Lighting Design by Kathy A. Perkins; Original Music and Sound Design by André Pluess; Wig and Hair Design by LaShawn Melton; Assistant Director and Intimacy Consultant, Greg Geffrard. Original Song “Somewhere Someone’s Waiting Just for You” by George R. Plick, Sr.
A conversation for the ages. You’ll laugh. You’ll cry. You’ll identify with these real-life personal stories.
Through November 23rd at Arena Stage, 1101 Sixth Street, NW, Washington, DC. For tickets and information call the box office at 202.488.3300 or visit www.ArenaStage.org.