Strength and Power Shine in Danai Gurira’s ‘Eclipsed’ at Detroit Repertory Theatre
I’ve known of Danai Gurira as an incredible actress for many, many years. I first saw her in The Walking Dead, where she played the complex and insanely badass Michonne; however, it was her masterclass performance as Okoye in the Marvel Cinematic Universe that made her a household name in my family. Every performance she gives is deeply moving and a work of art, but what I didn’t know about her is that she’s also an accomplished playwright. And it’s not like Gurira has written just a single play, but she’s written four separate stage productions since 2005, all of which have been met with critical acclaim. Her latest play, Eclipsed, has arrived at the Detroit Repertory Theatre as a welcome addition to their 69th season, as a show that will make you laugh as much as you’ll cry.
Eclipsed doesn’t merely ask for the audience’s attention; it seizes it. It’s delivered at first in a subtle way; however, as the play builds, you become unsettled by the harsh reality in front of you. It’s the type of play that will linger in your mind and leave an imprint on your soul in the best way possible. While heavy, it’s also brimming with hope, showing that hope may look different for each of us, even when we’ve lived through similar situations.
Detroit Repertory Theatre has never been one to pull its punches, delivering show after show that both excite and make you think deeply about the play on stage and how it reflects on one’s own life. Eclipsed is no exception, and in fact, my favorite show to come from this Detroit staple to date. The rawness that is surely present in the words left on the page by Danai Gurira, but it’s made real by the incredible talent that Detroit Rep has brought together. While the story inside Eclipsed might not be one that we’re all familiar with intimately, the messages within are universal, and perhaps the best reason to see the show.
[Warning: spoilers from Detroit Repertory Theatre’s Eclipsed are below!]
Lives yet lived in Detroit Rep’s Eclipsed
2003, Liberia. It’s almost a different world from the one we were living in at the time. While America was still involved in wars and operations, these were thousands of miles away from us. We were as removed from the gunfire and stray bullets as possible, living relatively normal lives day in and day out. However, for those living in Liberia, the threats of violence and danger were ever-present, and yet life also went on. It’s here during the blanket of terror in which the show opens on a dilated home in the middle of some lush terrain. As the walls are crumbling down on this bullet-ridden shack, we stumble upon two women who seem to be carrying on with their daily tasks, as is expected of them.
When we enter into Eclipsed, at first, these women are only known as Wife Number One and Wife Number Three, as their identities have been stripped away from them. Their life goal is to make their husband’s life easier, which has only caused them strife to every degree. However, there’s a secret hiding in their room, a young girl whom they attempt to keep from the world for as long as possible. But it doesn’t take long for their secret to get exposed, pushing the young girl into a world of dysfunction that she has ever experienced.
Within moments, the young girl’s innocence is ripped away from her, becoming Wife Four and thrust into a world of both global and domestic violence to the highest degree. However, the story itself isn’t about the hopelessness of the situation, but instead how these women are fighting their way out. Don’t get me wrong, there is definitely plenty of hopelessness in the story, as the situation around these women on every level feels dire, but truthfully, what you’re witnessing in Eclipsed is the beauty of growth in the middle of complete disaster.
Each of these women, as the show consists of five distinct personalities, is finding different ways out of their situation, with some better than others. As a psychologist, I recognize three distinct ways trauma responds in these women. Some, such as Maima, who was Wife Number Two, and Wife Four, who is only known as The Girl besides her title, are fighters, quite literally. Throughout the play, Maima recruits Wife Number 4 to join her rebellion, telling the younger girl that the only way to get freedom is to demand it through force. Although, as we all know, force and fighting come with their own set of problems, which Wife Four learns quickly at the young age of 15.
Then there’s Helena, Wife Number One, who finds freedom through peaceful ways, thanks to the efforts and knowledge of Rita, who works for a peace organization in Liberia. It’s Rita who helps Helena find her identity, beginning with reclaiming her true name and offering her a chance to learn, at least in the official capacity. Gaining an education and, through that, a sense of self speaks to Helena’s soul, even if she was hesitant at first at the thought.
While we’ve witnessed fight-or-flight in the narratives of the previous wives, it’s Bessie, Wife Number Three, whose narrative is that of freeze. She’s frozen in the life she knows, feeling trapped between the baby she just had and its father. She’s terrified, although one can argue that all parties are scared in their own way, but because of that fear, she’d rather stick to the devil she knows rather than leave for greener grass.
As the war rages on, all five women involved face difficult decisions about their own lives and those around them. There are tough choices ahead of them, and loyalties will be tested; however, what Eclipsed reminds audiences is that there’s always sunshine after a storm, and there’s always hope as long as you believe.
The beauty in Detroit Repertory’s production of Eclipsed
Regardless of which show you attend at Detroit Repertory Theatre, there’s always a sense of something special about what you’re about to witness. However, what audiences were given in Eclipsed wasn’t just special; it was extraordinary. There’s a vision from Shavonne Coleman that is not only distinct but a true work of art. From the moment that the curtains rise on this play, audiences are not asked to suspend belief to make the story work, but are instead transported right into the middle of 2003 Liberia. The surroundings are lush, green, and brimming with life, in direct contrast to the dilapidated world and building the wives live in. It’s stark, unsettling, and dare I say beautiful in a way I can’t begin to describe.
The level of care that Coleman takes in approaching this story should be the blueprint for other directors, as you can see the love and respect she has for every aspect of this show. It’s astounding to think Eclipsed is her professional directorial debut, as this Detroit Repertory Theatre production feels like a masterclass in how to perfectly bring a show to life. However, she’s not alone in the love and care exhibited in this production, as the entire cast is beyond brilliant in their performances.
As Helena, Shonique White is nothing short of fantastic. While all the characters go through extreme circumstances and grow in many different directions, there’s something magnetic about White’s performance as the leader of the pack. As the first wife, you watch her grow from protective, although jaded, to someone who finally wants something good for herself. White creates a vibrant character, full of life, that draws you in with each line.
Having once seen Shannon Christine in The Ringwald Theatre’s Hair, I can attest that their acting abilities are spectacular. Bessie is such a dynamic character, volleying between nearly every emotion possible throughout the show. Christine has given their all in this role, making the audience laugh and cry. They make a character whose decisions might be difficult to comprehend, and infuse them with so much humanity.
While this is a five-person show, there’s a tirade that carries Eclipsed, with X’ydee Alexander completing the triangle. The Girl role can be difficult to watch at times, as she continues to make decisions based on emotion rather than logic, which is typical for most teenagers. She’s full of rage and sadness, meaning you need not just a good actor, but a great one. Alexander is stellar in this role, with acting abilities that shine in every movement and every line.
Rounding out the wives is Danae Ross, whose intense Maima adds depth to the entire show. There’s a never-ending presence of war around every corner, but Maima makes that feel more real as she explores the consequences of what is happening in Liberia. There were plenty of moments where Ross embodied Maima so perfectly that she sent chills down my spine. Ross commands the stage with ease, making Eclipsed a must-see.
And then there’s Stacey Herring, who infuses this play with a maternal love that these other women desperately need. Rita is kind, even in moments that most wouldn’t be. She leads with her heart and has an unlimited capacity for love. She’s the polar opposite of Maima, as Herring leads Rita with the most heart. She has a deep understanding of this character, showing what it’s like not just to act, but to transform into Rita completely.
Final thoughts on Detroit Repertory Theatre’s Eclipsed
From a theatrical perspective, Eclipsed is a masterclass in ensemble storytelling. The all-female cast is not merely a thematic choice but a structural one, allowing Gurira to center women’s experiences in a genre that has historically marginalized them. Each character contributes to a collective portrait that is richer than the sum of its parts. Detroit Repertory deeply understood this facet of the story, highlighting the importance of a cast that could envelop themselves in the story and find the beauty and life written in every word. Eclipsed stands out as a work of rare integrity and emotional force. It is a play that demands engagement, that challenges its audience to reconsider assumptions about war, gender, and power. More than that, it is a testament to theater’s enduring capacity to illuminate the darkest corners of human experience and ask audiences to find the light regardless of their situation.
Eclipsed runs at Detroit Repertory Theatre through May 17th, so get your tickets now to this incredible production! Have you checked out this play yet? Share your thoughts on social media and tag us @bsb.insider to continue the conversation!
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