Black joy takes center stage in “The Black Feminist Guide to the Human Body,” a work by playwright Lisa B. Thompson— a scholar‑artist known for satirical comedies and piercing dramas that challenge stereotypes and reframe Black womanhood. Thompson, whose work often blends humor with cultural critique, brings that same intellectual sharpness to this production, which made its St. Louis debut this week at Washington University’s A.E. Hotchner Studio Theatre thanks to The Black Rep. Directed by Kathryn Ervin, an Emeritus Professor of Theatre Arts at California State University San Bernardino, the play arrives with a clear sense of purpose.
Photos by Taylor Marrie | St. Louis American
The experience begins before the first line is spoken. The set, designed by Reiko Huffman, meets audiences in the hallway. It signals immediately that this is a space where Black femininity is honored rather than explained. Walking in, they pass photographs and abstract paintings of Black women and historical figures like Angela Davis and Josephine Baker — a visual reminder that this story sits within a long lineage.
Stepping onto the set places the viewer directly inside the scattered workspace of Dr. Beatrice Free. Played by Velma Austin — an award‑winning actress familiar to many from “Chicago Fire” and “Empire” — Dr. Free represents the mind. She is a Black feminist scholar who unapologetically shares her “survivor’s log,” a collection of memoir‑like reflections on navigating race, age, and gender. It’s the foundation of what she calls The Black Feminist Guide to the Human Body.
She is joined by Cee and Dee Dee. Cee, portrayed by St. Louis native Janelle Grace, embodies Dr. Free’s body, while Dee Dee, played by fellow St. Louisan Ricki Franklin, reflects her soul. Together, the trio engages in layered conversations about trauma, healing, and the unexpected routes survival can take. As an audience member, this reporter was drawn into their rhythm — the way their dialogue moved between pain and play felt honest and deeply familiar.
Photos by Taylor Marrie | St. Louis American
Thompson uses these mind‑body‑soul exchanges to show that healing isn’t always solemn. Sometimes it looks like play. In one scene, Dr. Free recalls the hand games of her youth, reenacting them with her body and soul. Watching her recharge through something so simple reminded me how often joy is treated as optional rather than essential. She turns to the audience and makes that point plain: play is part of our survival toolkit.
The production frequently breaks the fourth wall, inviting the audience into the healing process. Cee leads visualization and body‑mapping exercises to help locate tension — a reminder that stress settles in places we don’t always acknowledge. Seeing Dr. Free’s memories unfold made it clear how many forces can weigh on a Black woman’s body, but also how intentional release is necessary for thriving.
One of the most memorable moments comes when the audience is invited into a Soul Train line inside Dr. Free’s workspace. Set to throwback tracks like Marcia Griffiths’ “Electric Slide” and De La Soul’s “Me Myself and I,” the room shifts from observation to participation. People were hesitant at first, but eventually surrendered to the moment. Watching strangers dance together felt like witnessing joy in real time.
Thompson’s play ultimately encourages those who experience the work to check‑in with their own mind, body, and soul. She offers tools — play, dance, memory — as ways to confront trauma and move toward wholeness. By separating experience into these three parts, she shows how healing can be organized, understood, and reclaimed. And that, at its core, is the heart of “The Black Feminist Guide to the Human Body.”
The Black Rep’s presentation of “The Black Feminist Guide to the Human Body” continues through Sunday, March 1 at Edison Theatre’s AE Hotchner Studio Theatre. For tickets and additional information, visit www.theblackrep.orgor call 314.534.3807.
Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.
