"Trouble in Mind" is about racism and sexism in the theater. These are up-to-date topics, but this work by Alice Childress debuted Off-Broadway in 1955. Considered too controversial for its time, it did not have a Broadway opening until 2021. In working around restrictions of the fifties, Childress constructed a play with a message that is powerful but never too strident. It is scrupulously fair, critical of both black and white characters, and giving time to present the viewpoints of the white antagonist. There is a sympathetic side to all of the nine participants in the story. It is rare to see a show that succeeds with both humor and intense drama, but the cast at the Civic Theatres Theatre514 pulls it off with remarkably strong performances. The setting is the backstage of a New York City Broadway theater in 1957. It opens with Wiletta Mayer (Veronica Cummings) arriving to play yet another stereotypical role, this time in an anti-lynching polemic set in the Deep South. She is greeted by the elderly, addled Henry (Michael Daniels).
She explains the ways of Broadway to the young John Nevins (Kamai Williams), who seems destined for stardom. She also trades a few insults with Millie (Florence Taylor), with whom she has worked in the past. Wiletta has to draw on her experience and patience to deal with smarmy Al Manners (Shaun Hayes). Manners is the director from hell whose superficial complements hide a tyrannical nature that shows itself in his mistreatment of his assistant Eddie (Jaedon Muhl). 
The older Sheldon (William Alexander) is embarrassingly deferential to Manners. In later remarks when Manners is not present, he displays a near paranoid distrust of both races. There are two white members of the cast, Judy (Erin Neupauer) and Bill (Troy Brokenshire). The young novice Judy tries to be nice but is clearly apprehensive about performing with black actors, while the experienced Bill displays casual, unconscious racism. The play within a play, written by a white author, reveal it to be filled with "Mammy" figures and "Lord have mercy!" type lines. There is a subtle delight in hearing the actors rehearse their lines with practiced skill, but obvious disdain for the plot. It is too much for Wiletta, who argues with the condescending Manners. He refuses to listen to her, which leads to increasingly dramatic conflict. I almost hate to focus on anyone in this production, because everyone gives a powerful performance. One highlight is Alexanders evocative description of a lynching he saw as a child. He shows himself to be a good singer in another segment. Hayes portrayal of Manners is so alive it is almost a parody, except that there certainly are people just like him running Hollywood today. His outburst near the plays end is a gripping scene. Cummings draws you in with a combination of determination and world weariness. She also has an exceptional singing voice. Things may have gotten somewhat better since the play was written, but she represents courage in the face of similar problems that many people face today. Although it is nearly two and a half hours with intermission, "Trouble in Mind" exerts a hold on the audience the whole time. Director Gabe Moses, only twenty three years old, might become as successful as John Nevins, who may have been based on Childress friend Sidney Poitier.
Performances are 7:30 p.m. March 23, 24, and 25 and 2 p.m. March 26, Civic Theatre514, 514 N. 19th St., Allentown. The March 23 show is sold out. Tickets including fees are $38 for adults, $36 for seniors, students, and military, $13 for ages thirteen and under, and $33 for members.For information go to www.civictheatre.com, or call 610-432-8943.