Later, in the Chicago scenes, her dress is more gloomy, emphasizing how much of an outsider she really is beyond the less socially forgiving boundaries of Louisiana s Creole culture. Graciela Daniele's direction is strong, if not hampered from time to time by the book's inadequacies. She also serves as choreographer, something that becomes immediately apparent in the first few scenes involving Marie Christine. The character's movement is heavily influenced by dance, and smooth transitions are made from ordinary dramatic gesturing to full-fledged dance sequences, the choreography stressing the exotic nature of Marie Christine's Creole upbringing and mysterious, voodoo influences. Such directorial decisions help to better define the characters.
Good use is made of the stage, with events in the foreground and background given proper emphasis.
The rest of the cast is excellent. In the second lead role, opposite McDonald, is Anthony Crivello as Dante Keyes, the charming but extremely insincere lover who abandons what seems like true love for political aspirations and social acceptance. Crivello doesn t have the greatest singing voice, but his acting is strong. He, like McDonald, manages to make the best of the material which, while certainly not horrendous, is occasionally less than stimulating and sometimes drawing. Also excellent are the three prisoners, women who wander in and out of the story at various points, offering a sort of narration.