Tag Archives: Deannah “Dripp” Blemur

Oct 02

Everything and Everyone Has A Price: “Covenant”

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Anthony T. Goss as Johnny and Deannah “DRIPP” Blemur as Avery. Photo: Benjamin Rose Photography

Presented by SpeakEast Stage Company
By York Walker
Directed by Dawn M. Simmons
Featuring: Crystin Gilmore, Anthony T. Goss, Sydney Alicia Jackson, Deannah “DRIPP” Blemur, Kayla Sessoms

Sep. 25 through Oct. 17, 2026
Boston Center for the Arts

Critique by Kitty Drexel

TLDR: The cast & crew had a rough night on Wednesday. Covenant is Sinners meets Paranormal. Sorta.

BOSTON — Sometimes, the well-prepared elements of a play don’t meld during a performance. Only the muses know why. That appeared to be the case of the cast and crew of SpeakEasy’s Covenant on Wednesday evening: Actors lost their energy halfway through their lines and looked uneasy on stage, a sound cue misfired, tech persons were accidentally revealed during set changes. To these we say, let she who’s never persisted through a wonky performance cast the first stone. Continue reading →

Mar 30

Feminist Bark Without Feminist Bite: “Angry, Raucous, and Shamelessly Gorgeous”

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Ines de la Cruz and Patrice Jean-Baptiste; Photo by Nile Scott Studios.

Presented by The Lyric Stage
By Pearl Cleage
Directed by Jacqui Parker
Featuring: Patrice Jean Baptiste, Deannah “Dripp” Blemur, Inés de la Cruz, Yasmeen Duncan

March 20-April 12, 2026
The Lyric Stage
140 Clarendon St
Boston, MA

Online Playbill 

Review by Maegan Clearwood

BOSTON — Angry, Raucous, and Shamelessly Gorgeous poses one intriguing question after another. How can Black women make space for themselves within the canon of glorified, seemingly untouchable playwrights? What is the line between performance and exploitation? How can we forge connection across intergenerational feminist divides?

It also conjures up a potent image: a Black woman standing onstage, entirely nude, delivering monologues from the work of August Wilson, the most sanctified Black playwright in the American canon.

Unfortunately, these questions go largely uninterrogated, and the imagery takes shape entirely offstage. Continue reading →