The word “slut” is written across the tumbling down wall of a woman’s house, and the woman in question can’t read what it says. One may not think that the story of a woman with five children by five different fathers would have any similarities with great American literature from the romantic period, but those familiar with Nathaniel Hawthorne’s The Scarlet Letter will undoubtedly notice the similarities present in the Black Theatre Ensemble’s latest production, “In the Blood.” This heroine’s name is also Hester, who finds herself confronting a society that ostracizes her — a society that is neither understanding nor compassionate.

But it would be a mistake to confine this piece to a mere adaptation of a classic story, as Suzan-Lori Parks’ play, directed by Joshua Deminter (COL ’08) and produced by Nayeisha Lacewell (SFS ’08), presents a genuine picture of a woman struggling in the world.

The production of “In the Blood” began as recently as last December or as far back as last year, depending on who you ask. For Deminter, who took the lead directing his first play, work began last year when he started to look for the ideal piece. He knew he wanted to find a story that focused on family, and Parks’ play presented the ideal subject matter. He found that many aspects of “In the Blood” resonated with him personally, as Hester reminded him of his own in many ways,” he explained. “She is a mother of five and, like Hester, she has traversed a world that cared little for the struggles of women, let alone black women,” he said.

Deminter has nothing but praise for the six cast members, two of whom have never acted previously. Challenging roles yield inspired performances in this dramatic, though often humorous production. Most of the actors within the production face the challenge of playing dual roles. They portray Hester’s feisty yet troubled children, as well as multiple roles of cold and cruel adults who each reveal their personal relationship to her.

Hester, played by the talented Nicole Lewis (COL ’08), is a woman struggling to raise five children by herself. She cannot read or write but continues to try. She remarks often that she “just needs a leg up,” which unfortunately, society does nothing to provide. She comes up against a woman from welfare (played by newcomer Jasmine Taylor, COL ’10), a pill-popping doctor (Ngunjiri Ngari, MSB ’08), and a backstabbing friend (Kelsey Spitz, SFS ’10), as well as the fathers of two of her children (Willie Bodrick II, COL ’10 and Paul Anthony Notice II, SFS ’09), one of whom is a reverend — mirroring the irreverent Arthur Dimonesdale in Hawthorne’s novel. Hester finds comfort only in the lives of her children, whom she calls “my five treasures, my five joys,” making the outcome of the play even more tragic.

Several members of the cast had always wanted to become involved with the theater program, and this production presented the perfect opportunity. Kelsey Spitz (SFS ’10) remarked that she was merely “a product of good publicity.” She says that she saw the notice and tried out, having “no idea what I was getting myself into.” Notice spoke about being attracted to the characters, who were “mostly crazy.” The doctor, he mused, “is like a modern-day drug addict” while the welfare woman who forces Hester to massage her shoulders shares the characteristics of many people in that profession who “take advantage of need.”

All members of the cast agreed that the characters had their special quirks. They worked on the development of their characters in discussion sessions and meetings and agreed that they wanted to make the characters very true to reality. Bodrick remarked that “you use people that you know and try to come up with a character.” He said he spoke with a man from his church and saw many similarities between him and his adult character, and he used those characteristics in the development of his character “in order to try to convey something close to life.”

Nicole Lewis, for her part, related that in order to play the role of Hester, she “basically had to put aside embarrassment and remain vulnerable.” The cast has worked together since December when they bonded as a cast and have since had fun developing their young characters through improvisational games. Their natural camaraderie shines through, especially in the comedic scenes involving the children at play.

Apart from the performances, there are other aspects of the production that truly set this play apart. The set design reflects the harsh, urban and modern-day setting of “In the Blood.” Audiences enter the theater to find a makeshift shack surrounded by boxes and trash, complete with walls covered in graffiti. Costumes and music combine to add to the picture of life in extreme poverty. The overall effect is visually pleasing and effective, though upsetting.

In addition to the performance, Deminter says the Black Theatre Ensemble will continue its tradition of “trying to create positive change” through their words and trash, complete with walls covered in graffiti. Costumes and music combine to add to the picture of life in extreme poverty. The overall effect is visually pleasing and effective, though upsetting.

“In the Blood” is a blunt and edgy look at the plight still facing people in the margins of American society. It never attempts to sugarcoat the world or ignore the failings of individuals. Hester is not a flawless character, but rather one who faces the challenges of the world and the “big hand comin’ down” on her. The Black Theatre Ensemble successfully brings this memorably heartwrenching tale to the stage, leaving audiences impressed by their poignant depiction of reality.

“In the Blood” runs from Feb. 12 to Feb. 16 in the Walsh Black Box. Tickets can be ordered online at http://performingarts.georgetown.edu or by calling (202) 687-ARTS.