Saturday Soapy Flashback: Evangeline and Laylah Williamson, The Sistahs of Llanview

 

No other sisters could top this duo. 

Hotshot lawyer Evangeline “Vange” Williamson and her younger actress hopeful sister Layla painted the town of Llanview red on One Life to Live. Evangeline first arrived as dating RJ Gannon and representing for his daughter Keri Reynolds in the custody case, a storyline that tragically ended. Layla arrived two years later just as Evangeline’s in the midst of a terrifying stalking ordeal. Interestingly, Layla acquires a job as a waitress at Antonio’s owned Capricorn, RJ’s old place originally named after Keri’s zodiac sign where so many of his scheming lies took root. 

Layla (Tika Sumpter) almost gets shot by John McBain’s police force when Evangeline (Renée Elise Goldsberry) rescues her. After Evangeline chastises Layla for coming, she allows sis to move in. The friendship between Evangeline, Antonio (Kamar de los Reyes), and Layla grows delightful.

After bringing Layla’s belongings to Evangeline’s tastefully decorated apartment at 345 Fuller Street, Apt. 42, the girls go clubbing at RJ and Rex’s co-owned spot, Ultraviolet. Unfortunately, at the same time, the stalker trashes Evangeline’s home, leaving her so shaken up that she buys Layla a oneway ticket back to Los Angeles. Layla adamantly refuses, gung ho on offering her support by staying put. Ex cop Antonio becomes the next best idea. The trio’s beautiful friendship lends itself to short yet poignant conversations between Antonio and the sisters, at times separate one on ones or all three simultaneously. Highlights include Layla sharing a candid monologue on beauty to Antonio and Antonio confiding with Evangeline what he would give to again see his presumed dead brother Cristian.  

Absolutely adorable how Vange always pulls Layla into a squishy side embrace. The big smiles on their faces light up scenes. Now Layla planting a sour if the moment kiss on a taken Antonio— a big no no. Haha. 

Once the stalker mess ends, Evangeline lets Layla move in. All the sister fun fluff ensues, showing an engaging other side to Evangeline, a girlish, humorous, fiercely protective sibling. Yes, Evangeline shared many scenes with Nora Buchanan (as did Nora’s daughter Rachel and Keri), but the moments between Evangeline and Layla delivers what the audience needed, a break away from Evangeline’s love woes, courtroom drama, and danger constantly finding her. 

The girls sing Aretha Franklin’s Ain’t No Way over a pint of ice cream, Evangeline reminiscing about her failed relationship with John. The girls fall asleep on the couch together, showing that they’re each other’s safe haven.

Unlike other sibling relationships, either estranged (i.e. RJ and Hank Gannon) or the frosty sister enemies to cordial respect angle (Jessica and Natalie Buchanan), the refreshing dynamic of Evangeline and Layla hits the right notes, sweet and entertaining. The little tidbits on their upbringing— Layla stealing Evangeline’s jeans when the latter was fourteen or Evangeline constantly bossing Layla around— sounds typical, familiar. Sometimes we never forget the things a sibling does to/for us. The good and the bad occurrences holds our memories captive, especially if growing up together, seeing each other everyday for what seems a forever permanence. Evangeline exclaiming, “we’ll have each other’s backs!” to Layla conveys an authentic expression of reciprocal, unconditional love— the very promise lacking in her failed romantic relationships. 

RJ (Timothy Stickney) calling Evangeline (Renée Elise Goldsberry) a “self hater” in front of Layla (Tika Sumpter) when he’s mostly been with white women— pot meet kettle. 

Layla’s acting aspirations soon inspire Antonio to use her as an instrument for the upcoming custody battle between him and RJ. Evangeline—who’s representing Antonio— has chooses not to support this fallacy. Antonio qualifies as a gray character, dangling between the fence of leading by his heart and letting his anger blind rationale, partly why his romance with Keri failed. Evangeline knows he has a terrible temper and doesn’t want to see her sister hurt. Plus, she may often be hired by some of the most unsavory felons, Evangeline prefers obeying the law. Although Layla amps up the feign act, Antonio is not as convincing. This arrangement doesn’t depict him in a good light. 

Laylah and Antonio let Evangeline on a plan of them being a fake couple for Jamie’s custody hearing. The funniest part was Evangeline bopping her sister on the head mid-fake kiss.

The revolving door of women of color in One Life to Live kept being on the receiving stick of silly lopsided triangles— Antonio choosing a younger Jessica over Keri and John McBain’s preference of Natalie over Evangeline. The writers recycled smart, sharp women versus the spoiled rich girls repeatedly. It’s a running gag that the Buchanan sisters always wind up kidnapped or missing and that the other woman winds up finding them. Evangeline and Layla offer help to John and Antonio respectively find Natalie, the kidnapped victim, and Jessica, trapped in her mind mentally and physically by her split personality alter ego Tess.

Evangeline goes blind after being struck by glass during the Llanview twister. Layla cheers her big sis up with a cute stuffed Nala from The Lion King.

Soaps are mainly watched for high stakes stories, wildly entertaining villains, and streamy slow burning romances, potential super couples that people rush home for. With Evangeline and Layla, two gorgeous sisters searching for love in the wrong places, we had a terrific charismatic representation. In Llanview together for two years— two years of constant mayhem and drama— the Williamson sisterhood foundation was the best part of their entire presence. Their connection felt too real, too loving, far too luminous and magical for the soap world. We loved the banter, the sass, and the confidence among their reflections at either Evangeline’s apartment, the club, or the Vega diner. 

Even if their foolish lovers didn’t put them above, the sisters always chose each other. What’s more heartfelt than that?

The Williamson sisters in real life— Renée Elise Goldsberry (Evangeline) and Tika Sumpter (Laylah).

Evangeline and Layla’s portrayers have been pretty accomplished post One Life to Live.  

Well-known for Broadway smash Hamilton, Renée Elise Goldsberry is a noted Tony, Grammy, and Soap Opera Digest actress/singer with nominations for two NAACP Image Awards, three Black Reels, three Emmys (two for Daytime, one for Primetime), Critics Choice, Astra, etc. Films include leading roles in Christine Swanson’s Albany Road and All About You. Among television cult hit Girls4eva, The Good Wife, and Altered Carbon. 

Former model, children’s book author, and actress/producer Tika Sumpter starred as Michelle Robinson in indie darling Southside With You, Bessie’s lover Lucille in dee rees’s award-winning Bessie, Delores in Whitney Houston produced Sparkle, and the voice of Maddy in the live-action Sonic the Hedgehog franchise. Television roles include Watson, The Game (her Jenna Rice arc was a highlight), and Gossip Girl. Sumpter has been nominated for two NAACP Image Awards, a Gotham Award, and a Women’s Image Award. 

Not to mention having THE Julliard trained dancer/actress Janet Hubert aka the original Vivian Banks playing their mother Lisa Williamson. All that supreme talent on one soap in the middle of the afternoon. 

Twenty years later, it would be amazing to see Goldsberry and Sumpter unite on a future project—a film, television series, or even a web show. Their strongly believable sisterly chemistry made the soap bearable. The days they weren’t on was a simple waste of turning on the TV. 

Renée and Tika beautified the opening credits.

Nonetheless, One Life to Live fumbled hard on these two phenomenal Black women, their ends showing a continuous trend of callously mistreating Black and brown characters. Evangeline’s slow coma death by racism and Layla leaving town for Paris lacked the genuine care afforded to the prioritized characters. This also includes Keri’s madness descent before suicide, RJ and his brother Hank disappearing in the background, Rachel Gannon’s story, the list goes on. 

At least there are YouTube channels (Evangeline’s Heart and Wild Hearts Losers Club OLTL) with old episodes to look forward to rewatching the feel-good Evangeline and Layla content from beginning to end. The Williamson sisters were everything! 

That Clever Winsome Girl

Winsome (Sandye Wilson) pulled a heck of a feat. DP: Herman Lew.

Remember that old phrase, “win some, lose some?”

With a manifesting name like Winsome— by definition meaning “generally pleasing and engaging due to a childlike innocence”— she knows exactly whom to butter up. In her first Naked Acts scene, Winsome, the former artist model and active dancer demurely sits Indian style on the stool in actor/producer Marcel Brown’s office, punctual and quiet, giving off a coy radiance. For her soft, eloquent mannerisms, Marcel positions Winsome on a high pedestal, pitting her against the other actresses, latecomers Cece and Randi. 

This perfect composition paints a vital picture of the ladies’ varying personalities in Marcel’s office, Winsome (Sandye Wilson) towering over Randi (Natalie Robinson) and Cece (Jake-ann Jones). DP: Herman Lew.

The initial meeting allows an opportunity to read the room, to decipher everyone’s respective energies. Winsome already knows Marcel’s hierarchy— promptness, a positive attitude, and talent. The moment she raises her hand and smiles, the gesture reeks of an eager teacher’s pet. Marcel immediately softens his tone and regards her with affection. In fact, Marcel rarely raises his voice at Winsome. 

Although Winsome has the role of the artist’s daughter in the Body of Art film, Marcel sees that she has talent. Often, she sides with him during the cast read throughs. DP: Herman Lew.

Winsome’s humble sweetness has Marcel eating out of her hands. Moments happen between them— little stolen glances and her ready acceptance of his critiques. 

She may be kind to everyone on the film set, but there’s a factor reserved for Marcel, a certain agenda placed at his door. Marcel questions Joel’s decision to have Cece play the multifaceted Elana role, speaking of Winsome’s abilities, “so open, so raw, you seldom see that in an actress.” Maybe Winsome charmed her way into stubborn Marcel’s stern disposition by presenting a subtle mixture of naivety and grace, channeling the appropriate emotions warranted for Elana. Other hints foreshadow Marcel’s desire to replace Cece with Winsome and Winsome welcomes the opportunity. Is Winsome a girl’s girl or is she biding time to build herself up on the back of a noted actor/producer? 

Winsome is not at all villainous, more so an opportunist to be wary of, a surface level “good girl. By using her therapy as a tool to obtain what she wants, Winsome is a red flag character operating to the beat of her own drum. When Randi drops out due to clashing with Marcel and the artist’s daughter character is then written out, the moment ripens for other significant changes to be made. Winsome relishes the praise Marcel bestows upon her, his delight giving her a beacon of hope that modeling could not have granted. 

Cece (Jake-ann Jones) puts on a performance for their street harasser. Di (Renee Jones) looks surprised. Winsome is so stunned, she leaves immediately. DP: Herman Lew.

At Diane’s studio, after Winsome and Cece finish taking still images, Winsome changes out of her clothes with an ordinary ease typical shy girls don’t have. She exhibits comfort levels that evoke a model’s conditioning from the students who saw her body as a form shaped by highlights and shadows. Winsome seems like a girl’s girl when she compliments Di’s necklace, a nymph on a cross, agrees to lunching with Di and Cece, and gushes over Di’s womanist artwork. Once a street harassment goes completely awry, Winsome cries off, echoing Cece’s earlier reaction to undressing around them. This teases Winsome’s ongoing indecisiveness. These cancellations make her an unreliable support system for Cece who needs a stable, unselfish relationship. Although coworkers, Winsome and Cece could no longer stay at a professional level due to Winsome’s underhandedness. 

As Cece struggles to cry on cue, Winsome breaks down in tears. Genuine distress or an attempt to upstage Cece, further impress Marcel? The scene comes across as manipulative. DP: Herman Lew.

Cece learns another valuable lesson in that not every woman has the sister spirit, especially women like Winsome who wields reverse psychology tricks on Cece. Beneath the three fickle phone calls shows an intricate calculation, key details that divulge a clever wool over the eyes of those unfortunately wrapped up in Winsome’s drama within drama. She is prone to humblebrag, nonchalant yet pushing Cece’s buttons, hitting Cece where it hurts, “Elana requires more emotions than you have…” and positioning herself as the better choice.

When Joel misinterprets immensely private pillow talk, it backfires on him. Cece’s refusal of the sudden recast affects the entire production. While Joel faces consequences for mixing business with pleasure, Marcel proves who has the most filmmaking power and Winsome takes a position that she’s clearly wanted. In this act of betrayal, a sister looks so pleased with the outcome of tense events, sits in the very stool much like the one she sat on in Marcel’s office.

All Cece wanted was assurance.

And Winsome guaranteed, “I’m perfect for the spot you made.” 

A gleeful Winsome with Marcel during the film production. DP: Herman Lew.

Furthermore, Winsome neglects to vouch for Cece, saying, “she’ll probably change her mind” to Marcel. Winsome forgets that without Cece’s influence, Elana would not have any depth. Or perhaps deep down, she never cared. Obviously, Winsome held reservations about nudity. She’s also right regarding the whole long, lengthy shooting process. Taking off clothes for a running camera has permanent implications versus a few hours disrobing in front of visual artists whose differing perceptions transforms models between representational to abstract aesthetics. Plus, not all visual artists will become successful and filmmakers even indie makers have the tendency to have cult followings, especially the more risqué a film. For example, Lydia Love’s raunchy work gained a very supportive audience including both Joel and Marcel, two different kinds of men, but men nonetheless. Thus, Winsome wants to retain modesty outside of private classrooms. It doesn’t change the fact that Cece advocated hard for Elana’s agency, convincing Marcel to change what the role required. Winsome saw that script rewrite as a vehicle for herself. It all goes back to Cece struggling to cry and Winsome sobs on the spot, disrupting the pause just to center her abilities. 

Winsome becomes her most fearless during a confrontation with Cece. DP: Herman Lew.

Before this prominent supporting part in Naked Acts,Winsome’s portrayer Sandye Wilson had tiny roles in a Law & Order television episode and Charles Lane’s Sidewalk Stories. Wilson directed two short films, So Many Things To Consider (1996) and notsoprivate (2004)— naturally hard to find. The intriguing tidbit about these Black women films coming from the archives is that most of the actresses in them have few other meaty parts. Black women filmmakers put talented women on, a specialty being unknown actresses which Naked Acts highlights. Just as memorable as the commendable award-winning Jake-ann Jones, Wilson really sank her teeth into Winsome, pouring into a woman who reaped undeserved benefits. The word for her is a solid scene sharer (not scene stealer). 

Again, Naked Acts layers impeccable writing, direction, and acting into an amazing piece rich with concise characters. A good film often incites reaction, a deep introspective. You want to hold Cece through every version of her while shake sense into Winsome and her unseen therapist or share sensuous Lucille Clifton poems with Randi. This powerful narrative is akin to a evocative song that must be repeated for the fear of missing something in its entrancing beat. Every rewatch awakens dormant thoughts that other cinematic works have rarely touched on. 

‘Naked Acts,’ A Bonafide Revelation’s Essential Resurgence

 

Naked Acts film poster. 

Writer/director Bridgett M. Davis’s recently unearthed thirty-year-old Naked Acts has been tucked away for far too long. Like a pirate treasure buried beneath the depths of an abyssal sea to either be discovered or permanently left abandoned, Black women’s films remain the hardest pieces to find, maintain, and archive, ensuring its imperative survival. This practice has always seemed intentional. 

Naked Acts exemplifies lost treasure.

The moment now is to promote its multifaceted beauty to the world.  

Lydia Love (Patricia DeArcy) and her daughter Cicely (Annette Myrie). DP: Herman Lew.

Ronnie (Ajene Robinson) and Cicely (Annette Myrie). DP: Herman Lew.

“Emotional work can lead to a lot more vulnerability than nudity ever could.”—Marcel Brown. 

Backed against the gritty 1990’s aesthetic, sharp, intelligent Cicely aka Cece stands out. An enormous chip sits on her shoulder. 

That chip is a survivor’s maneuver to silence traumatic abuse. A heartbreaking tragedy all too familiar for Black girls navigating through the complexities of “acting too grown,” “mature for your age,” etc. 

With an aggressive, strong-willed personality hand-carved from the harsh, bitter clay of resentment and rage, Cece wields a brash attitude in order to be taken seriously. She knows the hard, painful way— through experience— that a woman cannot ever be too soft. To bear open the soul risks being taken advantage of. 

Adult Cece (Jake-Ann Jones) hides behind wigs, layered clothes, and a massive attitude. DP: Herman Lew.

Naked Acts breaks away from the three typical stereotypes Black women are boxed into— Jezebel, Sapphire, and Mammy. Cece cannot be tied down to a specific trope. She’s a multifaceted individual embodying a shape-shifting chameleon, changing styles to fit her moods: an electric red empowerment pixie cut, a dirty blond updo, a sleek jet black bob, and the natural textures in between, begging the question— who is the real Cece? The outside becomes a stage for her to repeatedly reinvent these personas. Yet, the constant factor is her discomfort for disrobing. As much as she takes acting passions off the set, this is no method technique. Unhealed trauma manifests into other areas of her life, turning the beautiful, natural human form into a dirty, ugly existence. Cece struggles to survive psychologically, mentally, emotionally, and psychically— and her extreme guardedness comes across as a negative to the people she encounters. 

Cece passionately advocates for making changes to her Elana character to Marcel (John McKie). DP: Herman Lew.

While Black women constantly fight against pigeonholes, the patriarchal society offers men a greater grace. The three male characters symbolize different wavelengths of inherent predatory nature— Ronnie, her mother’s boyfriend, Joel, the film director, and Marcel Brown, the producer. Ronnie causes Cicely’s pain on the account of stolen innocence. Career-focused and absentminded, Lydia left Cicely unsupervised, not fully understanding that not all men are quality men. Perhaps, she was raised in that era of village raising children, but there’s a problematic “quiet as kept” history in the community regarding family members, churchfolk, and boyfriends/step parents. Ronnie behaves the worst, preying in a practiced kind voice, using harmer's language. 

Joel, the theater director helming his first feature film, seems to care about Cece. The two have a history. After all, he believes in her enough to give her a meaty part and demonstrates gentle patience when it comes down to her mental health— at first. Yet, when all the vulnerabilities crumble at his feet through a passionate love scene addressing several forms of Cece’s necessary release and explicit trust, Joel later makes a selfish decision that only proves he misunderstood the whole meaning of the moment.  

Marcel— as stern and stubborn as Cece— vouches strongly for Cece to take the nude part, mainly as being a fan of her famous mother and her “well endowed behind” shadow. Despite reaching common ground and receiving the high compliment of Cece finally achieving a piece of her thespian grandmother’s craft, Marcel’s short-lived compromise broadcasts how little he thinks of Cece’s ambitions. 

Randi (Natalie Robinson) and Winsome (Sandye Brown) acting out their respective parts in Marcel’s film. DP: Herman Lew.

Humor adds subtle breaks from the weighted heaviness. Lydia’s corny porno videos lays on extra thick cheesiness and the pre-production film readings between Joel’s casted trio of Cece, Randi, and Winsome broadcasts Marcel’s anger simmering in the distance. Randi cannot separate her unabashed sassiness from artisan Marcel’s comical contradiction of a character that must “exude an air of sensuality and innocence.” Acting may not be Randi’s strongest forte, but neither is attempting to portray a character that can only exist in the male imagination. Simultaneously inexperienced and provocative? Ha! Winsome, the former nude model, may be a silent observer, but her has panic attacks make Cece uneasy. For example, Winsome’s an annoyingly fickle sport that would try anyone’s nerves. The names Randi, Winsome, and Cece also appear to be metaphorical for whom these women are. 

Cece and Joel’s (Ron Cephas Jones) relationship is tested by the film and her low self-esteem. DP: Herman Lew.

At its very core, Naked Acts presents a profoundly womanist concept, the poignant women relationships bearing the strongest fruit. Cece and Lydia’s fractured mother/daughter embark on the difficult road to repair and redemption. A adamant Lydia commands little Cece not to ever cry, that tears were intolerable. In turn, Lydia did not want her daughter showcasing any despair, any sadness— signs of weakness. Imagine years of withholding the suffering. Crying became Cece’s biggest acting flaw having grown up suppressing a natural inclination to express sorrow. Yet, it will be harrowing tears that unite them, that softly rips apart the tide that’s separated who they are to one another. It goes beyond the acting journeys. 

Meanwhile, the second centered womenfolk relationship contains therapeutic vibes and spiritual connection—ingredients Cece needs to replenish herself, move through her trauma. Diane, aka Di the film’s still photographer, coaxes Cece out from her tough outer shell. Di’s terms can be brutal yet she’s also gentle and patient, doesn’t manipulate Cece into spilling every last secret. Di just wants Cece to value her body, to see her form as a blessing and not an ugly curse. 

Diane (Renee Cox) holds the pivotal key to Cicely’s transformative journey. DP: Herman Lew.

Comedy and drama align. Di wants Cece to come to terms as a lady comedian tells jokes on the stage. DP: Herman Lew.

With Bridgett M. Davis’s solid direction and fresh storytelling, Jake-ann Jones leads an impressive cast. Her phenomenal performance should have been the gateway to opening doors. The late Herman Lew’s incredible shots of the artfully arranged set designs celebrate Black uniqueness: Lydia’s video store, Cece’s apartment, Di’s art studio, and the objects around Marcel’s desk. Cecelia Smith’s compositions provide a pleasing soundtrack as insightful song lyrics allow a glimpse into the characters. 

A Black women’s cinema curriculum could build foundation on Davis’s commendable Naked Acts, joining hand in hand with groundbreaking women centered classics such as Julie Dash’s Daughters of the Dust, Zeinabu irene Davis’s Compensation, Kathleen Collins’s Losing Ground, and Alile Sharon Larkin’s A Different Image. Naked Acts embraces resilience, overcoming terrible experiences, and finding encouragement through other women. The resurgence is both a crime and a blessing— a crime for not being readily available at the time of its release and a blessing for the nurturing narrative that would inspire many souls to find comfort in a healing Cece. Black women directed films have a distinctive honesty that shows up more and more as their long buried works come out into the limelight. In this day and age, cinema still heavily promotes Black men and white filmmakers telling Black women’s stories, mainly pushing out the same tired agendas. Meanwhile, Black women storytellers stick needles of wisdom, charm, mystery, humor, and love into their leading ladies, bringing in a touching depth. By refusing to retell certain tropes, they risk limited funding resources, work largely unseen, and no other true support. 

Cece confronts her mother at the video store. DP: Herman Lew.

Naked Acts highlights the struggles Black women undergo to be taken into consideration. Cece is the poster girl, the metaphor competing for bare minimum roles in productions that will undermine her presence— sassy best friend, magical negro, oversexed promiscuity, slave, poorly rendered biopic. And colorism is another beast to face as Hollywood remains pushing for lighter skinned actresses portraying their preference of Black girls and women. The boys and men, however, can be dark as midnight. Every year awards shows snub Black women’s excellence with white people uniting against them (i.e. that unforgettable Andrea Riseborough situation). Black women directed films are offered little to no distribution. Thus, audiences lose out on correct Black women promotion— nuanced, dignified, and intriguing characters leading well-crafted pictures. 

Thankfully, Kino Lorber—a distribution godsend next to Criterion, Oscilloscope Laboratories, Strand Release, and Janus Films—alongside Maya Cade of BlackFilmArchive have banded together with Lightbox Film Center to restore this breathtaking masterpiece. Naked Acts is on streaming platforms and has been physically available (with Davis’s brilliant short film Creative Detours). Art house cinemas and avant garde spaces across the globe have been hosting specialty screenings, reinvigorating the “word of mouth” effort. 

Naked Acts deserves this newfound light shining bright on its resonating beauty. It was a film we urgently needed to see back then and it’s a film that we must see right now— on repeat.