How can we defy unjust systems while still earning a living and enjoying ourselves? Who decides what kinds of roles we get to play in both art and life? How do we live in a world that refuses to see everything we are or could be?

These are just a few of the complex questions that “Trouble in Mind,” the current production at Centerstage Theatre in Federal Way, grapples at deftly and from a range of perspectives without offering any easy answers.

Although playwright Alice Childress wrote “Trouble in Mind” over 70 years ago, the play remains searing and timely. “Trouble in Mind” is a play-within-a-play show, offering us glimpses of a mixed-race theatrical production team in the 1950s both rehearsing a new play and interacting with one another backstage. Although for most of her life the protagonist, Willetta has made herself content with two-dimensional theatrical roles, and when confronted with a particularly incendiary script, she finds herself increasingly wanting to advocate for both herself and her fellow Black actors to portray characters with complexities only allowed to white performers. Most of her fellow Black actors involved in this production, however, would rather enjoy making the art they can, rather than risk being barred from the theatre industry or potentially put their lives on the line.

It takes an excellent production team to elevate a strong script like “Trouble in Mind” to new heights, and Centerstage is more than up to the task. Under the direction of Michelle Blackmon, the movements of this nine-cast play feel seamless and natural. Blackmon does a superb job fluctuating between moments in which our attention as an audience bounces between several simultaneous conversations, to moments when everyone has their focus drawn to one point or character. At times, the piece feels choreographed almost like a dance, with transitions so fluid they go almost unnoticed. At other times, when the tension escalates, the space becomes claustrophobic, as if the audience is enclosed backstage with these increasingly frustrated characters.

Sonia Alexis, who plays Willetta, immediately catches our attention as an enthusiastic but world-wizened actor. She encourages her younger Black performers to embrace the fact that they must cater to white actors, writers, and industry gatekeepers if they want to succeed. But from the start, Alexis also captures something simmering underneath the surface: an understandable frustration with never being allowed to reach her full potential as an actress, or to even explore what that full potential could look like. Melvin Rouse, who plays Sheldon Forrester, offers a complementary point of view; although Forrester relegates himself to bit character parts in both the theatre and reality, preferring to foster a spirit of camaraderie, Rouse gives us fleeting, haunting glimmers of Forrester’s true depths. Other standouts in the cast include Jacob Tice as Al Manners, a powerful white director who can command the entire room with just a few carefully measured words or a firm hand on a cast member’s shoulder; Hebron Solomon as John Nevins, a young actor green to the business, who strikes a delicate balance between his character’s enthusiasm about living his dream and knowing what he must close his eyes to if he wants to survive; and Kaira Hensler (as Judy Shears), who is both hilarious in her play-within-a-play role as the ingénue and empathetic as the kind, albeit naïve, white actress fresh from Yale’s Drama Program.

In full truth, it’s difficult picking which performers to highlight here. This is one of the strongest large-cast ensembles I’ve seen on any stage this season. Each of the nine actors deserves commendation for always being fully present in their roles, even when the focal point is elsewhere, or tensions onstage escalate past reconciliation.

The production values for Centerstage’s “Trouble in Mind” are high caliber across the board. The set, created by set designer Burton Yuen and scenic artist Gail Flynn-Wamba, is both simplistic and versatile. It consists primarily of assorted wooden chairs and desks, which allow the performers to continually reposition themselves in different configurations with minimal effort or downtime. DCM Costumes has created outfits that are period-specific but character-revealing; in contrast to the majority of the characters who opt for beiges and grays, Willetta is usually outfitted in bright colors, emphasizing her growing desire to go against the grain. And while the sound design (by Chelsea Mo Moniz) is minimal, the few moments in which noise other than dialogue is heard are apt, such as the canned laugh track punctuating moments far more disconcerting than funny, or the strange echoing sounds Willetta hears as she struggles to repress her emotions.

Be sure to spend some time in the lobby before or during intermission to check out the detailed dramaturgical materials providing historical context for the show, such as about the Montgomery boycotts and voting rights for Black Americans. There are also beautiful paintings, both on display and for sale, made by surrealist Angelica Juarez.

If you get thirsty, you may want to try one of Centerstage’s show-themed cocktails served in partnership with Blackfish Distillery. “The Alice,” named in honor of the playwright, features gin, pineapple juice, maraschino cherry liquor, and a cherry to top it off. For those who prefer something a bit less sweet, “The Great White Way” is a blend of bourbon, mint simple syrup, soda, and a dash of lime. There is also an array of snacks and non-alcoholic beverages available.

“Trouble in Mind” runs through April 20. Performances occur Friday evenings, Saturday evenings, and Sunday afternoons. To learn about pricing options or purchase tickets, visit Centerstagetheatre.com or call 253-661-1444.

Anna Tatelman is a playwright, lyricist, and non-fiction writer who holds an MFA in Creative Writing from the University of New Orleans. She has been featured or quoted in publications such as Forbes, Indeed.com, The Sound on Stage, Techopedia, and POPSUGAR. Read more of her work or connect with her online at www.annatatelman.com.