HERE LIES LOVE: Ilonzeh and Bishop play a couple whose marriage falls apart.
HER marriage is a sham and she wants out – fast. She thought she’d hit the jackpot when she married the gorgeous and super-successful Michael Roland, but the toughest truth she learns is that the ones you love always disappoint you in the end.
Meet Maddison Roland (Annie Ilonzeh), an attractive thirtysomething Black woman who flees the claustrophobic confines of her marital home when her hubby (Being Mary Jane’s Stephen Bishop) suddenly turns into Ike Turner. What was once a happy home – lavish surroundings, a white baby grand piano – has become her prison. With the aid of longtime bestie Chelsea (Robinne Lee), Maddison, now several months pregnant, plots her escape, moves to a small town and tries to start over.
She meets and falls for hunky next-door neighbour Alex (Taye Diggs), a single father of one who slowly helps her pick up the pieces of her broken life. Has Maddison finally found the true happiness she’s yearned for her whole adult life? Or will Michael discover that his dearly departed wife and unborn child are still very much alive?
That’s the basic premise of ’Til Death Do Us Part, a surprisingly satisfying and well-acted drama about matrimonial hell, domestic violence and the steep price of freedom, written and directed by former boy-band manager Chris Stokes, working with singer-turned-screenwriter Marques Houston. Together, they bring an authentic and realistic portrait of the subject matter to audiences, who will find these characters (and the actors who portray them) appealing. Of course, there’s a hefty dose of melodrama but, thankfully, for the most part, it sidesteps predictability. Tyrone’s Verdict: B