Drama, Discovery and Learning

 Lyrics from Lockdown-One Night Only at NBT

 By Jeanette Toomer

      At the National Black Theater Bryonn Bain’s one man show, “Lyrics from Lockdown,” opens minds and hearts to the rampant injustice and plague of arrest and imprisonment of innocent black men.  As memoirist, storyteller, and composer Bain combines solid acting craft, creative movement and telling lyrics to engage the audience and bring to dramatic life his riveting tale of prison activism and false arrest.  Direction by Mei Ann Teo provides effective staging and video projections to magnify the themes of his story.

      Bain reaches back to his youth shifting between the influences of family members to the brutal police officers and immune public defenders who work together to keep him imprisoned in a case of mistaken identity. Raised in Brooklyn, Bain graduated with college scholarships, attended Columbia University and later earned a degree from Harvard Law School.

     He worked as a prison activist fighting for the rights of black men, like Nanon Williams, jailed on death row at age 17 for a crime that he did not commit. Through voiceovers and photos projected on three screens Williams story becomes a recurring image in Bain’s “Lockdown.” 

     In 1991 police stop Bain while he is driving his car.  They arrest him and the so-called criminal justice system conspires to keep him jailed for three days. In short, they don’t believe he is who he says he is.  Unbelievably, two public defenders appointed to represent him don’t believe him.  The shocking details of his treatment and conditions in the jail are repulsive.  Bain adds flashes of irony and wit to share descriptions of ineffectual white attorneys. One comes to speaks to him through a surgical mask.  After listening to his story, she concludes that he is suffering from a mental illness. Bain sums up her opinion saying, “my innocence is in my nigger mind.”

      Black and white photos projected on the screens at the beginning of the show include mug shots of blacks arrested, including Kobe Bryant, Sean Combs, George Clinton and Angela Davis.  Video deejays, Manauvaskar Kuball, Jazzmen Lee Johnson and Rasheed Abiaka, displayed disturbing statistics in large letters testify to the growing trend of imprisoning huge numbers of young black and Latino males.  One statistic indicated that a black male born in 2001 has a 32% chance of being incarcerated.  From 1990 to 2001 39 prisons have been constructed compared to only four new prisons built during the 1970s.  

     “Lyrics from Lockdown” runs for an intermissionless 75 minutes.  Bain provides visceral imagery and riveting lyrics in song and rap to wake us up to this ongoing assault on black and Latino youth.  Chesney Snow created the beatbox/sound effects and Marco Rizzuto played electric guitar.

      As for Nanon Williams, since 2010 he is free on appeal.  Like many others, he lives under the potential threat of lockdown.  Bain also facilitates educational workshops for young people in schools and community centers.  For more information on future performances, go to the website www.lyricsfromlockdown.com.

--July 2012

New Haarlem Arts Theatre Revives Wilson’s “Ma Rainey”

By Jeanette Toomer

            New Haarlem Arts Theatre raises the level of excellence in summer theater with its revival of August Wilson’s “Ma Rainey’s Black Bottom” at Aaron Davis Hall on Harlem’s City College campus.  With a seasoned cast this production tellingly dramatizes the racist exploitation of black musicians and artists during the 1920s.  Nesmith’s direction is heavy handed in some staging, but he brilliantly showcases the strong will of the star, portrayed by Johnnie Mae in the title role.

Although Johnnie Mae as Ma Rainey makes her entrance more than 30 minutes into this tragedy, she takes full command as the star and the raison d’etre for the recording session.  Prior to Ma Rainey’s arrival, the central conflict reveals itself during the practice session among the musicians.  Cutler, Toledo, Slow Drag and Levee engage in small talk, some ribbing and Wilson’s signature storytelling before launching into a short rehearsal that meets with disagreement from Levee, the horn player. Levee, who has dreams of leading his own band, insists that they play his arrangement, not Ma Rainey’s version. 

Mikell Pinkney as Cutler openly shows his impatience and annoyance with Levee’s bold claims to future headlining status.  Too often, he adds unnecessary mugging to demonstrate his emotions.  Peter Jay Fernandez skillfully portrays a Pan-African sensibility and the intellectual ways of Toledo, the piano player, who challenges Levee’s interest in singing and dancing for the white man’s entertainment as the way to make it in the world. Luther Wells is adept at bringing life to Slow Drag who plays the bass.  The  actors expertly feign playing their instruments while recorded blues music plays underneath.

When Ma Rainey enters, she dismisses Levee’s arrangement and insists that her nephew, Sylvester, introduces her signature song.   As Sylvester, Branden Baskin could not be better.  His facial expressions speak volumes as he fights to speak clearly and to please his aunt who does successfully elicit a well-spoken introduction from him during the recording session. 

The tragic end of “Ma Rainey” comes quickly once Levee’s dreams meet an abrupt roadblock.  As Levee, Reginald L. Wilson effectively shows his determination and pride in his craft and reveals glimpses of his latent rage that explodes at the play’s end.

Otis Sallid serves this drama well as choreographer.  The set design by Patrice Andrew Davidson allows two clearly marked playing areas and a sound booth where Sturdyvant (Dennis Jordan) records the singer and her band.  Mike Metzel as his partner, Irv,  carefully walks a fine line in pleasing his stern partner and the demanding star. The rehearsal room becomes a private flirting space for Levee as he tries to woo Ma’s girlfriend, Dussie Mae (Joresa Blount). 

“Ma Rainey’s Black Bottom” continues its run at Aaron Davis Hall, 134^th St. and Convent Avenue,  only through July 8^th.  Curtain time is 7:00 p.m. 

Clybourne Park Takes Sure Aim at Racial Prejudice:  Yesterday and Today

By Jeanette Toomer

                Rarely does a full-length drama with a multicultural cast make it to Broadway that criticizes racial prejudice and racism.  Directed by Pam McKinnon, “Clybourne Park” does exactly that and delivers a strong cast to do the job.  The play takes off where “A Raisin in the Sun” leaves in Clybourne Park, a segregated white community in Chicago.  After intermission, the play fast forwards to 2009 when a white couple wants to renovate the same house and upgrade the surrounding neighborhood.

In 1959 the white residents do not want blacks to move in and bring down their property value.  However, the white couple  selling the home have their own personal problems to confront and racial prejudice is like an unwelcome intruder that their neighbor, Mr. Lindner, wants them to embrace.  Even the Catholic priest (Brendan Griffin) sides with Mr. Lindner who is the only character taken from Hansberry’s drama to play in this modern drama.

A well-written script by Bruce Norris adds the right amount of witty jabs to the dialogue that truly reflects the shallow nature  of several characters.  At the center of the first half is the talkative and simple-minded housewife, played with overly expressive gestures by Christina Kirk.  Frank Wood is her quietly smoldering  husband , Kevin, who sits reading articles while engaging in inane conversation with his wife.  Before long the audience learns that he is still mourning the unexpected death of their adult son.

Crystal A. Dickinson is the maid that has to stick around as they question her about African American attitudes and culture.  Would she like living in this neighborhood?  She answers yes only to be further questioned and pressured by Lindner as to how her tastes in food can possibly find a fit in their neighborhood. Dickinson’s facial expressions speak volumes about her intense dislike and anger at her employer and their friends’ queries.  Damon Gupton as her husband acts more tolerable, but soon agrees they need to leave as soon as possible.

After intermission, the same cast takes up  modern roles in 2009.  They are a group interested in buying houses on the same street after many years of abandonment and deterioration.  Jeremy Shamos plays Lindner as well as Steve, the husband of the white couple buying the same house now riddled with graffiti. Annie Parisse, recognizable from  the t.v. series “Law & Order,” is his earnest and naïve pregnant wife similar to the 1959 wife, but much less hysterical.  In the first act, she was Lindner’s deaf wife, Betsey, who doesn’t understand what all the talk and argument is about. Kirk’s alternate character is a straightforward,  career woman who looks to the renovation of the homes.  And there is a young, professional black couple, played by Dickinson and Gupton, who bring up the recommendation of paying tribute to the black people who previously cared for the community. 

That leads to more talk about race and prejudice that is worth hearing even if you don’t agree with it.  The fact that there is some recognition of redlining and the negative effects of gentrification is worthwhile and important social concerns that our society must confront and seek to resolve.  The remarkable thing is that it is not preachy, although the blocking is too staid near the end.  It is the writing, the poignant humor and the layered acting that keeps it interesting.  The second act works more like an ensemble of archetypes as they talk, argue and even insult each other without coming to any real understanding.  That may be the heart of the problem.  We have to address and work through our own stereotypes as well as  racial prejudices before we can engage each other in an honest, productive way.

The Pulitzer Prize winning play, “Clybourne Park,” continues  in a limited engagement at the Walter Kerr Theater on 48^th Street.  The long list of producers includes Lincoln Center Theater, Daryl Roth and Jujamycyn Theaters among others.

 I’m A Believer in “Leap of Faith”

By Jeanette Toomer

The new and exciting Broadway musical, "Leap of Faith," makes me a believer!  With a rousing melodic score by Alan Menken, brilliant choreography by Sergio Trujillo and Raul Esparza in the starring role one cannot help but feel the heart jump for glorious joy.  What begins as the vehicle for a big confidence job, the revival tent, ends with a real transformation to an honest faith and enduring love.

            As Jonas Nightingale, Esparza exhorts the glory and mercy of God while secretly plotting to take the hard-earned monies from the townspeople in this small farm community suffering from a long drought.  The device of the ear piece with instructions from his con artist sister, Sam (Kendra Kassebaum), cleverly reveals the duplicity of his powerful preaching and healing miracles.  The sheriff learns about his scam and gives him three days to leave town.

            The sheriff, however, is a strikingly beautiful but straightforward redhead, played deftly by Jessica Phillips, and Esparza successfully woos her into a romantic tryst.  He soon learns that his sexual prowess does not stop the clock especially after he suggests the ability to "heal" the sheriff's young son who is confined to a wheelchair. She resents his false claims to her son and jails him.

            The combination of the multi-octave voices of Kecia Lewis-Evans, Krystal Joy Brown and Leslie Odom, Jr. with the lyrics of Glenn Slater, and Menken's soaring music lifts this story to exceptional heights for the Broadway musical.  Some of the most moving numbers include "Rise Up," "Dancin' in the Devil's Shoes, "I Can Read You," and "Are You on the Bus." The cast is quite large with many black singer-actors including Hettie Barnhill and Ta’rea Campbell among others.  The book  was written by Janus Cercone and Warren Leight.

 Direction by  Christopher Ashley highlights the dynamic performance aspects of his revival choir and the stylized magnetism of Esparza's preaching.

            "Leap of Faith" has great music, wonderful orchestration and drama to offer including fun audience participation.  This Tony Award nominated musical continues its open run at the St. James Theatre on 44th Street.

The Poet Reigns this Theater Season*

By Jeanette Toomer

                Three of the best theatrical productions this past season featured original poetry and spoken word dramatics.  The most fascinating was “Seed,” written Radha Blank, directed by Niegel Smith and produced by the Classical Theater of Harlem and the Hip-Hop Theater Festival, which featured a strong political message in an exciting blend of dialogue,  rap,  spoken word and performance.   Jocelyn Bioh, Khadim Diop, Bridgit Antoinette Evans, Jaime Lincoln Smith and Pernell Walker gave standout portrayals often smoothly transitioning between dialogue and rhythmic spoken word.

              Produced by the National Black Theatre,  “Renaissance in the Belly of a Killer Whale,” written by Jaylene Clark, Hollis Heath, Janelle Heatley and Chyann Sapp,  followed closely behind with a talented trio of actor/writers.  The revival of this popular play, directed by Stephanie Berry,  honoring the black cultural history of Harlem enjoyed an extended run  in December.  Finally, Daniel Beatty reprised his highly-acclaimed one-man show, “Emergency,” mounted by the New Heritage Theatre Group, for a short run.

                The best musical revival of last year was “It Ain’t Nothin’ But the Blues,” produced by City College’s New Harleem Arts Theater.  The direction team, Alfred Preisser and Jeffrey Bolding, did not only cast top-notch singer-actors but also shaped their rich talents to work together to produce an awesome ensemble show. This revue succeeds on an unparalleled level in the exquisite singing of cast members, Marvel Allen, Gerald Latham, Nathaly Lopez, Tatiana Adams, Jeff Bolding and Hayes.

                On Broadway the two character play, “Mountaintop,” written by Katori Hall and directed by Kenny Leon, delved into the depths of the valley with its historically fictitious portrayal of the late Rev. Dr. Martin Luther King, Jr. in the Lorraine Motel room the night before his assassination in Memphis, Tennessee.  A better reinvention of  Rev. King’s life appeared off-Broadway in “Martin, An American Musical,” written by Leslie Lee and produced by the Negro Ensemble Company with music and lyrics by celebrated Broadway songwriter, Charles Strouse.  There were a few parts of this show that needed further development, but overall  it showed real potential for an entertaining and educative show dramatizing the youth of one of the greatest leaders of the 20^th century.

               This fall saw the opening of a new drama, “Stick Fly,” by Lydia R. Diamond at Broadway’s Cort Theater.  Directed by Kenny Leon, with Mekhi Phifer making his Broadway debut, this play appeared uneven in writing and in direction.  Newcomer Condola Rashad delivered an exceptional performance.  This production also featured original music by Alicia Keys.  Unfortunately, the promise of the first act failed to live up to expectations in the second half.

            The New Federal Theatre celebrated its 40 years of groundbreaking theater history with a star-studded fundraising gala last May honoring legendary actor, Sidney Poitier, poet-playwright Ntozake Shange and Imhotep Gary Byrd.  Founded in 1970 by Woodie King, Jr.  the New Federal Theatre continues to produce inspiring dramas  and to provide a training ground for today’s actors, playwrights and directors.   

            If you are Broadway-bound this holiday season, don’t forget that you can still see long-running musical, “The Lion King,” as well as last season’s hot ticket, “Sister Act.”  Both shows are a treat for the whole family!*

*This is a revised version of this article recently published in New York's Daily Challenge Newspaper.

 "Stick Fly" Piles on More Than Family Drama

By Jeanette Toomer

            The Broadway play, “Stick Fly, “directed unevenly by Kenny Leon, offers views on race and class from an upper class black family, but soon devolves into a sitcom with little dramatic punch.  Lydia R. Diamond’s modern drama  loads on several issues and some family conflicts in the first act, but fails to resolve little by the end of a long second half.  To make matters worse, lead actor, Dule Hill, does not fill out one of the central roles as the youngest son and others among the cast, except for Mekhi Phifer and Condola Rashad, don’t deliver fully-realized performances.

            A beautiful set boasts a great oak ceiling with chandeliers and a Romare Bearden painting as the upscale vacation home of the LeVay family where the son and parents normally gather for a weekend get-together.  Kent (Hill) arrives with his fiancée, Taylor, played with a few insecurities and unsupported flourishes by Tracie Johns.  The older, arrogant son, Flip (Phifer), a plastic surgeon, comes next and congratulates Kent on his book which is soon to be published.  Flip enters in advance of his girlfriend, Kimber, to prepare the family to receive her because she happens to be white or “Italian,” as he puts it.

            Taylor clashes early on with her fiance along class lines by being too outspoken presumably due to her “lower” middle class upbringing.  She voices feelings of abandonment by her father who later remarries and raises another set of children.  Taylor gives Kimber a tongue-lashing after she assumes the status of an expert breezily talking about her work with poor black children in the inner city.  To add to the conflicts over class, the maid’s daughter, Cheryl, tries to please everyone as she fills in her mother’s shoes until she can arrive.  Yet, in the early scenes, no one takes the time to listen to Cheryl about her concerns about school life.

              Condola Rashad as Cheryl is one of the bright fully-formed character performances in this overwrought work.  Phifer provides sparks of his own playing true to the self-centered and sexist older brother.  Ruben Santiago-Hudson does his best to bring life to a stereotypical father role. 

            Unfortunately, the play is too long and stumbles under its own weight in the second half.  Cheryl reveals a major family secret after intermission adding another major conflict.  The playwright should consider cutting out the waste to sharpen the focus of this drama.  Rosie Benton as Kimber tells a long tragic story about a fictitious sister which can easily be cut.  Her efforts at comedy further confound the issues and whatever point she intends to make.

            Original music by Alicia Keys is a welcome addition and plays quite effectively as a bridge between scenes.  Scenic design by David Gallo allows players several staging areas and fluid movement onstage.  Lighting by Beverly Emmons helps to establish mood and shows the passing of time from morning to afternoon and night.

            “Stick Fly” continues an open run at the Cort Theatre, 138 W. 48^th St.

--  December 15, 2011.  This review was also published in the news weekly, New York Amsterdam News and the Daily Challenge.

Broadway’s “Mountaintop” Fails at MLK’s Legacy

By Jeanette Toomer

             Truth  be told we all knew that the late Rev. Dr. Martin Luther King, Jr. was just a man.  This man, however, dared to lead a dangerous peaceful protest that forced a nation to confront and destroy its racist systems of segregation and Jim Crow.

           What purpose did it serve to lower his esteem in the eyes of future generations through the fiction of “The Mountaintop” now playing on Broadway at the Bernard Jacobs Theater? That was the nagging question that surfaced in my mind while watching the beginning scenes of what amounted to a situation dramedy.  The overacting and mugging by Angela Bassett marred much of the early scenes. Samuel L. Jackson as Rev. King did somewhat better in spite of his easy flirtation with Bassett who played the Lorraine Hotel maid on the night before his assassination in Memphis, Tennessee.

         King’s life deserved better treatment, a qualified playwright and more skilled direction.  At the least, this short historical fiction did not deserve the Broadway fanfare that it has received.   Do we need to minimalize the man because he had a character flaw?   Did we lampoon Kennedy or the Kennedy brothers  who both enjoyed sexual trysts with the famous  actress, Marilyn Monroe?  And why now?  Is it because Coretta Scott King has died?

         Much later in the play, the author and cast do redeem themselves when they begin to look at the many ripple effects of King’s contribution to society.  This does not happen, however, until after the maid calls Malcolm X a “sissy,” and MLK cries as he learns of his pending assassination the next morning. 

         King had already declared that he was like any man and would like to live a long life.  Yet, he knew. In this drama, he mentioned the constant death threats. He had accepted the probability of an untimely death.  Of course, he wanted to live a long life.

         His calling, his selfless leadership and his commitment did reach God’s ears and in the resolution God reveals to him what the future holds for a racially diverse and integrated America.  It is this panoramic view of the many who take up his leadership and the countless many who benefit from King’s struggle that make this drama appealing and worthwhile.  In this respect, this play is terribly uneven, but holds a promise for all to appreciate at its end.

        "The Mountaintop" continues its run on Broadway through early January 2012.

Review published in The Daily Challenge, black weekly newspaper in New York.

A Renaissance that Harlem Needs at the NBT

By Jeanette Toomer

                The dramatic spoken word play, “Renaissance in the Belly of a Killer Whale,” uplifts the Harlem that black residents and people worldwide know and love.  This exciting homage to the black cultural hallmarks of this historic community educates and entertains.  Written by Jaylene Clark, Hollis Heath, Janelle Heatley and Chyann Sapp, the renaissance is not just something of old, but a concept that today’s Harlem community can embrace to celebrate and to stave off the takeover of gentrification and its army of upper-class white residents.

                The three characters, young women who grew up in Harlem, now face an uncertain future in their homes due to rising rents as a result of gentrification.  They reminisce with songs, stories and handgames from their childhood.  Even the walls speak out and confirm their worries about the demise of Harlem.

Creatively directed by Stephanie Berry, this talented ensemble, Jaylene Clark, Hollis Heath and Janelle Heatley, take on various roles as grandmother, waitress, and white residents, to dramatize a layered look at the old and new in Harlem.  Their nagging concern  is that the black heritage and its longterm residents are slowly being squeezed out and a white center is growing like the underside of large whale.

               Their choices are to stay or to go.  One character has a dream of opening a poet’s café to help raise money so her parents can keep their brownstone.  Two of them try to convince the third to join them in this endeavor and perhaps provide the catalyst for a new renaissance in Harlem.  Although the play and the poetry is thoroughly engaging and thought-provoking, it is this collective agreement to stay and  invest in the culture of this historical treasure that proves most satisfying.   How else could the cultural traditions of Harlem live on?

                The late founder, Barbara Ann Teer, would congratulate these young women and hail them as visionaries as she and her sister, Frederica, were when they started the National Black Theater in 1968.  It remains one of the few black theaters in Harlem still alive!  This week the NBT honors leaders and artists in black theater with its Fourth Annual Teer Spirit Awards ceremony and fundraiser.  Producer, Jackie Jeffries, is one of the awardees who successfully mounted “Renaissance in the Belly of A Killer Whale, “ as well as “Accept/Except” which was last season’s hit historical drama.

                Rumor has it that the “Renaissance in the Belly of a Killer Whale” may soon enjoy a run at the New Federal Theater.  In the meantime, it is set to tour several college campuses and schools in the New York area.

"Stick Fly" Opens on Broadway

    A new drama, "Stick Fly," opens this Thursday, December 8th at the Cort Theater.  With original music by Alicia Keys and direction by Kenny Leon this play promises to be a compelling theatrical entry in this Broadway season.  The cast features well-known screen actors Mekhi Phifer, Dule Hill, Tracie Thoms and Broadway veteran Ruben Santiago-Hudson.  The play, written by Lydia R. Diamond, centers around tensions between two adult brothers.

    For more information and tickets contact Telecharge at 800-432-7250 or onlne at telecharge.com.

-- Jeanette Toomer

Essence Fest Celebrates 40^th Magazine Anniversary

By Jeanette Toomer

                This year marks the 40^th anniversary of Essence Magazine, a monthly journal dedicated to Black women, and Grammy award-winning performers, including Mary J. Blige, Gladys Knight, Alicia Keys, Jill Scott, LL Cool J and Earth, Wind and Fire, are returning to the Superdome in New Orleans to celebrate the occasion. Music icon and legend Janet Jackson in concert stands to be the once-in-a-lifetime event that headlines the recording artists at the three night music festival from July 2^nd through the 4^th.      

            Nephew Tommy from the Steve Harvey Show (WBLS radio) hosts the center stage concerts at the Dome that feature Janet Jackson commanding the main stage just after 11:00 until1:00 a.m. on Friday night.  Keep in mind, however, that all concerts begin at 7:00.   On Friday, July 2^nd Monica kicks it off with her vocal power and signature sound followed by Raphael Sandiq, DJ Soul Sister, Charlie Wilson and closing with Jackson.

            On Saturday night Keri Hilson starts the show.  The headliners are a fantastic trio, with rapper LL Cool J, Gladys Knight and Alicia Keys treating the audience with their famously entertaining performances.  The final concert on Sunday begins with Trey Songz followed by the incomparable Jill Scott, a two-time Festival artist; Mary J. Blige, a veteran Essence Festival star, and ending with the timeless band, Earth, Wind and Fire.  For the first time Maze featuring Frankie Beverly will not close out the series.

            On the Superlounge stages in the Dome rising and veteran r&b artists perform Friday through Sunday night.  Among them are gospel duo Mary, Mary, Chrisette Michelle, New Orleans’’ own Big Sam’s Funky Nation and War on Friday night; on Saturday soul singer Joe, Mint Condition, and DeLa Soul; and Sunday’s roster features Lalah Hathaway, Estelle and Shamarr Allen and the Underdawgs.

            The free Empowerment  seminars at the Convention Center on Friday focuses on love and relationships.  Panels range from “Black Men Uncensored:  Part I. The Games, The Lies, The Truth” to “Informed and In Charge:  Sex in the Era of HIV” with guest speakers and commentators, actor and author Hill Harper, Sheryl Lee Ralph, Kirk and Tammy Franklin, Steve Harvey, Lamman Rucker, Rodney and Holly Robinson Peete, Judge Penny Brown Reynolds and Dr. Celeste Watkins Hayes.

            For the first time in Essence Fest history the singular focus of the Saturday sessions is education. Dr. Bill Cosby returns as a keynote speaker.  An  exemplary panel of experts discuss, “The State of Education.”  With the new initiatives like charter schools, federal “Race to the Top” funds, and changing teacher evaluation and performance standards, black parents need to stay informed about their options for improving their children’s education.  Among the panelists are Dr. Steve Perry, Dr. Julianne Malveaux, Bishop T.D. Jakes, NEA Secretary Rebecca Pringle, Dr. Andre Perry, actress and mother Jada Pinkett Smith and National Urban League president, Marc Morial.

            Sunday’s program brings high praise and worship to the Convention Center through the concert performances of  Marvin Sapp, Karen Clark Sheard, Pastor Shirley Caesar and Tye Tribett among others.  An artist’s bazaar provides  a rich collection of original paintings, sculptures, Afrocentric fashions, and jewelry available for purchase.

            For tickets and hotel information, visit www.essencemusicfestival.com.

  BREAKING NEWS!!!!         

Bill T. Jones wins Tony Award for best choreography for "Fela!" now playing on Broadway! - june 14, 2010

Fela! Soars on Broadway

By Jeanette Toomer

                An exciting mélange of Broadway musical and cabaret performance, “Fela!” soars as a uniquely inspiring theatrical experience.   Jazzy African beats from the onstage band greet the audience as they take their seats.  Dancers step onto the stage in African dance moves ingeniously created by the talented director and choreographer Bill T. Jones.  The backdrop shows the corrugated walls of the “African Shrine,” Fela’s famous nightclub in Lagos, Nigeria.  Fela, in a casual white suit appears centerstage, and the show begins.

            Audience participation is very much a part of the opening of the play as Fela welcomes the audience to his last concert at the Shrine.  Sahr Nganjah gives a towering portrayal of this world-renowned recording artist who was part composer/musician and part revolutionary.  “Everything Scatter” has to be the most powerfully entertaining and enriching opening musical number in recent Broadway musical history.

            The arms reaching and flailing, tightened fists, rolling rhythmic hips and searing choreography of Bill T. Jones is the brilliant attractive landmark of the Fela! musical.  Arms swipe the air in fleeting movements, ensembles dance in tight electric formations, a tap dancer creatively stomps freeing rhythms, and the women move with steps rocking African beats and often peering with determination and pride.  “Originality/No Artificiality” and “Black President” featuring Saycon Sengbloh as Sandra demonstrate expert dance execution.   

            Fela narrates his own story and relates his past in England and in the United States during a visit during the Black Power Movement years of the 1960s.  At times, he plays trumpet and saxophone as well as direct the band.  Nganjah expertly demonstrates the charm and talent of the late Fela Anikulapo-Kuti, his African pride and love for his mother who once served as an adviser to Nkrumah, but later died as a martyr under a corrupt regime.  Lillias White sings with strength and valor as Fela’s late mother.

            For Fela violence and incarceration are never far away as his lyrics and Afrobeat music continue to blast the corrupt government and the multinational corporations who reap the profits.  Although the land is oil rich, Nigerian people go without water, as expressed in “Water No Get Enemy,” and the government spreads self-serving propaganda in “Teacher No Teach Me Nonsense.”  The show utilizes protest-style accoutrements in its set, designed cleverly by Marina Draghici, borrowing from agit-prop theater with posters and flags hanging along the walls in front of the stage.

            Costumes by Draghici and imaginative make-up by Robert Wierzel are beautifully multi-colored and fresh.  Special projection effects designed by Peter Nigrini are a rare unexpected treat.  Conceived by Bill T. Jones, Jim Lewis and Stephen Hendel with Sahr Ngaujah, Kevin Mambo and Saycon Sengbloh  Fela! is a winner for all times and all people.  Gelan Lambert deserves special mention for his fiery tap dancing.

Surely, there are Tony nominations waiting in the wings for Jones and its star.  Topping the list of producers are Broadway theater newcomers rapper/entrepreneur Shawn “Jay-Z” Carter and celebrated t.v. and movie actors Will and Jada Pinkett Smith.

             Fela! continues nightly and Wednesday matinees at the Eugene O’Neill Theater, 250 West 49^th Street.

Broke-ology Triumphs with More Heart than Science

By Jeanette Toomer

      Lincoln Center’s telling drama, “Broke-ology,” deals with much more than the science of being broke.  With a finely-tuned cast directed by Thomas Kail, this tragedy, written by Nathan Louis Jackson, creates an insular world of warm laughter and brotherly love that hides a deeper break beneath the surface.  The momentum steadily builds as two sons wrestle with the demands of an ailing father while the widowed father struggles with memories and unsettling grief for his late wife.

     As catchy as the title is for this play, it is only a hook that testifies to the survival  of this low-income black family in a tough Kansas City neighborhood.  The dialogue between the brothers crackles with freshness and vitality.  The first act features witty humor delivered by Ennis, portrayed brilliantly by Francois Baptiste, and his younger sibling, Malcolm, deftly played by Alano Miller.  Baptiste delivers in all scenes with an  an electric bravura performance.

      The tension begins to mount after the youngest son who upon returning home from graduate school in Connecticut. He tells his father and older brother that he plans to return there after the summer.  With growing unease Ennis copes with the emotional and financial demands of a newborn baby, wife and unfulfilling job.  He tries to persuade Malcolm to stay while it becomes increasingly clear that their father turns more vulnerable every day from the crippling effects of MS. 

     As the father Wendell Pierce lapses easily into loving dream sequences with his wife who appears in his favorite dress to hug and relive happier times.  As Mr. King Pierce lacks energy and limps convincingly about the stage.  Pierce is credible as he feigns a genial face and smile to cover up his inner sorrow.  Crystal A. Dickinson shines luminously as his perfect wife who reveals only one dream deferred but never fulfilled in her home life.  

     The challenges of directing on the thrust stage of the Mitzi E. Newhouse Theater present no problems to Mr. Kail who handily stages action and characters with good sightlines.  From my seat I felt like I was eavesdropping on some of the more tense conversations between the brothers and Mr. King’s romantic interludes with his wife.

     “Broke-ology” features some old school favorite hits by Earth, Wind and Fire and the Temptations which is a pleasant surprise.  There are other enjoyable moments that require your presence.  Effective lighting changes by Jason Lyons provide appropriate shading and mood for several scenes.

 “Broke-ology” closed last fall after a long run at the Mitzi Newhouse Theater.

Ease Over to City Center to See "The Wiz"

By Jeanette Toomer

            Top-notch direction, a brilliant score, a quartet of great performances and an energizing multi-talented chorus of singer-dancers all adds up to an engaging revival of the Broadway musical, “The Wiz,” now playing in midtown at the NY City Center.  Produced by New York City Center Encore! and BET Networks this production, starring LaChanze, Dawnn Lewis, Joshua Henry and James Monroe Iglehart, brings this allegorical tale, based on “The Wizard of Oz,” to a new buoyant vitality.

            There is much to rave about in this show.  Let’s begin with the human storm that blows away Dorothy’s home.  Dancers deconstruct the set in a building whirlwind of movement and musical swells as windows, frames, and clotheslines move away, blowing our Dorothy into a magical land.  This is just one of the amazing transitions in the musical expertly directed by Thomas Kail with a fantastic mix of modern, jazz and hip-hop choreography by Andy Blankenbuehler.  This energetic ensemble also forms the link for the trip down that yellow brick road and the invention of Emerald City.

            Featured in this performance is Ashanti as Dorothy who technically delivers signature songs like “Home” and “Be A Lion,” but leaves much to be desired in her acting ability.  On the other hand, there are several approving portrayals to make up for her weak performance..  La Chanze is loving as Aunt Em and the Good Witch Glinda when she wows the audience with her awe-inspiring renditions of “The Feeling We Once Had” and “If You Believe.”  Joshua Henry steals several moments as the Tin Man with his perfect delivery, comic timing and his emotive styling in the plea-song for a heart.  As the cowardly lion, James Monroe Iglehart, carries his weight.  Christian Dante White is warmly amusing as the scarecrow who longs for a brain.

            Three veteran t.v. and movie actors charm the audience in this limited engagement of “The Wiz.”  Dawnn Lewis demonstrates playful musical comedy skill as the fumbling Addaperle.  Tichina Arnold, most recently known for her recurring role in the t.v. series “Everybody Hates Chris,” is the loudly disgruntled Evillene, the witch, who proves that she can belt out a Broadway melody with ease and some nastiness, of course.  Orlando Jones ably recreates the role of the wizard with an arrogant savvy, and later a humble reckoning.

            The look of this amazing musical owes much to the colorful designs of their sets, costumes & hair, and lighting by David Korns, Paul Tazewell and Charles G. LaPointe, and Ken Billington, respectively.  The music and lyrics, written by the late Charlie Smalls, remain timeless and very entertaining. Book by William F. Brown features breezy dialogue with a moral center.  Original orchestration by Harold Wheeler (who has since worked on an Academy Awards production and several award-winning Broadway musicals including “Hairspray” and “The Life”) is mellifluous and exciting in sounds and execution under the direction of Alex Lacamoire.      

            Lastly, but importantly, the unique attraction of this bold revival owes much of its appeal to its hardworking ensemble totaling some 21 members, including Raymond Lamar Bennett, Tanya Birl, Darlesia Cearcy, Asmeret Ghebremichael, Angela Grovey, Ebony Haswell, Lauren Lim Jackson, Kevin Anthony, Carl Lation, Jennifer Locke, Amy McClendon, Kenna Michelle Morris, John Eric Parker, Herman Payne, Ryan H. Rankine, Levensky Smith, Ephraim M. Sykes, Adrienne Warren, Daniel J. Watts, Juson Williams and William B. Wingfield,

            “The Wiz” plays at NY City Center on 55^th street through July 5^th, 2009

Wilson's "Joe Turner" Captivates Broadway Audiences

By Jeanette Toomer

           The late playwright August Wilson has plenty of reasons to smile in his heavenly home.  The gripping revival of his taut drama, “Joe Turner’s Come and Gone” is presently captivating Broadway audiences with riveting portrayals of his finely-wrought characters that carve a life out of an unsettling time for African Americans in 1911.

            The set falls into place slowly once the curtain rises at the Belasco Theater.  Against a grayish landscape with dark smokestacks of the steel mill in Pittsburgh, two wooden window frames, and a door drops out of the sky and a dining table rises out of the floor ingeniously depicting how African Americans made their living out of nothing after the Civil War.  Indeed, well into the next century many lived a transitory existence.

.           The setting of a boardinghouse perfectly mirrors these realities.  A hardworking couple, Seth and Bertha Holly, played confidently by Ernie Hudson and Latanya Richardson Jackson, own and manage the premises.  Their tenants,  except for the rootworker, Bynum Walker, come and go.  Veteran actor, Roger Robinson, gives a soft spoken, layered, but bravura performance as this shaman-healer who helps people “find their song” in a new land.  Along comes Herald Loomis, a man torn from his home and in search of his wife, who is very troubled, ominous and dangerously silent.  Chad L. Coleman as Loomis emanates a powerful foreboding presence that hints at a terrible unspoken burden.

            Lighter moments between transient guests reveal more about the search to belong and partner with someone.  Andre Holland is Jeremy Furlow who expertly adds comic touches to his wooing of Mattie Campbell (Marsha Stephanie Blake), and later moves on to another single female, Molly Cunningham (Aunjanue Ellis).  Ellis is a sparkling gem as Cunningham and Blake deftly demonstrates her unrequited longing and denial of rejection by her former lover.  Rutherford Selig, the “people finder,” is the only white character ably portrayed by Arliss Howard.  Amari Rose Leigh is Herald’s obedient daughter and a youthful Michael Cummings plays her friend.

            Near the end of the play Loomis finds his wife, now named Martha Pentecost, a born-again, bible-toting Christian.  Dana Gurira is the spirited Pentacost who wields her bible with authority, but fails to reach Herald.  It is only in the astounding climax that Loomis commits a dramatic liberating act that in the words of August

Wilson

enables him to, “accept responsibility for his own presence in the world.”

            Direction by Bartlett Sher underscores the sense of lost and disconnection of a people striving to find their place.  Sher has everything working to effect a tight creative vision that shows up the differences between the characters, but also underscores the cultural and spiritual significance of their journey.

Set design by Michael Yeargan is worthy of Tony award recognition. Sher’s seamless direction and featured actor Roger Robinson deserve honors as well from the annual Drama Desk and Tony voters.  In fact, in many ways this revival has bested the original production that starred a towering Delroy Lindo as Herald Loomis.  For that accomplishment and more, “Joe Turner” should win the Tony for best play revival.

Black Theater Alert!  Wilson's "Joe Turner" On Broadway

By Jeanette Toomer

      August Wilson's compelling drama, "Joe Turner's Come and Gone" returns to Broadway this spring.  Set in 1911, Joe Turner's Come and Gone tells the story of Herald Loomis who, after serving seven years hard labor, journeys North with his young daughter and arrives at a Pittsburgh boarding house filled with memorable characters who aid him in his search for his inner freedom.

      The play officially opens April 16th and runs through mid-June.  The cast features Chad L. Coleman as Herald Loomis and movie/t.v. actors, Aujanue Ellis, LaTanya Richardson Jackson and veteran of stage and screen Roger Robinson.  "Joe Turner's Come and Gone" was the second drama the late playwright, August Wilson, wrote that dramatized the lives of African Amercans during each decade of the 20th century.  Wilson went on to garner two Pulitzer Prizes for drama for "Fences"in 1987 and another for "The Piano Lesson" in 1990.  In addition, he was awarded the Tony Award for best drama for "Fences." 

     "Joe Turner" closed June 15th. 

Theater Central

DDL provides the latest news and advice on theater, and educational theater events in New York.

Check theater central regularly for updates.

At the Movies

If you did not catch "The Great Debaters" at the movies last Christmas, look for it when it comes out on DVD.  This is real family movie with an empowering message for all young people.