Sweet Potato Queens
Book by Rupert Holmes, Music by Melissa Manchester, Lyrics by Sharon Vaughn
Based on the Bestselling Books of Jill Conner Browne
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
March 1, 2024
Mara Bollini, Talichia Noah (standing), Ann Hier Brown, Victoria Pines
Photo by Jill Ritter Lindberg
New Line Theatre
Sweet Potato Queens seems at once like an ideal show for New Line Theatre as well as being a bit of a surprise, since it’s focused to a degree on promoting a real organization. The danger with a show like this is that it could come off as a schmaltzy TV movie or commercial. Still, the show doesn’t really come off as a marketing pitch especially as staged by New Line, with its focus on strong characterization and vocals, with vibrant costuming and some over-the-top moments, with an emphasis on Southern style and humor, with particular focus on being a source of encouragement and bonding for women.
The Sweet Potato Queens are real, with many chapters around the world, but they were begun in 1982 by Jill Conner Browne, played here by Talicia Noah. Browne has written a series of books over the years expounding the SPQ philosophy, and this show is essentially a combination of an origin story and a testimonial, expounding on Browne’s philosophies while explaining how the SPQ movement began, featuring some representative characters that Browne meets and inspires, including three women all named Tammy (Mara Bollini, Ann Hier Brown, and Victoria Pines), along with a waiter named George (Aarin Kamphoefner) who forms a bond with these women, along with other important figures in Browne’s life such as her Mama (Bethany Barr), her Daddy (Kent Coffel), and her husband Tyler (Jeffrey M. Wright). As Jill, who has recently left her stable-but-boring job at Sears, ponders what to do with her life and how to pursue a career as a writer, she deals with her personable but evasive unemployed husband’s efforts to find a job, Mama’s nagging to go back to Sears, and listens to advice from Daddy to “Do What Makes Your Heart Sing”. She also finds herself hanging out at the local Chinese restaurant and encouraging the Tammies and George to do likewise, while Too Much Tammy (Brown) deals with body image issues and her relationship with food, Floozie Tammy (Bollini) tries to find a healthy balance in her relationships with men, and Flower Tammy (Pines) deals with an abusive marriage, while George deals with the struggles of being a gay man in what can be a restrictive and isolating Southern culture. Meanwhile, Tyler continues to be mysterious and secretive, and Jill wonders whether or not the frequent rumors about his apparent philandering ways are true.
The story features a score of mostly upbeat songs, some of which are contagiously catchy (such as the maybe too-oft-reprised “Do What Makes Your Heart Sing), and others not as memorable. The overall message of “sisterhood” and empowerment is communicated with a Southern flair and bright, colorful costumes by Zachary Phelps that are inspired by the original SPQ outfits, as well as more toned-down but realistic outfits for the “origin story” scenes. There’s also a bright, abstract runway-type set by Rob Lippert that is reminiscent of a 1970’s game show with its bold colors and complimented by Matt Stuckel’s vibrant lighting. The set painting and construction look better in the pictures than in person, though, coming across as kind of rough around the edges up close. Marr’s choreography is energetic and fun, and the band led by music director Dr. Tim Amukele provides a good soundtrack for the story and performers.
The performances are strong across the board, with Noah making an ideal and personable narrator/protagonist as the determined Jill. Noah has a strong voice, as well, and her co-stars also shine in the vocal department, with the always-great Coffel a standout as Daddy; Bollini, Brown, and Pines all getting their moments to shine as the Tammys; and Wright making the most of his somewhat annoying character as Tyler. Barr also has excellent comic moments as Mama, including the standout song “Sears”, and Kamphoefner gives an amiable performance as George. The group numbers are memorable, as well, for the most part, although it can be difficult to decipher the lyrics sometimes when everyone is singing at once.
Overall, Sweet Potato Queens at New Line is an entertaining, energetic, in-your-face ode to female empowerment, even though there is a bit of stereotyping where men are concerned. This strikes me as the type of story that some may relate to more than others, but at New Line, the enthusiastic performers put their all into this tale full of over-the-top, occasionally raunchy Southern humor with a few well-placed moments of poignancy along the way. It’s an enjoyable evening with a memorable cast.
Aarin Kamphoefner (center) and cast of Sweet Potato Queens
Photo by Jill Ritter Lindberg
New Line Theatre
New Line Theatre is presenting Sweet Potato Queens at the Marcelle Theatre until March 23, 2024