Posts Tagged ‘ron himes’

The Black Rep’s “Dance on Widow’s Row” Entertains with Dark Comedy, Strong Cast

Posted in St Louis Theatre, tagged , , , , , on January 17, 2026| Leave a Comment »

The Dance on Widow’s Row
by Samm-Art Williams
Directed by Ron Himes
The Black Rep
January 10, 2026

Velma Austin, Denise Thimes, Margery Handy, Tiffany Tenille
Photo: The Black Rep

The Black Rep is starting out the new year with dark comedy and a quartet of mysterious, scheming widows and their trepidatious suitors. Samm-Art Williams’s The Dance On Widow’s Row, directed by Ron Himes, explores relationships and aspirations with a sitcom-like flair and a memorable cast. Story and pacing-wise, it has its ups and downs, but this cast and crew make the most of the show and bring a host of larger-than-life characters and a great deal of laughter to the stage at WashU’s Edison Theatre.

The story follows four women who live on an upscale street in Port Town, NC nicknamed “Widow’s Row” by the locals because so many widowed women live there. The four featured here–led by the determined Magnolia (Denise Thimes)–have all been widowed at least once, and most more than once. Magnolia, twice widowed and looking for a new man, has invited her friends Simone (Velma Austin) and Lois (Margery Handy), and frenemy Annie (Tiffany Tenille) to a party at her home in which she has also invited some eligible local bachelors–Deacon Hudson (A.C. Smith), Newly Benson (Ron Himes, standing in for J. Samuel Davis), and Randolph Spears (Isaiah Di Lorenzo), with hopes of making romantic connections and also to dispel gossip and superstition that keeps men from wanting to date women who live on their street. All the women have their stories and secrets, with insinuations about what may or may not have happened to their late husbands, and the widows’ roles in those deaths. Also, the men have varying degrees of eagerness and/or fear in approaching the evening. The dynamics between the characters and the various clues as to underlying motives form the basis for much of the comedy.

The differing personalities also serve as a source for much of the humor, with the more sophisticated-minded Magnolia, the fame-focused actress Simone, the scheming Lois, and the initially stuffy, churchy Annie confide, clash, and conspire; while the optimistic Deacon, the nervous Newly, and the over-eager Randolph navigate their interactions with the various women. While the dialogue is sharp and well-structured, sometimes the timing seems a bit off, with beats between scenes being a bit longer than they should be, and some of the plot points can be a bit convoluted, but for the most part, it all plays out as some kind of fast-paced, ominously-toned sitcom, and all the players are on board with well-realized comic performances. 

Thimes, Austin, and Handy are an especially strong trio, as the bond between their characters is made obvious in their portrayals. They each display strong comic timing and memorable characterizations. Tenille also has some strong moments as the initially stuffy but surprising Annie, but also comes across as a bit young for the role. There are also fine performances from the men, with Smith as a suave, even-tempered Deacon–who has a strong connection with Magnolia; Di Lorenzo in a hilarious turn as Randolph; and Himes in an impressive role as a fill-in who comes across as if he were meant to play the role all along. There’s a great deal of energy and ensemble connection here, and all the performers display presence and commitment to their roles. 

The set by Tim Jones is richly appointed in keeping with the upper-class setting of the show, and the characters are all suitably outfitted by costume designer Brandin Vaughn in memorable garb that suits their personalities. There’s also fine work from lighting designer Sean Savoie and sound designer Kareem Deanes. It’s all in keeping with the general sitcom-like tone of the play.

Overall, The Dance on Widow’s Row is a lively way to continue the Black Rep’s season, and to start off the new year with a memorable, characterful vibe. It’s also a good showcase for some of the Black Rep’s “regular” performers. It’s a sharp and darkly humorous take on life, love, friendship and romantic competition. 

Denise Thimes, A.C. Smith
Photo: The Black Rep

The Black Rep is presenting The Dance on Widow’s Row at Washington University’s Edison Theatre until January 25, 2026

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Musical “Raisin” Highlights Important Themes, Strong Cast at the Black Rep

Posted in St Louis Theatre, tagged , , , , , , , , , , , , on September 11, 2025| Leave a Comment »

Raisin
Book by Robert Nemiroff and Charlotte Zaltzberg
Music by Judd Woldin, Lyrics by Robert Brittain
Adapted from Lorraine Hansberry’s A Raisin in the Sun
Directed by Ron Himes
Choreographed by Kirven Douthit-Boyd
The Black Rep
September 6, 2025

Duane Martin Foster, Adrianna Jones, Andrea Mouton
Photo by Keshon Campbell
The Black Rep

The first time I saw Lorraine Hansberry’s classic play A Raisin in the Sun was in a fantastic production at the Black Rep in 2014. Now, the celebrated company is revisiting the material in a different form with their new production of the 1973 Tony-winning musical version, Raisin. As is usual for this company, the resulting production is a thoughtful, well-cast show, and a promising start for a new season for the Black Rep.

If you’ve seen or read A Raisin in the Sun, you know the plot of Raisin, although there are a few changes, such as streamlining the story a bit, the removal of one character and the addition of one who is only mentioned in the earlier play. There’s also the expected singing and dancing ensemble, since it’s a musical. To a score that reflects the musical styles of the show’s early 1970s origins, the story plays out in what the program describes as early 1950’s Chicago, where the Younger family is dealing with various hopes, dreams, changes, and challenges. Matriarch Lena (Anita Michelle Jackson), a recent widow, is awaiting an insurance check from her late husband’s policy, which she hopes to use it to move the family from their too-small rented apartment into a bigger house in a nicer neighborhood. Her son, Walter Lee (Duane Martin Foster)–who is currently working as a chauffeur–is hoping he can convince his mother to let him use the money to invest in a new liquor store business with two of his buddies.  Meanwhile, his wife Ruth (Adrianna Jones) also wants more room and a promising future for their young son, Travis (Jaron Bentley). Meanwhile, Walter Lee’s younger sister, aspiring medical student Beneatha (Andrea Mouton) deals with differences in beliefs with her mother, as well as being encouraged to explore her African heritage by Nigerian student Joseph Asagai (Robert McNichols), who is also romantically interested in Beneatha. The main conflict, though, focuses on Walter’s dreams vs. Lena’s, as well as the challenges for the family amid racial prejudice in 1950’s Chicago, generational differences, and the changing values of the times.

This is an intriguing well-told story, and the songs fit well into the show, opening with an energetic ensemble dance number featuring the energetic, fluid choreography of Kirven Douthit-Boyd, and featuring some memorable musical moments throughout. The cast is excellent, as well, led by a tour-de-force performance by Jackson as the hopeful, caring Lena, who gets some excellent opportunities to show off her powerful singing voice. Foster is also strong as the insistent dreamer Walter Lee, displaying strong chemistry with Jones’s equally excellent Ruth. Mouton and McNichols make a sweet connection as Beneatha and Asagai, and there’s also a standout turn from young Bentley as Travis, who gets a few moments to shine musically as well. De-Rance Blaylock is also a standout in a smaller but memorable role as the Youngers’ neighbor Mrs. Johnson, and Will Bonfiglio also makes a memorable impression in a smaller role as a nervous representative of the currently all-white neighborhood the Youngers are planning to move to, offering them a deal that presents a dramatic dilemma. There’s a strong ensemble, as well, showing off strong singing and dancing ability as accompanied by the excellent band led by musical director/keyboardist Jermaine Manor. 

Visually, I did find myself not always able to tell what time the show was supposed to be set in, with the costumes by Gregory Horton being memorable but not always evocative of the early 1950’s. The set by Tim Jones is simple but effective, and Tony Anselmo’s lighting lends a dreamy tone to some moments while emphasizing realism in others as needed. The sound design by Kareem Deanes is good. but the acoustics in the Edison Theatre present the usual challenge and it’s not always easy to hear the singers over the music, and the pacing is excellent but there are occasional awkward transitions between scenes. 

Despite a few minor issues, though, Raisin is a fascinating, well-told story told by a truly fantastic cast. It’s an ideal showcase for the performers, both familiar and new, and an intriguing adaptation of a classic play with a memorable score. It’s an excellent season opener for the Black Rep, and it makes me even more eager to see what else they have in store.

Adrianna Jones, Jaron Bentley
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Raisin at Washington University’s Edison Theatre until September 21, 2025

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Strong Cast Dishes out Lively Relationship Comedy in the Black Rep’s “Chicken and Biscuits”

Posted in St Louis Theatre, tagged , , , , , , on January 15, 2025| Leave a Comment »

Chicken and Biscuits
by Douglas Lyons
Directed by Ron Himes
The Black Rep
January 11, 2025

Cast of Chicken and Biscuits
Photo by Keshon Campbell
The Black Rep

Comedy and awkward family dynamics are on the menu in the Black Rep’s newest production, Chicken and Biscuits by Douglas Lyons, directed by Ron Himes. There are tensions between siblings, parents and children, and hidden secrets are exposed, and it all happens at a funeral. It’s an ideally cast show with a brisk pace and many memorable moments, and lots of laugh-out-loud comedy even considering the setting.

The program for the performance also includes a funeral program remembering Bernard Jenkins, the recently deceased pastor of the church in New Haven, CT that is now being pastored by his son-in-law, Reginald Mabry (A.C. Green), who is married to Bernard’s eldest daughter, the somewhat strait-laced Baneatta (Denise Thimes), who is anxious about the funeral for several reasons, and who has had a strained relationship with her more unconventional sister, Beverly (Paulette Dawn), who is attending the funeral with her fame-seeking teenage daughter, aspiring rapper La’Trice (Kaylyn McKoy). The sisters and their children haven’t seen each other since their mother’s funeral a decade ago, and old resentments linger, as newer ones also continue involving Baneatta’s adult children Kenny (Cameron Jamarr Davis) and Simone (Alex Jay). Kenny’s long-term boyfriend Logan (Jacob Schmidt)–who is white and Jewish–feels out of place for various reasons, especially since Baneatta hasn’t accepted his relationship with Kenny and seems to deliberately get his name wrong. Meanwhile, Reginald is nervous about giving the eulogy for his much-lauded and loved father-in-law, who was also his mentor. Much hilarity ensues as personalities clash, tensions threaten to boil over, and a latecomer to the proceedings, Brianna (Delisa Richardson) arrives with a surprising secret of her own. 

This show manages to be both an intriguing relationship story and a fast-paced comedy at the same time, with moments of poignancy to punctuate the humor, and some fun staging moments involving music and movement reminiscent of a music video or TV show montage. The sound design by Kareem Deanes adds much to the atmosphere, as does Ethan Steimel’s lighting,  along with Andre Harrington’s detailed costume design, Mikhail Lynn’s props and Tim Jones’s versatile set. Director Himes has paced the show just right, as well, with all elements blending together into the right combination of humor, heart, pandemonium, and eventually a strong dose of hope. 

There’s a great cast here, led by Thimes as the particular, somewhat controlling Baneatta, who can be difficult at times, but Thimes manages to bring sympathy to her situation and a great deal of presence. As the more outspoken sister, Beverly, Paulette Dawn is a delight, bringing a good deal of energy and comic timing to the role, and the two are believable as sisters who frequently clash, but ultimately seem to want their relationship to work. There’s also excellent work from McKoy as the somewhat brash young La’Trice, Jay as the unhappily single Simone, Davis as the determined, creative Kenny, and Schmidt as the perpetually anxious but kind-hearted Logan. Smith is also strong as Reginald, who often gets to be the calm one amidst the chaos, and a uniting voice in the midst of the tension. Richardson also turns in a fine performance as the mysterious Brianna. It’s a strong cast all around, with excellent chemistry and timing that drives both the humor and makes the relationships compelling. 

This is a fun, fast-paced, fascinating play, exploring family drama that many audience members will be able to relate to, while also presenting a specific cultural setting with vivid detail. The characters are well-drawn, and even the unseen, late pastor Bernard is a fully realized character. Chicken and Biscuits is a lively start for the new year at the Black Rep, paving the way for a promising slate of shows in the rest of the season.

Paulette Dawn, Cameron Jamarr Davis, Jacob Schmidt, Denise Thimes
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Chicken and Biscuits at Washington University’s Edison Theatre until January 26, 2025

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Stellar Cast Sings Melodic “Blues in the Night” at the Black Rep

Posted in St Louis Theatre, tagged , , , , , , on September 21, 2024| Leave a Comment »

Blues in the Night
by Sheldon Epps
Directed by Ron Himes
Choreographed by Heather Beal
The Black Rep
September 18, 2024

De-Rance Blaylock, Adrianna Jones, Amber Alexandria Rose
Photo by Keshon Campbell
The Black Rep

The Black Rep’s introduction to their 2023-2024 season is a tuneful revue that showcases the impressive musical abilities of the cast, music director, and band. With a title like Blues in the Night, the show’s atmosphere and genre are made clear, as the alternately sultry, smooth, and yearning sounds of blues and jazz classics inform the 1930s setting and mood in this production that is more about sound, mood, and culture than plot. 

According to the program, the setting is Chicago in the late 1930s. The location is a rooming house or hotel, with three neighboring residents billed as The Lady (De-Rance Blaylock), The Woman (Adrianna Jones), and The Girl (Amber Alexandria Rose). While there isn’t any real dialogue, there is a bit of narration by The Lady, as she introduces her neighbors and their situations. She herself is a veteran stage performer at the twilight of her career, reveling in memories of the past, while The Woman is elegant and stylish but lonely, while The Girl is younger and less experienced in life, eager to experience the joys of romance. Meanwhile, The Man (J. Samuel Davis) hovers around the scene, commenting on the state of the women’s situations while trying to pursue some romantic action of his own. The general themes featured in the classic blues songs are highlighted throughout the evening–of lonely but still hopeful women, rakish and irresponsible men, and the various struggles in the relationships between men and women. There’s an overall “nightclub” atmosphere as well, represented by a bar and the house band, with whom the various performers interact from time to time, which adds to the overall jazzy and bluesy mood of the show.

The “Night” part of the title is represented in the music, but also in the production values, from the well-appointed set by Jamie Bullins, to the detailed costumes by Gregory J. Horton, and especially the evocative lighting by Travis Richardson, emphasizing tones of blue, red, and purple. The sound by Justin Schmitz and the lively band led by music director and pianist Khalid McGee add much to the overall quality of the show, delivering tune after tune in style and working well with the singers. There are also fun moments of smooth and energetic choreography by Heather Beal, danced especially well by Jones and Davis.

As for the singers, they are nothing short of spectacular, delivering all the emotion and musicality of the blues and jazz numbers, as well as presenting strongly realized characters through song. Blaylock has quickly become one of my favorite singers in the St. Louis theatre scene, and she doesn’t disappoint here, delivering some powerful numbers displaying her full range and vocal control, with moments of wit as well as intense emotion. Jones and Rose are also excellent, with Jones especially displaying strong dance ability along with impressive vocals, and Rose having some strong emotional moments as well. The always excellent Davis lends strong support as the smooth-talking, charming and scheming Man. The harmonies between the performers in the group numbers are also especially memorable, particularly when all three women sing together. 

Overall, even though there isn’t really a story here, Blues in the Night is an entertaining experience. If you love the blues and jazz music of the first half of the 20th Century, and if you are looking for an immersive, atmospheric musical experience, this is a show that’s sure to entertain.  It’s another example of theatrical excellence from the Black Rep.

De-Rance Blaylock, J. Samuel Davis
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Blues in the Night at Washington University’s Edison Theatre until September 29, 2024

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The Black Rep’s Memorable “King Hedley II” Explores Ambition, Legacy with Profound Emotion

Posted in St Louis Theatre, tagged , , , , , , on June 26, 2024| Leave a Comment »

King Hedley II
by August Wilson
Directed by Ron Himes
The Black Rep
June 21, 2024

Geovonday Jones, Karamuu’ Kush, A. C. Smith, J. Samuel Davis
Photo by Keshon Campbell
The Black Rep

The Black Rep is closing out its season with a memorable production of August Wilson’s King Hedley II. As part of a well-known cycle of plays, each one set in a different decade of the 20th Century–mostly in Pittsburgh’s Hill District–this play takes the audience to a backyard in that neighborhood in 1985. With a strong cast and excellent production values, it’s an impressively realized staging that explores a variety of issues in the lives of its characters and the world around them.

While many of the plays in Wilson’s cycle are connected through themes and (mostly) off-stage characters, King Hedley II is even more directly related to one of the previous plays, Seven Guitars, which the Black Rep last staged in 2017. The play’s title character, King Hedley II (Karamuu’ Kush) is named for a character in the previous play, and other characters from that play appear in this one, while others are mentioned, and some are relatives of previous characters. The sense of the passage of time, progress (or lack thereof), and the concepts of ambition and carrying on a legacy are emphasized by the connection to the earlier plot and characters.

In this play, King Hedley II has been recently released from prison, and wants to make a new life for himself and his wife, Tonya (Alex Jay) by opening a video store with his friend Mister (Geovonday Jones). They are raising the money by selling refrigerators, but they are evasive as to the appliances’ origin and storage location. King also reckons with his past, as the cousin of the man he killed is apparently out for revenge, and his mother Ruby (Denise Thimes) deals with her own past, as the reappearance of her old paramour Elmore (J. Samuel Davis) reminds her of past regrets and tragedies, as well as a long-held secret she is keeping from King. Meanwhile, there is the neighbor known as Stool Pigeon (A.C. Smith), who acts as something of a prophetic figure, promising a future apocalyptic event, hoarding newspapers, and indulging in cryptic rituals that threaten to disturb King’s newly planted flower seeds in a patch of backyard dirt. There’s a good deal of symbolism, as well as well-drawn characters and a sense of striving and persistence amid adversity that characterizes this story, even to the point of potential self-destruction. It’s a profound, incisive, insightful look at a group of characters and their overall situation in life, as well as a more overarching examination of the hopes, dreams, and struggles of Black Americans in the city in the 1980’s. 

The characters are memorable and especially well-portrayed by an excellent cast, led by Kush in a commanding performance as the stubbornly ambitious King Hedley II. Kush has a strong stage presence, making the rest of the characters’ emotional connection to him especially credible. There’s also a strong turn from Thimes as the once-promising young singer Ruby, who is now older and full of regrets while still hoping for a better life for her son and a better relationship with him. Davis, as the smooth-talking gambler Elmore, is also impressive, as is Smith as the insistently prophetic Stool Pigeon. Jones as Mister and Jay as Tonya are also memorable, rounding out the first-rate ensemble cast that drives the plot and themes of this story with energy and strong emotion.

Visually, the show is nothing short of stunning in its realization, with a detailed set by Timothy Jones that transports the audience to a specific time and place, with strong support from Mikhail Lynn’s props. The costumes by Kristie Chiyere Osi are well-suited to the characters, adding to the overall atmosphere of the show. There’s also excellent work from lighting designer Travis Richardson and sound designer Alan Phillips, bringing the world of the play to life with a vivid sense of atmosphere and mood.

King Hedley II, as staged at the Black Rep, is a profoundly affecting tale of persistence, legacy, tragedy, and stubborn hope. Its blend of stark realism and fantastical symbolism is memorable, as is the strong casting and excellent pacing. It’s a memorable work from one of the best playwrights of the 20th Century, and another strong production from the Black Rep.

Denise Thimes, Alex Jay, Karamuu’ Kush
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting King Hedley II at Washington University’s Edison Theatre until July 14, 2024

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The Black Rep Entertains with Energetic “Timbuktu!”

Posted in St Louis Theatre, tagged , , , , , , , , , , on May 25, 2024| Leave a Comment »

Timbuktu!
Book by Luther Davis
Music and Lyrics by Robert Wright and George Forrest
Directed by Ron Himes
Choreographed by Haley Rhiney
The Black Rep
May 17, 2024

Evann De-Bose, Duane Martin Foster, and Cast
Photo by Keshon Campbell
The Black Rep

The Black Rep’s latest production has a somewhat complex history. Timbuktu! is essentially a 1978 reworking of the 1953 Broadway musical Kismet, with the setting changed, a new book, and an all-Black cast featuring such notable names as Eartha Kitt and Melba Moore. As director Ron Himes noted on Opening Night, after a US tour in 1979 and a production by the Black Rep in 1985, this show seems to have faded into obscurity. Now, Himes and the Black Rep have brought the show back to the stage for a new audience and a new generation, with the result being an eye-catching, well-choreographed production highlighting its 14th Century West African setting and an enthusiastic cast, even though it still can come across as a bit dated at times.

I hadn’t seen this show or its precursor before, but based on reading the synopses, it seems like the story of Timbuktu! follows the plot of Kismet fairly closely, with a few small plot changes and a slight shift in character emphasis. It still features the well-known score by Robert Wright and George Forrest–which in turn was largely based on themes by composer Alexander Borodin–while also including two new songs for this adaptation. Set in the West African city of Timbuktu at the height of its influence in the 14th Century, the story follows two connected main plots featuring a wandering, financially struggling Poet (Duane Martin Foster) and his sweet-natured daughter, Marsinah (Evann De-Bose). Through the course of the show, the Poet manages to  get in trouble with the villainous and ambitious Wazir of Police (Drummond “Drum” Crenshaw) and attract the amorous attentions of the Wazir’s Wife of Wives, Sahleem-La-Luum (Amarachi Kalu). Meanwhile, the region’s young ruler, the Mansa (Dereis Lambert) is being encouraged to find a bride, and while the Wazir is pushing his own choices for selfish reasons, the Mansa goes out into the town in disguise and meets Marsinah, falling instantly in love, but not getting her name before going back to the palace and announcing he’s going to marry her. This announcement sets into motion a series of machinations, mix-ups, and musical numbers that eventually leads to a somewhat predictable conclusion.

The show itself is entertaining, although the comedy does have the air of a 1970’s variety sketch show at times, and some of the characters don’t have much complexity. The Wazir is something of a stock villain, for instance, but Crenshaw plays the role for all its scheming, conniving worth. Foster and De-Bose are especially strong as the Poet and Marsinah, with Foster’s stage presence and comic timing on clear display, and De-Bose giving a eminently likable, impressively-sung performance as the love-struck young woman. Kalu, as Sahleem-La-Luum, is also memorable, making the role her own and not trying to imitate the incomparable Eartha Kitt. Lambert has a good degree of charm as the Mansa, and good chemistry with De-Bose, lending credibility to their characters’ whirlwind romance. There’s a convincing supporting cast as well, and an energetic ensemble who make the most of Haley Rhiney’s memorable choreography.

The set, by Dunsi Dai, is versatile and evocative of the time and place, enhanced by Sean Savoie’s excellent lighting. There’s also excellent, detailed and colorful period costume design by Christie Chiyere Osi. The band, led by music director Colin Healy, is strong for the most part, although at times the music can drown out the singers, and it can be difficult to understand the lyrics to some of the solo numbers. Of special note is the on-stage, African-styled percussion work by Caph P. Guei, which punctuates the story and emphasizes the overall style, adding much energy to the show.

Timbuktu! does have something of an “old-fashioned musical/1970s comedy” vibe to it that makes it seem dated at times, although the performers are giving it their all, and the music–featuring classic songs like “Stranger in Paradise”–is memorable. It’s a fun show overall, making the most of its setting and performances. If you’re familiar with this show, or with Kismet, or even if you’re new to both shows, this production is worth checking out.

Cast of Timbuktu!
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Timbuktu! at Washington University’s Edison Theatre until June 9, 2024

 

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Well-Cast “Hold On!” is a Memorable Start to the Season for the Black Rep

Posted in St Louis Theatre, tagged , , , , , on January 20, 2024| Leave a Comment »

Hold On!
by Paul Webb
Directed by Ron Himes
The Black Rep
January 12, 2024

Cast of Hold On!
Photo by Dunsi Dai
The Black Rep

Opening the weekend before Martin Luther King Jr. Day, the Black Rep’s latest production focuses on an important moment in time in the life Dr. King and the American Civil Rights Movement. Hold On! was written by Paul Webb, who also wrote the screenplay for the film Selma, on which this World Premiere play is based. Focusing on the work of King and other Civil Rights leaders, along with their efforts for voting rights and for the support of President Lyndon B. Johnson, the play has a sweeping scope, a fairly large cast, and a quick pace. It covers a lot of historical ground, and as staged at the Edison Theatre by the Black Rep, it’s a fascinating play.

As director Ron Himes pointed out in his program notes, this show is sort of the “flip side” of Robert Shenkkan’s All the Way, which focuses on LBJ and his role in the passage of the Civil Rights Bill in 1964. Himes appeared in the production of that play at the Repertory Theatre of St. Louis in 2015, and has cast the same actor who played LBJ in that production, Brian Dykstra, to play the same role here. In Hold On! while LBJ does play a prominent role, the main focus is on Dr. King (Enoch King) and other activists involved in the effort for voting rights in Selma, Alabama in 1965. The build-up to the well-known marches and protests is covered, while portraying many figures involved in the events, including local activists Annie Lee Cooper (Tamara Thomas) and Jimmie Lee Jackson (Jason Little) as well as Coretta Scott King (Evann De-Bose),  Ralph Abernathy (Gregg Carr, Sr.), and John Lewis (Greg Carr II); as well as prominent opposition figures like Sherriff Jim Clark and Governor George Wallace (both played by Eric Dean White). There’s a lot of story to tell here, with locations shifting between Selma, Washington, DC, and elsewhere, and as King deals with pressures from Johnson to call off the Selma efforts, as well as personal issues in his marriage, as the governor tries to quell the protests with tragic results. It’s a sweeping, well-constructed show that manages to include many details while portraying its characters as complex human beings. 

The staging is excellent, emphasizing action, with a prominent Oval Office setting center stage and the rest of the events staged around it with precision. Dunsi Dai’s set is detailed and versatile, with vivid lighting by Sean Savoie and memorable projections by Zach Cohn that evoke the time, place, and mood of the story. There’s also strong work from costume designer Marc W. Vital II and props designer Meg Brinkley, helping to transport the audience to 1965 in an effective way.

The cast is wonderful, led by King in remarkably complex performance as Dr. King, effectively portraying his charisma and ideals as well as his conflicts. Dykstra, as LBJ, is also strong, in a thoroughly believable portrayal. White is also a standout in a double “villain” role as the profane, ambitious Governor Wallace and the belligerent Sherriff Clark. De-Bose, as Coretta King, also gives a convincing performance, as well as displaying a strong singing voice at a few moments. The rest of the cast, most playing multiple roles, is also memorable, with Isaiah Di Lorenzo as LBJ’s aide and speechwriter Richard Goodwin, Thomas as the persistent Annie Lee Cooper, and Little as Jimmie Lee Jackson as standouts. It’s a strong ensemble all around, also featuring Walter Cummings, Joel Anthony, Thomas Patrick Riley, and Tammie Holland. 

Hold On! manages to capture a sense of urgency as well as the sense of importance of its subject, which still resonates today. It’s a superbly crafted production of a well-constructed script, featuring a first-rate cast. It’s another example of theatrical excellence from the Black Rep.

Enoch King, Brian Dykstra
Photo Dunsi Dai
The Black Rep

The Black Rep is presenting Hold On! at Washington University’s Edison Theatre until January 28, 2024

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The Black Rep’s “Eubie!” is a Dynamic, Melodic Tribute to a Musical Legend

Posted in St Louis Theatre, tagged , , , , , , , , , on May 10, 2023| Leave a Comment »

Eubie!
Music by Eubie Blake
Conceived and Originally Directed on Broadway by Julianne Boyd
Directed by Ron Himes
Choreographed by Heather Beal and Vivian Watt, with Tap Choreography by Robert Crenshaw
The Black Rep
May 5, 2023

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

Eubie Blake was a composer and musician who made a big impact in the entertainment world, especially in terms of representation for Black performers, artists, and audiences. A few of his songs have endured as classic jazz/pop standards. Here in St. Louis, the Black Rep is paying tribute to Blake in staging the lively, memorable revue Eubie! Featuring a strong cast and impressive choreography, the show is a fitting tribute to Blake, as well as a memorable introduction for those who may not be as familiar with his work. 

For me, this show is an educational experience. I had heard of Eubie Blake, and particularly his song “I’m Just Wild About Harry” and his 1921 musical Shuffle Along, that was the source for a “making of” Broadway Production a few years ago. The majority of his work was new to me, however, and this revue, with its excellent singing, dancing, and presentation, is an ideal further introduction. There isn’t a story here, really. Essentially, the show sets songs by Blake and his collaborators in a number of routines, most of which have a glitzy 1920s style and mood, performed on a simple, versatile set by Tim Jones that features an Art Nouveau style flourish, with excellent stylized lighting by Jasmine Williams, vibrant costumes by Marc W. Vital III, and backed by a first-rate band led by musical director and pianist Joe Dreyer. 

The choreography, by Heather Beal and Vivian Watt, with tap choreography by Robert Crenshaw, is spectacular, and Crenshaw is a standout performer in the cast, wowing the audience with a series of athletic tap routines and strong stage presence on songs like “I’m Just Wild About Harry” (along with Evann De-Bose, Samantha Madison, and Tamara PiLar) and “Hot Feet”. The cast also features  DeAnté Bryant, Serdalyer Darden, Venezia Manuel, Carvas Pickens, and J’Kobe Wallace, with Taijah Silas as an understudy.  All the cast members get their moments to shine, either as individuals or in group performances. Other notable moments include De-Bose’s heartfelt “Memories of You” and Boyce’s “Craving for That Kind of Love”. The ensemble singing and dancing is uniformly strong, with strong harmonies and a great deal of energy. 

Overall, Eubie! is an entertaining, highly engaging production that captures the early 20th Century atmosphere and musical style especially well. Even though it doesn’t have a plot, it tells a story–of a composer and of the times in which he lived–through music and dance. It’s a memorable conclusion to the Black Rep’s 2022-2023 season. 

Cast of Eubie!
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Eubie! at Washington University’s Edison Theatre until May 21, 2023

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The Black Rep Stages Fascinating, Illuminating “African Company Presents Richard III”

Posted in St Louis Theatre, tagged , , , , , , , on September 10, 2022| Leave a Comment »

The African Company Presents Richard III
by Carlyle Brown
Directed by Ron Himes
The Black Rep
September 9, 2022

Alex Jay, Coda Boyce, Olajuwon Davis, Cameron Jamarr Davis, Wali Jamal Abdullah
Photo by Phillip Hamer
The Black Rep

The Black Rep has opened their new season with an intriguing period drama based on true events. The African Company Presents Richard III is going to be a history lesson for a lot of viewers, since while its subject is important, it’s not as widely known as it probably should be. At the Black Rep, the production continues the company’s usual tradition of excellence, in acting, staging, and production values. 

As mentioned, this is something of an educational play, in the sense that it tells about a particular set of events that actually happened and people who really existed, although I imagine there has been a degree of dramatic license, like all dramatizations of historical people and events.  The focus here is on a Black-operated theatre company in 1820s New York City, called the African Company and founded by William Henry Brown (Olajuwon Davis), who goes by “Billy” to his friends. Billy and his company have been staging a production of Shakespeare’s Richard III at their small venue, but they have been drawing relatively large crowds and receiving notices in the newspaper. The show, geared for Black audiences, has been drawing more white patrons lately, as well, and this attention has raised the ire of Steven Price (Eric Dean White), who manages the nearby Park Theatre, which is about to host its own production of Richard III starring noted white English actor Junius Brutus Booth. Price is concerned that the African Company will be drawing attention away from his production, and is determined to shut them down, with the help of the local police constable listed in the program as “The Contable-Man” (Dustin Petrillo). Meanwhile, the African Company is dealing with some internal drama of their own, as leading actor James Hewlett (Cameron Jamarr Davis), known as “Jimmy”, tries to keep the increasingly dissatisfied Ann “Annie” Johnson (Coda Boyce)–who plays Lady Anne–from leaving the show. Also in the company are seamstress/actress Sarah (Alex Jay), who works as a maid for a wealthy white woman who becomes a somewhat surprising unseen ally; and the drum-playing, storytelling Papa Shakespeare (Wali Jamal Abdullah), who acts in the play as well as adding his rhythmic soundtrack to the proceedings. 

This is a fascinating show that shines a light on a particular moment in history during a time when Black people–even in Northern cities like New York–are treated with suspicion and hostility even without institutionalized slavery. There are still expectations, and lines they are not supposed to cross, and the African Company and their members risked a lot–their lives, their jobs, and more–in challenging these boundaries. We also get to see moments of their Richard III rehearsals and performance, which provides a look into the making of theatre in the 19th Century. It’s got humor, drama, suspense, and a real sense of the historic, as well as shining a light on the sheer pervasiveness of systemic oppression.

There’s a great cast here, with excellent performances all around, from Olajuwon Davis’s ambitious, earnest Billy to Cameron Jamarr Davis’s charismatic, determined Jimmy; to Boyce’s conflicted Annie, who has great scenes with Jimmy and with the also excellent Jay as Sarah. Abdullah is full of engaging presence in a scene-stealing performance as Papa Shakespeare, and his drumming skills are impressive. There are also memorable villainous turns from White as the scheming Price and Petrillo as the somewhat sycophantic Contable-Man. There’s vibrant ensemble chemistry, especially among the members of the African Company, and the action is well-paced and compelling. 

Technically, the production has ably transported the stage at the Edison Theatre into 1820s New York, with an authentically detailed set by Jamie Bullins and excellent costumes by Andre Harrington. There’s also superb work from lighting designer Jasmine Williams, sound designer Kareem Deans, and props designer Emily Kennebeck. Nobody alive now will have been able to attend an actual 19th Century theatrical performance, but as staged here, we’re given as close an approximation as could be expected. 

Overall, this is a thoroughly well-staged and riveting production. It’s thoughtful, challenging, and historical but with important, timeless themes. If you’re familiar with the Shakespearean source and/or the historical background, or if you are not, this is a play that’s not to be missed. It’s a profound and remarkable theatrical experience.

Wali Jamal Abdullah
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting The African Company Presents Richard III at Washington University’s Edison Theatre until September 25, 2022

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The Black Rep Goes On a Visually Stunning, Poetic Emotional Journey With “Dontrell”

Posted in St Louis Theatre, tagged , , , , , on July 9, 2022| Leave a Comment »

Dontrell, Who Kissed the Sea
by Nathan Alan Davis
Directed by Ron Himes
The Black Rep
July 8, 2022

Lakesha Glover, Christian Kitchens, Claire McClannan, Mekhi Mitchell, Lucia Graff
Photo by Phillip Hamer
The Black Rep

The Black Rep is taking audiences on a vivid, emotional journey in its latest production. Something of visual poem as well as a quest story, Dontrell, Who Kissed the Sea features lavish production values, strong performances, and a mixture of drama, music, and dance to tell its engaging story.  It’s a rich, intriguing portrayal of a young man’s exploration into the past, the future, and the vast unknown of the sea.

The basic story follows Dontrell Jones III (Christian Kitchens), an 18-year-old from Baltimore who is already seen as somewhat unconventional in his family, although he has a lot of promise. He makes journal entries addressed to “future generations” on his microcassette recorder, and, although he is a bright student who has been given a full Scholarship to Johns Hopkins, his mother (Lakesha Glover) is concerned that he might not go, as he is now determined to follow the direction of a dream he’s had, involving a long-lost ancestor who was apparently lost at sea while being transported on a slave ship from Africa. Despite his family’s concern, Dontrell is single-minded in his goal to get to the ocean to somehow communicate with his ancestor. In the course of the story, we also learn about Dontrell’s more recent ancestors, including his somewhat secretive father Dontrell, Jr. (Olajuwon Davis), and his grandfather, the original Dontrell, who apparently had been committed to a mental asylum. In his quest to get to the sea, Dontrell seeks help from his cousin Shea (Brannon Evans), who works at the aquarium, asking her for diving gear. To the bewilderment and confusion of his family and friends, including his sister Danelle (Lucia Graff) and childhood best friend Robby (Mekhi Mitchell), Dontrell persists in his efforts. He eventually meets Erika (Claire McClannon), a lifeguard at the local pool, when she rescues him from drowning after he jumps into the deep end, even though he hasn’t learned to swim. Dontrell and Erika form an instant bond, as well as a romantic connection, and she supports him on his quest. Will he finally achieve his goal and get to the sea? If he does, will he find his long-lost ancestor? And what will he learn if and when he does reach his goal? That’s what you will find out as you follow this compelling story full of emotion, history, symbolism, and heart.

I have to admit that I wasn’t always entirely sure what was going on as the story played out in more and more fantastical ways, but for the most part, it appears to be a coming of age story with the idea that each individual has to make their own way, and figure out their own goals in life–with connection to the past and hope for the future. There’s a good deal about reckoning with secrets and injustices in this past, as well, but this story mostly plunges forward even as Dontrell seeks to find a connection with those who have gone before him. He’s an explorer in a real sense, and witnessing his journey is a dazzling spectacle as portrayed at the Black Rep, with truly stunning visual effects, with a vivid, nautically-inspired set by Emma Hoffbrauer, dynamic projections by Margery and Peter Spack, dazzling lighting by Jasmine Williams, and superb sound design by Jackie Sharp. There are also richly appointed costumes by Daryl Harris and fluid, lyrical choreography by Heather Beal, as the stylized blends with the more realistic in the unfolding of this grand, evocative journey.

The stellar cast is led by a supremely likable, determined Kitchens as the the quirky, somewhat nerdy, single-minded Dontrell. He’s an amiable hero of this quest, and he’s well supported by the rest of the strong ensemble. Davis and Glover are excellent as Dontrell’s parents, both having several memorable moments, and McClannon is also strong as the supportive Erika, who has dealt with some family drama of her own. Evans, Graff, and Mitchell lend their support with strong performances of their own, and the whole cast works together well in the more stylized, movement-centered moments. 

Dontrell, Who Kissed the Sea is a unique theatrical experience. It’s also highly thoughtful, thought-provoking, and emotional, with well-paced staging and a first-rate cast. It’s another example of true excellence from the Black Rep.

Cast of Dontrell, Who Kissed the Sea
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Dontrell, Who Kissed the Sea at Washington University’s Edison Theatre until July 24, 2022

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