Posts Tagged ‘the black rep’

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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“Fly” at the Black Rep is a Compelling, Personal Tale

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

Fly
by Joseph L. Edwards
Directed by Joseph L. Edwards
The Black Rep
February 17, 2024

Joseph L. Edwards
Photo by Keshon Campbell
The Black Rep

Fly, currently running at the Black Rep, is a one-man show in several senses of the term, featuring a solo performance by its writer, who also directed. This is Joseph L. Edwards’ vision, and it’s a compelling look into one Black man’s reflections, and response to the wider experience of being Black in America. It also features some striking production design and clever effects that add to the overall theatrical sensibility of the story.

It’s a short play, running at about 80 minutes, and although Edwards is the sole performer, leading figure “Fly” Lewis isn’t the only character in the show, as Edwards plays a variety of roles as Fly tells his story on a rooftop in Brooklyn, awaiting a celestial event that’s supposed to happen later that night. As Fly tells his own story of growing up, and of living his life in New York City, he reflects on his own struggles as well as those of people he has known–such as family members and his childhood best friend–and people he meets. There are also voiceovers of news broadcasts and reactions of neigbhors in his building, as Fly prepares a sort of shrine as he readies himself for the transformation that he expects to happen as the cosmic event arrives. 

This is an intensely personal piece, as Edwards portrays through a series of distinctive characters the everyday aspirations of Black people, as well as the obvious and more subtle injustices they face in society, and particularly in America. There’s a good deal of humor here, but also some real moments of poignancy and tragedy, all portrayed in with vivid energy by Edwards, who gives a remarkably affecting performance, showing the presence and charisma that gives this play its dramatic center, playing a whole cast of characters with convincing energy.

The technical aspects of the play are also impressive. No designers are credited in the program , but the co-technical directors are Christian Kitchens and Kaylie Carpenter. The overall look and atmosphere of a Brooklyn rooftop is impressively realized, with all the varied objects that Fly produces to contribute to his shrine, adding depth to the overall story.

This is a show Edwards has performed in many different places throughout the years, and the reason for its longevity is fairly clear. Fly is at once a highly individualized story and a depiction of a more universal quest for hope in a difficult world. It’s a timely, vividly portrayed story with a strong central performance. 

The Black Rep is presenting Fly at Washington University’s Hotchner Theatre until March 10, 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’s “Skeleton Crew” Features Strong Performances, Technical Effects

Posted in St Louis Theatre, tagged , , , , , on April 5, 2023| Leave a Comment »

Skeleton Crew
by Dominique Morisseau
Directed by Geovonday Jones
The Black Rep
March 31, 2023

Brian McKinley, Velma Austin
Photo by Phillip Hamer
The Black Rep

The Black Rep is known for consistent excellence in theatre, both in terms of acting and production values. Their recent multiple wins at the 2023 St. Louis Theater Circle Awards are testimony to their celebrated record of accomplishments. Their latest show, Dominique Morisseau’s Skeleton Crew, currently running at COCA’s Berges Theatre, is an intense human drama that lives up to the company’s first-rate reputation, both in the acting and technical areas.

The play features a small cast, telling the story of workers at an automotive stamping plant in Detroit in the first decade of the 21st Century. Factory closures are happening all around them, and the workers here are worried that their factory will be next. The workforce has already been reduced, and the employees are struggling to meet demands. Long-time worker and union representative Faye (Velma Austin) deals with a dilemma as foreman Reggie (Brian McKinley)–who she originally helped get hired–entrusts her with news that threatens to disrupt the already tense situation at work. Fellow workers Dez (Olajuwon Davis) and Shanita (Carmia Imani) are also wondering about why Faye has suddenly started hanging around the factory more than usual, and everyone is concerned about a string of thefts at the factory. As the tensions build, the characters are forced to examine their own hopes, dreams, and plans along with the various personal conflicts. The dialogue is insightful and realistic, and the characters are well-drawn and well-rounded, each with strengths and flaws. It’s a compelling look at the real struggle of factory workers in the once-thriving US auto industry.

Austin, in an excellent performance as Faye, is the anchor of an especially strong cast with no weak links. Austin’s Faye is complex and compelling, and her relationships with her co-workers are thoroughly believable. Her scenes with McKinley’s conflicted Reggie are especially convincing. Imani, as the earnest, pregnant Shanita, is also excellent, as is Davis as the stubborn, secretive Dez, who has an attraction for Shanita and a strong suspicion of Reggie. The conversations and conflicts here seem organic and realistic, and the ensemble chemistry and energy add much to that sense of credibility. 

Technically, the show impresses to the point where the scene is set so well that it’s not always entirely clear what’s real and what is a projection. The vivid set and video design by Margery and Peter Spack puts the factory setting on stage in a detailed, thoroughly impressive manner. Jayson Lawshee’s lighting adds atmosphere to the setting, as well, as does Lamar Harris’s sound design. The costumes, by Marissa Perry, are well-suited to the characters and lend credibility to the time and place of the story. The whole production fits well into the space at the Berges Theatre.

Overall, Skeleton Crew is a compelling, meticulously scripted, smartly directed and impeccably acted piece that brings the audience into the world of its characters with veracity and intensity. It provides much to think about, and characters that embody the story in a remarkably realistic way. It’s another excellent production from the Black Rep.

Carmia Imani, Brian McKinley, Velma Austin, Olajuwan Davis
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Skeleton Crew at COCA’s Catherine B. Berges Theatre until April 16, 2023

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The Black Rep’s Well-Cast “Light” Tells a Compelling, Well-Constructed Story

Posted in St Louis Theatre, tagged , , , , , on February 16, 2023| Leave a Comment »

The Light
by Loy A. Webb
Directed by Kristi Papailler
The Black Rep
February 11, 2023

Alicia Revé Like, Eric J. Conners
Photo by Phillip Hamer
The Black Rep

It’s somewhat difficult to review the Black Rep’s latest production–not because it’s not excellent. It certainly is, with well-cast leads and a thoroughly credible, intriguing story that is meticulously constructed. The issue I’m having, though, is that describing what happens in this play seems like too much of a spoiler, since the unfolding “reveal” is the main source of the drama. I will try my best to be vague about what happens here, but what I can say unreservedly is that The Light is an excellent play, with outstanding performances. 

A lot happens in this play, especially considering how short it is–about 70 minutes, without intermission. Even with that running time, nothing in this story seems rushed. It takes its time, even to the point where for a while I was wondering why this was even a play, because for quite a while, it just seems like an “ordinary” situation–a couple celebrating their two-year dating anniversary, after Chicago firefighter Rashad (Eric J. Conners) has set up a plan to propose to Genesis (Alicia Revé Like), a school principal.  There’s a lot of wordless business about his hiding envelopes and a ring box around the apartment, and then Genesis arrives home from work and it seems like a fairly typical day, as the two talk about their day, and reminisce about their relationship. For a while, it seems like this is going to be a relatively light piece, until things get more serious in a way has the intended dramatic impact but also makes complete sense considering how the story has developed. It’s a masterful exercise in foreshadowing and deliberate dramatic build-up, with a potentially devastating impact on the characters’ lives and relationship. 

The story–which deals with some difficult subjects–is given all the more impact by the excellent performances of the two leads, who make a thoroughly believable couple and fully realized individual characters. The interplay between Like and Conners forms the heart of this play, and even when the conflict emerges and gets heated, the emotional investment is there. The clearly  established love between these two characters is so carefully built up in the first part of the play, and both Like and Conners deliver that strong sense of connection so well, it makes the latter half of the play all the more dramatically intense, leading up to a perfectly timed conclusion that leaves room for hope, even though it doesn’t provide easy answers.

This production also showcases the technical excellence of its designers, starting with Jim Burwinkel’s fully realized apartment. There are also well-suited costumes by Kristen Gray, and appropriately mood-setting lighting by Sean Savoie. The sound, by Christian Kitchens, is excellent, as well.

The Light is an appropriate title for this play, as becomes clear as the story unfolds. It’s a serious-issue play–dealing with many timely topics given a highly personal focus–but it’s not without a ray of hope. It’s another strong production from one of the most consistently excellent theatre companies in St. Louis. It’s a thoroughly compelling drama. 

Eric J. Conners, Alicia Revé Like
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting The Light at Washington University’s  Hotchner Studio Theatre until February 21, 2023

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The Black Rep’s Riveting “Death of a Salesman” Offers a New Perspective on a Classic

Posted in St Louis Theatre, tagged , , , , , on January 17, 2023| Leave a Comment »

Death of a Salesman
by Arthur Miller
Directed by Jacqueline Thompson
The Black Rep
January 13, 2023

Christian Kitchens, Ron Himes, Chauncy Thomas
Photo by Phillip Hamer
The Black Rep

The second entry in the Black Rep’s latest  season is a well-known classic of the American theatre. Arthur Miller’s Death of a Salesman is one of those plays that’s become so ingrained in theatrical history that it’s been revived many times, as well as having been adapted for both the big and small screens multiple times, as well as being a frequent subject of study in high school and college literature and drama curricula. Its central figure, the world-weary salesman Willy Loman, has become a much-coveted role played by many a celebrated actor over the years, and many well-known directors have offered their takes on the story. At the Black Rep, director Jacqueline Thompson and cast look at this familiar story with a new perspective that adds a new layer to this already deep, tragic story, providing a strong showcase for a first-rate cast. 

The “color conscious” casting approach to this show that the Black Rep employs is not unique, as an acclaimed production with a similar concept recently played on Broadway (having originated in London a few years ago). Still, even though this isn’t the first production to take this approach, it proves the concept to be especially powerful, in providing new depth to the story and reinforcing the Black Rep’s tradition of theatrical excellence, in acting and in the technical aspects of the play. Here, the Loman family is Black–led by Willy (Ron Himes) and his longsuffering wife, Linda (Velma Austin). Their two sons, former high school football star Biff (Chauncy Thomas), and the more upbeat but somewhat ignored younger son Happy (Christian Kitchens) are frequent subjects of the increasingly reflective and delusional Willy’s memories, as is his much older brother Ben (Kevin Brown), who only appears in flashbacks and represents the adventurous, successful life for Willy. Other figures in Willy’s world are still cast as white, such as his boss Howard (Franklin Killian), neighbor Charley (Jim Read), and Charley’s studious and eventually successful lawyer-son Bernard (Jacob Cange). This casting brings a different tone to the already tragic story, as Willy fights against expectations and holds on to his dreams for himself and his sons (especially Biff), even when those dreams are increasingly shown to conflict with reality. 

The staging here is thoughtful and precise, bringing out aspects of the characters I haven’t noticed as much before. One notable difference is the prominence of Linda, played in a particularly emotional and insightful performance by Austin. I don’t think the script has been altered, but both in terms of direction and performance, I found myself noticing Linda more in this production, and her importance to the story is given more emphasis. Himes is also superb as Willy, in a sensitive and multi-layered performance that brings much sympathy to Willy’s plight, even when he isn’t entirely likable as a character. There are also strong turns from Thomas as the disillusioned Biff, and Kitchens as Happy, who tries to project a more carefree lifestyle but who is also clearly affected by his father’s situation and having lived in the shadow of his brother. There are also excellent supporting performances from Read and Cange as Charley and Bernard, as well as the rest of the cast. It’s a strong ensemble, with every scene crackling with energy and meaning. 

In a technical sense, this production also shines, with a detailed period set by Dunsi Dai and meticulous costumes by Daryl Harris that help set and maintain the mid-20th Century look and tone of the story. There’s also striking atmospheric lighting by Jasmine Williams that adds to the intensity when needed and also helps achieve an ethereal tone in the flashback scenes. The only small issue I have with this production is in the acoustics at the Edison Theatre, which I’ve also noticed in previous productions. Especially from the seats further back in the auditorium, it can be harder to hear in some of the quieter moments. Still, the powerful drama takes the lead for the most part, and even with a few small sound issues, the story is clearly told. 

Death of a Salesman is already a great play–a well-structured American tragedy that still communicates its message with power decades after it was written. The current production at the Black Rep has managed to find even more depth and nuance to this story, with profoundly affecting performances and incisive direction. It’s another dramatic triumph for this excellent St. Louis theatre company. 

Velma Austin, Ron Himes
Photo by Phillip Hamer
The Black Rep

The Black Rep is presenting Death of a Salesman at Washington University’s Edison Theatre until January 29, 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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The Black Rep’s “Jitney” Takes Audiences on a Vivid, Emotional Journey

Posted in St Louis Theatre, tagged , , , , , on May 19, 2022| Leave a Comment »

Jitney
by August Wilson
Directed by Ron Himes
The Black Rep
May 13, 2022

Kevin Brown, Phillip Dixon
Photo: The Black Rep

August Wilson is one of the great American playwrights of the 20th and early 21st Centuries.  His Pittsburgh Cycle (also called the “Century Cycle”) is a celebrated series of works, mostly centering on Pittsburgh’s Hill District, with each play set in a different decade of the 20th Century and focusing on the life experiences of various characters in this historically Black neighborhood. The Black Rep here in St. Louis has been duly lauded for its well-regarded productions of Wilson’s plays, with its latest production, Jitney, continuing this tradition of excellence.

Taking place in the 1970s, Jitney is named for its setting–a “Jitney” or unlicensed cab station, which were popular because the “official” cabs often refused to serve the neighborhood– in an area of the Hill District that’s being rapidly redeveloped. A variety of well-drawn characters inhabit the space–mostly drivers and occasional customers and relatives. It’s a time when a lot of change is in the air, and much of it is driven by outside interests that are more interested in making money than retaining the character of the neighborhood, or caring for its Black residents. Change is also in the air for the Jitney drivers, as the youngest driver, Darnell AKA “Youngblood” (Olajuwan Davis), hopes to buy a house to better provide for his girlfriend, Rena (Alex Jay), and their young son, Jesse. Youngblood is full of hopes and dreams, but these are threatened by a misunderstanding and the gossip of resident busybody Turnbo (Ron Himes), an older driver who seems to resent Youngblood because of his youth. The station’s owner, Becker (Kevin Brown) deals with a variety of changes and challenges, as his long-estranged son, Clarence AKA “Booster” (Phillip Dixon), has recently returned to town after having spent 20 years in prison, and Becker isn’t so sure he wants to renew their relationship. There are also the pressures of running the station in the midst of the uncertainty concerning its future, as well as the pressures of managing his crew of drivers and their personal issues and conflicts–including the clashes between Turnbo and Youngblood, as well as longtime driver Fielding’s (J. Samuel Davis) ongoing issues with drinking. Fellow driver Doub (Edward L. Hill) attempts to keep the peace between his squabbling coworkers but is frequently exasperated in the process, and numbers runner Shealy (Robert A. Mitchell) is a continued source of stress for Becker as he insists on running his operation from the payphone in the station, and also asks Becker to use his influence at the local mill to get a job for a young relative.

The ups and downs of life in this small area of the country serves as a picture of the times, as well as a study of Wilson’s well-realized characters and their relationships. One of Wilson’s great strengths as a playwright is his ability with authentic, idiosyncratic dialogue and well-drawn characters that present credible “every day” situations in this specific setting while also exploring broader themes of what was happening in the wider world at the time, especially in the lives of Black Americans. Wilson’s plays are vivid and specific, as well as being both timely and timeless, and Jitney  continues this trend. At the Black Rep, Wilson’s vision is fully realized through means of excellent casting and production values, as director Himes gets the tone and pacing just right, as usual. There’s also an impressive, detailed set by Harlan D. Penn that brings the Jitney station to life, as well as excellent costumes by Jamie Bullins that reflect the characters’ personalities and the time period especially well. Joseph W. Clapper’s lighting and Justin Schmitz’s sound design also work well to establish and maintain the period, tone, and mood of the play, with lighting effects especially used well to punctuate dramatic moments in the story. 

On top of its first-rate production values, the biggest strength of the Black Rep’s Jitney is its cast. All of the players here fit ideally into their roles, led by Brown as the older and world-weary Becker and Olajuwan Davis as the young, determined Youngblood. These two anchor a cast that has no weak links, with standouts being Himes as the belligerent busybody Turnbo, J. Samuel Davis as the amiable, frequently inebriated Fielding, and Hill as the increasingly exasperated Doub. There’s also a strong turn by Richard Harris in a smaller role as frequent Jitney customer Philmore. The chemistry between Olajuwan Davis’s Youngblood and Jay’s Rena is also excellent and credible. It’s a superb cast all around, bringing life to Wilson’s excellent script and keeping the energy going in the midst of the varied pace of the story. 

The Black Rep is a company with a reputation for excellence in all its productions, but I particularly look forward to their August Wilson productions because they are always especially strong. Jitney is worth the anticipation. It’s a vivid, sometimes humorous, sometimes intense look at life for its characters at a specific time and place in history, but although it takes place in the 1970s, it has a lot to say to contemporary audiences as well. It’s a must-see performance.

Cast of Jitney
Photo: The Black Rep

The Black Rep is presenting Jitney at Washington University’s Edison Theatre until May 29, 2022

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