Black Theatre Troupe's Mahalia at The Helen K. Mason Center for Performing Arts
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 11/27/99
(out of )The offstage dramas of Black Theatre Troupe are stealing focus from the onstage music of Mahalia at the Helen K. Mason Center. The exit of author Tom Stolz from the role of director, and then the departure of local diva Renee Morgan Brooks has cast a shadow on this production chronicling the life of the mother of Gospel music, Mahalia Jackson. While the production does seem hesitant, and at times a bit stilted, the most important thing is the music, and that soars.
Replacement Director David Hemphill, a role at which he's had practice, has made several great choices in casting, and keeps the show's pace rolling like a rousing Gospel tune. This helps the audience breeze through the thin dialogue about Mahalia's interesting life to get to the next familiar and well-performed hymn. Presented in a reader's theatre style, the show involves direct audience contact by Phobie Davis, who just played the role in a New York production. The play strings together a thin overview of Mahalia's sixty year march from humble roots in New Orleans to her help in the rise of Gospel music, giving nearly an entire act of focus to her involvement and friendship with Dr. Martin Luther King, Jr. Mr. Hemphill's onstage inclusion of a grand piano and a console organ adds even more welcome atmosphere to this musical medley.
Ms. Davis gives great renditions of Gospel tunes like "I'm Going to Live the Life I Sing About in My Songs," and "Take My Hand, Precious Lord." When she is crooning her faith, she seems to be in her element. Even two weeks into the run, though, she still doesn't have the upper hand on her extensive dialogue, leaving great gaps in her dialogue and halting reads of her monologues.
The supporting cast does solid work, especially when manning the onstage instruments. Wendell Williams and Delicia L. Gipson play along with the reader's theatre element of the show, sometimes saving Ms. Davis from her line lapses, and other times hamming up their thin characters. When Ms. Gipson tickles the piano's ivories, and Mr. Williams kickstarts the organ into high gear, the evening rises accordingly. Given the task of recreating some of Dr. King's wonderful speeches, Rod Ambrose does a great job through one of the more static times of the script. He rises to the occasion, especially when presenting the "I Have a Dream" speech.
The visual elements of the production are impressive. Thom Gilseth's set, inspired by Dr. Eugene Grisby's civil rights artwork, and Michael J. Eddy's expressive lighting greatly enhance the production. Equally well-handled are David Temby's reader's theatre-driven Sound Design, and Carol Simmon's simple costumes.
Ultimately, what matters is the finished product before the audience, not the behind-the-scenes soap opera. While still rough around the edges, this is a production that comes alive with soaring hymns and well-sung devotion. When it is speaking, it sputters, but when it is singing, Mahalia aims for heaven.
Production Details:
Mahalia by Tom Stolz
Black Theatre Troupe
The Helen K. Mason Center for the Performing Arts, Phoenix
(602) 258-8128
November 11th - December 5th, 1999