mspt@goldfishpublishers.com
Reviewed 1/3/04
Into the blues? Want to learn about its three hundred year evolution? Love watching excellent performers strutting their stuff. It Ain’t Nothin’ But the Blues is your choice for a great evening of theatre. This co-production of Arizona Theatre Company and Missouri Repertory Theatre features four of the seven original cast members of the Broadway production that opened in 1999, ran for 284 performances, and was nominated for 4 Tony Awards® including Best Musical Revue. The performers who have been added fit seamlessly with those that ran on Broadway, making this experience as close as possible to sitting in the Vivian Beaumont and the Ambassador nearly five years ago.
Moving from the rhythms and vocalizations of African songs through the trials of slavery into the further trials of freedom-in-name-only, this evening charts the movement of Blues up through it’s current incarnation. Those expecting to see only African Americans exploring the history of the Blues will be surprised by the presence of two Caucasians until the revelation of the influences of the blues on escaped indentured servants in the Blue Ridge mountain that subsequently runs through Bluegrass and Country music.
The ensemble is spiritually led by
talented co-author “Mississippi” Charles
Bevel, the granddaddy of the group who was born in the blues-rich delta land.
He authoritatively sings “Cross Road Blues.” Eloise Laws magnificently
belts one blues standard after another, highlighted by her taunting “Someone
Else is Steppin’ In.” Jewel Thompkins breaks hearts with her “Strange
Fruit.” Tamra Hayden simmers with sultry tunes such as “Fever” and
excellent violin playing. The true frontman of the group, though, is Gregory
Porter, who converses with the audience and thrills all with his rendition
of “The Thrill is Gone.” Smooth Chic Street Man stops the show
with his slow and silky “Crawlin’ King Snake” and some excellent
guitar work. Finally, Drew Perkins highlights country blues with “‘T’ for
Texas” and “Mind Your Own Business.”
The 41-song program features many great blues works and artists. It is an excellent showcase for the gifted performers and for Damon Duewhite’s drum work, Chris Grove’s keyboards, Joel Hoekstra’s guitar, Calvin Jones’ bass and Marc Moriva’s reeds. Randal Myler’s direction keeps the show moving briskly through the musical history lesson, leading it to Donald McKayle’s appropriate choreography. The design element is strong, with Robin Sanford Roberts’ scenic design utilizing an ever-changing series of projected black and white slides (designed by Myler) over a stage of unmatched chairs for the performers. Don Darnutzer’s lighting runs through the palette of emotions, and David Kay Mickelsen’s costumes move through the times along with the play list.
By the end of the evening, the entire opening night audience was standing and cheering for the ensemble, clapping hands and stomping feet in time to the music. There’s a lot to learn, and even more to enjoy, during this evening of blues.
