Arizona Theatre Company's Play On!
(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 9/10/99 (Revised for factual error, 9/11/99)
(out of )The millennial theatre season starts off with a jazzy note in Tucson where Arizona Theatre Company has mounted, in conjunction with The Pasadena Playhouse, a revival of the popular Duke Ellington tribute, Play On!. The production's original Broadway Conceiver and Director, Sheldon Epps, Artistic Director of The Pasadena Playhouse, has joined forces with ATC to helm this new production. His sure hand has raised this tribute to a creation well beyond a simple musical revue. By the time the young Tucson crowd had been taken on a breathless, sweeping tour of the Magical Kingdom of Harlem, a'la the swingin' 40s, the well-deserved standing ovation that greeted the remarkable cast proved that the great Duke in his hundredth year (and despite his death in 1974) is still as timely and enjoyable as ever.
Imagine Twelfth Night if Shakespeare
had been raised in the jazz-soaked Harlem of the first half of
this century. The Duke is the greatest bandleader in the world,
his unrequited love, Lady Liv, is a singer greater in talent and
beauty than Lena Horne and Josephine Baker combined. Among their
court are Jester, the funny man, his girl C.C., Sweets, the conductor,
his wife and the costume mistress Miss Mary, and the dignified
and uptight club manager, Rev. The home of this kingdom is, as
should be expected, the Cotton Club. Into this unfulfilled and
male-centric court comes Jester's cousin Vy, a young songwriter
from the South who will be successful, despite her diminutive
stature and gender. To succeed, she will transform herself into
Vy-Man and serenade the Dukes love with songs of her own creation.
Throughout the unrelentingly upbeat show, amazingly balanced and
integrated into the revisionist script, are the toe-tapping, heart-stopping,
jaw-dropping jazz and blues standards of Duke Ellington. If there's
anything wrong with Shakespeare's transfer from the Globe to the
"A" Train, it's the lovely fact that the nearly three
hour production is so full of great music, great choreography
by the Duke's granddaughter, the talented Mercedes Ellington,
and great performances, it's almost overwhelmingly tiring to sit
through. If that's the biggest problem with a show, one suspects
the producers will take that criticism with a smile.
Who to compliment first? Obviously, Mr. Epps has first dibs. While the script is almost too full of showstoppers and star-turns, with little chance to breathe, he has found a way to stay true to the music, an impressive feat. Despite some hesitations with Ms. Ellington's choreography in the first act, the ensemble is a solid unit and a great base for this production. The leads are amazingly well-performed, and though each nears perfection, the hairs-width edge belongs to Nikki Crawford as Lady Liv, making a return to ATC after her performance in Blues in the Night in 1995. She gives renditions of "Mood Indigo" and "I Ain't Got Nothin' But the Blues" that stop the show on a dime, and she holds the audience in rapt, nearly mesmerized attention until she decides to give it back. This is not to take away from the rest of the leads. Natalie Venetia Belcon wows 'em as Vy when she takes center stage with "I Didn't Know About You." David Jennings' silky smooth voice is highlighted as the Duke with "I Let A Song Go Out Of My Heart." Kevin Ramsey as Jester and Clinton Derricks-Carroll as Sweets knock our socks off with the hilarious and spectacular "Rocks In My Bed." Richard Allen's Rev twice wrests his moment in the spotlight with "Don't You Know I Care" and "I'm Beginning To See The Light." Yvette Cason as Miss Mary gets her chance to shine in the duet with Sweets, "Love You Madly."
The technical elements of the show are also impressive. Using a visual design inspired by the jazz-age artwork of Romare Beardon, Set Designer James Leonard Joy has created a fluid setting with bright colors and striking images. Marianna Elliott's costumes are top notch, raising the Zoot Suit to the level of formal wear. Michael Gilliam's lighting is quite effective, and Rahn Coleman's double duty as Musical Director and pianist make for quite a workout that works perfectly with those onstage.
Though the terminally upbeat story is nothing that could honestly stand on its own, it is a wonderful vehicle to showcase the talents of director, choreographer, performers and, of course, the talented Mr. Ellington. And though this reviewer was left breathless and exhausted by the end of the evening, it's the kind of exhaustion that is a joy to write about. It will be here in Phoenix in a month. Be sure to experience it while Ms. Crawford and the rest are still weaving their magic.
Production Details:
Play On! Conceived and Directed
by Sheldon Epps, Book by Cheryl L. West, Music by
Duke Ellington
Arizona Theatre Company
The Temple of Music and Art, Tucson
(520) 622-2823
September 8th - October 2nd, 1999
&
The Herberger Theatre
Center, Phoenix
(602) 256-6995
October 7th - October 24th, 1999