Jamar Gilbert, Gerald C. Rivers, Francis C. Edemobi, Alex Morris, CJ Obilom, Bert Emmett, Amber Liekhus and Kai A. Ealy (Photo by Craig Schwartz)
Reviewed by Lovell Estell III
A Noise Within
Through September 20
RECOMMENDED
Amber Leikhus (photo by Craig Schwartz)
August Wilson was a superbly gifted storyteller who created some of the most memorable characters ever to grace the American stage.
His ten-play American Century Cycle that chronicles the African American experience in the 20th century, stands as a singular achievement in the modern theater canon.
Continuing their commitment to staging Wilson’s dramas, A Noise Within brings the second play in the series, Ma Rainey’s Black Bottom, to the stage in a stellar revival directed by Gregg T. Daniel.
The setting is a recording studio in Chicago, 1927, where four traveling band members await the arrival of legendary blues singer Ma Rainey, along with the studio’s owner Sturdyvant (Matt Foyer) and Ma’s manager Irvin (Bert Emmet, both of whom are white), who is patiently attempting to calm Sturdyvant’s fraying nerves because Ma’s running late.
To Band members Slow Drag (Alex Morris), Toledo (Gerald C. Rivers) Cutler (Kai A. Ealy) and Levee (Jamar Gilbert), Ma’s tardiness is no big thing; they know she always does things to suit herself, so they sit around jaw boning, telling stories, smoking reefer and verbally sparring in the basement.
The contrasts are striking — and revealing. Toledo, the piano player, is bookish, prone to philosophizing, and the only one who can read; Slow Drag is tall and rotund, with a knack for earthly wisdom and ebullient humor; Cutler is the band leader, but his firm exterior masks a palpable weakness and insecurity. He and Slow Drag are the older members of the band.
What is notable about these three is that they all have settled into to the degrading “Jim Crow” restrictions of the times, and of their lives. Their horizon extends only as far as the next paycheck.
Not so, with Levee, who arrives shortly after his fellow musicians do, wearing a brand-new pair of shoes of which he is obsessively proud. He is young, cocky, and deeply ambitious with dreams of one day owning his own band, an idea that his bandmates poke fun at him about.
Levee is openly contemptuous of the “jug band music” of the old style and sees jazz as the future. His desire to use his version of the “Black Bottom” eventually causes ugly riffs to arise in the band.
Wilson uses the interactions of these characters and their relationships to highlight issues of race, class, economics, and power which is really what this play is about, not music. The truths that emerge are unsettling and painful, relevant to today, and they assert themselves with force and Wilson’s characteristic eloquence.
Amber Liekhus plays Ma with sass and an attitude that would wither a drill sergeant, and she arrives with demands for Irvin, along with her gal-toy Dussie Mae (C.J. Obilom) and nephew Sylvester (Francis C. Edemobi). Ma insists that Sylvester introduce her song, but the fellow has a stuttering problem, which Director Daniel’s cleverly works for some laughs.
It is difficult to imagine this play being done any better. The ensemble is terrific, and the performances are robust and convincing. Liekhus sings with infectious passion and flair. Daniel’s excellent direction is complemented by fine work on the part of Christine Cover Ferro (costumes), Tesshi Nakagawa (Scenic Design), Ken Booth (Lighting Design) and Jeff Gardner (Lighting Design).
A Noise Within, 3352 E. Foothill Blvd., Pasadena. Opens Sat., Aug. 29; Thurs.-Sat., 7:30 pm, Sat.-Sun., 2 pm; thru Sept. 20 Running time: Two hours 15 minutes with one intermission. anoisewithin.org
