I must admit, I knew nothing about Marie Knight or Rosetta Tharpe. It went over my head when they made an appearance in the critically acclaimed movie “Elvis”. Baz Luhrmann’s inclusion of Rosetta Tharpe and Marie Knight during the Club Handy scene with the likes of Elvis, BB King and Little Richard spoke volumes of her place in music history. Not only was Rosetta Tharpe a major influence on Elvis Presley, Jimmy Hendrix and Johnny Cash but the gospel guitarist practically discovered Little Richard, bringing him on stage for his first performance. “Marie and Rosetta” documents their lives together with a rousing, heartfelt production at Northlight Theatre.

It is 1946, Rosetta Tharpe is an explosive gospel singer and R&B performer,. After hearing Marie Knight sing, she tries to get the ingénue to create an act with her. “Sister” Rosetta needs Marie’s holier than thou credentials to “get back in the church folks’ good graces”. Her brand of gospel is infused with R&B and electric guitar riffs. She is a popular nightclub act and just as righteous as Mahalia Jackson, she just likes R&B. Marie Knight, on the other hand, is a traditional gospel singer with a powerful angelic voice. She is in awe of the older, popular Tharpe, but is unsure of the worldly music Tharpe calls gospel. This is their first rehearsal on the day of their first performance so naturally things must be sorted out before a duet can be made.

Playwright George Brant has done his research for this play with music, yet he hasn’t created a jukebox musical. There is a clear story being told here and the music is a bonus. Although, the play is heavy on exposition, it tells the beautiful relationship between these women and their influence on the music world. It is thought Marie and Rosetta’s relationship extended beyond the stage. Brant doesn’t straightwash this story. He has handled their relationship with the utmost respect. Brant does an interesting writing trick. It would be unfair to reveal it, but it has been on my mind since I saw the show. Brant has used spiritual songs like “This Train” and “Didn’t Rain”, as well as worldly songs like “I Want A Tall Skinny Papa” and “4 - 5 Times” to keep things hot.

E. Faye Butler is making a name for herself as a director. She is fresh off “Five Guys Named Mo”, a co-direction assignment with Felicia Fields at The Beverley Arts Center. It was excellent. Here, Butler is challenged with giving these characters emotional depth equal to their amazing voices. Challenge met. Butler has raised the stakes between these two women without losing the love and respect they had for each other. Their movements were instinctual, their emotions palpable.

This play is heavily dependent on excellent actresses. Not only must they sing well but they must be able to portray characters long gone from the collective psyche. Making these characters real was no easy task. Alexis J. Roston and Bethany Thomas by themselves knock your socks off, together they are a force of nature. They both engage us with their very different singing styles. Roston blesses the heavens with her symphonically precise tones. Thomas is like a hurricane, belting out the blues in all it’s various hues. They are accompanied offstage by Morgan E. Stevenson on piano and Larry Brown on guitar.

John Culbert’s scenic design coupled with the lighting design by Jared Gooding will be the subject of conversation for a while. McKinley Johnson’s costume design played a significant role. It’s always wonderful when set, lights and costumes enhance the characters presence and add depth to the overall production. Florence Walker-Harris is a joy, and her assistant director credit makes a wonderful show even more wonderful.

This play is highly recommended. Thank you Northlight Theatre for remembering these forgotten icons. You will leave the theatre joyful, filled with the knowledge of a rock and roll icons making a joyful noise to the Lord.

HIGHLY RECOMMENDED

When: Through August 6, 2023

Where: Northlight Theatre, 9501 Skokie Blvd.

Running time: 90 minutes

Tickets: $30. - $89 Student tickets $15.

Contact: northlight.org.

*Extended through August 13th

After an unexpected delay due to Covid-19, a most anticipated musical has finally opened at the Court Theatre. “The Gospel At Colonus” is the second installment of Sophocles’ Theban Trilogy. The first, “Oedipus Rex” was produced by Court Theatre during the 2019/2020 season to rave reviews. The Third, “Antigone” has a February 2024 production date. We dry our eyes and thank God this gospel is finally proclaimed. It is truly a religious experience.

Like the Black church today, the theater played a crucial role in fostering a sense of community among Athenians in 429 BC. Stories in the Old and New Testaments bear striking similarities to Greek myths. David and Achilles have very similar qualities and storylines. It’s possible that James and John of the New Testament is based on Castor and Pollux, the sons of Zeus, God of Thunder. In Mark 3:17, Jesus named James and John “Sons of Thunder” Coincidence, maybe. It is evident why Lee Breuer along with music composer Bob Telson would adapt “Oedipus At Colonus” into a Pentecostal revival meeting, Gospel and Greek myths go hand in hand, they both tell great stories

The set for “Colonus” is a work of acoustical ingenuity by Scenic Designer John Culbert and Sound Designer Sarah Ramos. The band lead by Mahmoud Khan is raised above the main action. There are no walls for sound to bounce off. You have a bare bones frame of a cathedral, or is it the groves of the Gods? You be the judge. There is a clearing center stage with multi levels, on the top level is an unshaped stone. The music from the 5 piece band is excellent and comes through loud and clear to the mic éd up cast. The costumes by Raquel Adorno gave Athenian village down to the sandals.

Directors Charles Newell and Mark J.P. Hood with Associate Director Taron Patton has curated the best voices in gospel music available in the Chicagoland area. Every single member of the cast is a strong singer. Music Director Hood has updated the feel of the music. Where Bob Telson was inspired by gospel singers of his time, Hood found inspiration in today’s gospel artist like Donald Lawrence, Ricky Dillard and Kirk Franklin. The musical arrangements were fresh and exciting. I heard the most complicated, beautiful vocalizing I have ever heard on stage. I thought my guest was going to stand up and do a holy dance.. she came close. Thanks to the movement design by Cristin Carole, the chorus was alive on stage instead of standing on risers like a choir.

It was especially uplifting to see women in this male dominant production as more than placeholders. Aeriel Williams as Antigone had a strong personality and it showed. Ariana Burks was beautiful in the role of Ismene. Shari Addison’s (who’s daughter is also in this production) sang for the heavens to open. Mark Spates Smith as the preacher/ King Theseus kept the audience involved and shouting “Amen”. Juwon Tyrel Perry and Eric A. Lewis harmonies had the crowd yelling. Timothy Edward Kane as Creon was an interesting and bold move. The male voice carrying the greatest load was Oedipus, and in the hands of Kelvin Roston Jr. we are blessed. Roston bellows one minute and the next he is sotto voce. The vocal gymnastics all these singers exhibit is truly amazing.

“The Gospel at Colonus” is filled with Christian values, as well as Christian music. Oedipus seeking refuge in his old age receives sympathy and grace for his plight. He is forgiven and absolved of his sins. Before his death, he is born anew. He is transformed from a blight on the city of Thebes to a blessing for Athens. Oedipus was taken without lamentations, suffering or pain. Let the weeping cease, he was blessed. It is our Christian hope we can all be so blessed. Bless yourself and see this show.

HIGHLY RECOMMENDED

When: Through June 18

Where: Court Theatre 5535 S. Ellis Avenue

Running time: 90 minutes

Tickets: $40. - $82.

Contact: www.courttheatre.org

King Solomon once wrote there is nothing new under the sun, I will also add, there are no new stories to be told. The only difference is how the stories are told. Chicago playwright Joshua Allen with the second installment of his Grand Boulevard Trilogy is proving himself to be quite the storyteller, making what’s old new again.

The story starts calmy enough with a knock on the door in the early morning of October. Answering the door is Mrs. Elkins (the always excellent Shariba Rivers), a 51-year-old widower raising her 16-year-old granddaughter. She has a stoic countenance about her. This is a woman who has endured pain and lost. We learn she was 16 when she had her only child with her then boyfriend, whom she married. She endured a loveless marriage until his death at the age of 39. Mrs. Elkin’s daughter dropped off her daughter in 1946 for Mrs. Elkin to take care of while she went to Woolworth’s. She hasn’t been seen since. Mrs. Elkins works at a dental office as a receptionist. She owns the apartment building, renting out the upper floors to tenants while she and her granddaughter live in the basement apartment. Life has taught Mrs. Elkins to take care of herself. She is a hard smoking, no nonsense pragmatic woman.

On the other side of the door is Crutch (a youthful Brandon Sapp), Gloria’s little boyfriend. Crutch is as charming and affable as any young teenager of the times. He is smart and quick witted and comes from a “good” family. He is hopelessly devoted to Gloria, so much so, he sets in motion the storm of this play.

Gloria (the talented Jaeda LaVonne) is dealing with typical teenage angst. She is much more mature than her boyfriend Crutch. She knows how to use her feminine wiles. She has an active imagination and a quick tongue. The fact she resides in the same place as her strong-willed grandmother is enough to create a year-round storm.

Upstairs neighbor Lucille (a comic turn by Felisha D. McNeal) is the village needed to raise a child. She is the opposite of Mrs. Elkins. Although she is at least 10 years older than her landlady, she is spirited and jovial. She enjoys life to the fullest. Her years as a schoolteacher gives her an advantage with Gloria and Crutch. Lucille is the perfect advocate for the teens.

The last character is the Korean War vet Louis (the skillful Nathaniel Andrew) renting the second-floor apartment. Soft spoken and suffering from PTSD, Louis is easy to love, but he won’t be manipulated.

Under the astute direction of Malkia Stampley the play has a freshness and immediacy. The tension is thick throughout the story. The connections between the characters are real. We are never allowed to rest in our feelings before another plotline presents itself, even though we know where it leads.

The set by Sotirios Livaditisis is realistic and functional. The beautiful lighting design by Jared Gooding evokes time as well as mood changes. No one looks better in 60’s fashion than Shariba Rivers. Thanks to Alexia Rutherford’s costume designs we knew exactly the era and social standing of all these characters. The costumes popped. The original music by Christopher Kriz is beautiful, perfectly setting the tone. Allen has written a beautiful slow burn of a play. While there are few surprises, the acting and complete production design lifts the story off the page creating an enjoyable theatrical event. Luckily, the more things change, the more they stay the same. RECOMMENDED

When: Through June 25

Where: Raven Theatre 6157N. Clark St. Running time: 1 hour 45 minutes with one intermission

Tickets: $40 (students, active military, and veterans $15)

Contact: raventheatre.com

I’m going to do my best to not provide any spoilers in my review of “Fairview” the 2019 Pulitzer Prize winning play by Jackie Sibblies Drury. It’s going to be hard. Definition Theatre’s production under the direction of Tyrone Phillips will certainly challenge its audience. This production starts in heightened realism, flows into surrealism, runs head on into the absurd before landing a moralistic gut punch. It would be unfair of me to describe the twist, turns and surprises. Everyone should be given a fair view of this excellent production for themselves.

Director Tyrone Phillips has staged “Fairview” as a play within a play. We are introduced to the home of The Frasier Family. It is a nice, if somewhat simple home. The type of home you may find in so many television sit-coms. It becomes obvious the Frasers are middle class African Americans once we meet high anxiety Beverly (Kandice Robins) and her hen-pecked, doting husband Dayton (David Goodloe). They are straight out of central casting, Perfect. If you closed your eyes and just listened to them, you would be hard pressed to guess their race. Yeah…those Black people.

Beverly is preparing a birthday dinner for her mother, the family matriarch, and everything must be perfect because, well, what would people think. As Beverly sits cutting carrots listening to Stevie Wonder’s “Happy Birthday” the channel on the radio changes and starts to play the traditional “Happy Birthday Song. It rattles Beverly for a minute, but the music quickly changes back, and she continues her preparation of the dinner as if nothing happened. Her sister, Jasmine (Martasia Jones) arrives with a bottle of rose wine to kick the party off. It is obvious Jasmine is a little more spirited (o.k. she’s ghetto)

than her proper sister. She’s opinionated, gossipy, loud and (well, ghetto.) We next meet Keisha, (Jada Jackson) the teenage daughter any family would want. She has the usual teenage problems but it’s clear she’s very smart and focused.

The family has the usual conversations any middle-class family would have. Beverly is hoping her lawyer brother, Tyrone makes the party. Keisha wants her Aunt Jasmine to ask her mother to allow her to take a gap year after graduation. Dayton is helping his wife as much as he can. Jasmine and Beverly have an on-going rivalry. Beverly gets more anxious as things aren’t going perfectly. When she realizes the cake has burnt she faints, chopped carrots fly everywhere. Lights down!

The lights come halfway up on stage. And for the next five to ten minutes stagehands reset the set. This happens right before our eyes. The genius of Phillips is giving the audience the opportunity to have a conversation while this is going on. Nothing truly remarkable happened in the first act. Its unremarkable nature was, in fact, was quite remarkable. There are going to be some interesting conversations going on during this non-intermission.

The actors start the show from the top, except this time they are doing it in silence. There are two new audience members seated arguably in the best seats in the house. As everyone’s conversation has subsided, these new audience members conversation is just starting. We’ll call the more aggressive White male, Jimbo (Max Stewart) and the more liberal leaning White women, Suze (Barbara Figgins). The topic of Jimbo’s conversation: If you can be any race, what race would you be? Poor guilt-ridden, bleeding-heart Suze is verbally abused by Jimbo. She refuses to answer, she doesn’t want to be wrong for one thing. Next to walk into this conversation is a white man we’ll call Mack (Collin Quinn Rice). He clearly knows what race he wants to be, Latinx, not Latino, Latinx. He practically fetishizes the Latinx. Rounding out this coterie, is European born Bets (Carly Cornelius). Asked the same question, Bets answer is probably the weirdest or rather the most interesting. She eventually comes around.

Initially, this conversation seems to have no bearing on the Frasier family’s affairs, with their prying questions and uneasy answers. I was tempted to disregard the actions on stage for the action happening in the audience. However, as Act ll progresses, the two plotlines converge and interact, creating some of the most hilarious comedy I’ve seen on stage in a very long time.

“Fairview” is an exploration on the white gaze. Writer Jackie Sibblies Drury has let us in on the private thoughts of white people. We get an idea of how people create whole scenarios based solely on race, especially the Black race. They weren’t even listening to The Frasiers. They made up the story to suit their individual biases. Director Phillips has made the “white gaze” an actual gaze done by actual white audience members. We see how matter of factly racist tropes are spewed especially when it’s “just amongst us”. This play is also an exploration in the art of the mindfuck. The Urban Dictionary describes a mindfuck as something to confuse or reshape your thought the way the "mind-fucker" wants you to think. making you question, doubt, or acquire a new set of ideas based on what the perpetrator has told you. Susan Lori Parks did a mindfuck with Topdog/Underdog. By naming her characters Lincoln and Booth, she tells us what is going to happen. Yet we act like we don’t know what will happen. Jackie Sibbles Drury is a bit more sly but equally effective.

This production is excellent. The ensemble was perfect. The Choreography by Jyreika Guest, who was magic in “How Blood Goes” another excellent production, was engaging and fun. Special recognition must go to Props Designer Mariah Bennett (you’ll understand when you see the show). The costumes by Alexandria Richardson ran the gamut from plain to unforgettable.

 Theater should challenge and inspire. Theater should beg you to question and dare you to act. Theatre should teach and enlighten. “Fairview” does all these things and if you have a heart it will move you, and don’t we deserved to be moved…….. ain’t it time!

HIGHLY RECCOMMENDED

When: Through May 28

Where: The Revival, 1160 E. 55^th Street Chicago

Running time: 120 minutes

Tickets: $35

Contact: definitiontheatre.org

Stepping into the entrance of this 79^th Street storefront immediately transports you to the 1960’s. You quickly realize you are in the headquarters of the Black Panther Party.  Brothers and sisters, both Black and white, are in conversation with each other speaking about liberation and freedom. There is anticipation in the room, something exciting is about to go down. As the lights dim, we are introduced to the distaff branch of The Black Panther Party.

Wonderfully written by India Nicole Burton, “Panther Women: An Army for the Liberation” is a homage to the crucial role played by women in a revolutionary group whose figureheads, with a few exceptions, were men. Burton highlights the lives of three female leaders of the Black Panther Party, Angela Davis, Assata Shakur and Elaine Brown. They incidentally are the only women activists of the Black Power movement who have published book-length autobiographies.

A theme repeated throughout this production was the idea of pity. “I can’t do nothing with your pity”, and these actresses don’t need any of it. Just like the women they are portraying; this is an ensemble composed of strong capable women. Using music from Nina Simone and percussions the ensemble danced, moved, and made you feel every emotion they were feeling. This is a totally immersive production. There is no room to hide, and Director Myesha-Tiara, whom I remember in her role as Annelle in Steel Magnolias at Theatre at the Center, makes use of every inch of space to tell this beautiful and important story. She tells it not only with words but with bodies close and honest.

The actresses are uniformly excellent.  Standouts include Alexis Dupree as Angela Davis whose fugitive on the run scene captured the desperation of Davis, Jerluane “Jae” Jenkins as Assata Shakur, growing up with her grandmother in North Carolina, changing her name, and being the center of the FBI COINTELPRO activities and Taylor Elie Talhame’ as Elaine Brown, who helped the party set up its first Free Breakfast for Children program in Los Angeles. Although their stories are centered, this production spoke of all the women of the liberation. The Black Panther Party was mostly women. They fought for their loved ones, their children, and their communities.  This production examines the organization, the joy and the sacrifice of women in the movement.

Do not let anything stop you from seeing arguably one of the best storefront productions this year. There is plenty of well-lit street parking.                                                                                                    

I expect greatness from this director, this playwright and this cast individually and collectively. Perceptions Theatre is a young theatre company, but it is evident they are here to make an impact.

When: Through May 27

Where: 1825 East 79^th Street Chicago, Illinois 60649

Tickets: $20

Info: www.PerceptionsTheatre.org.

In the dark of night, a man is digging a hole. Once the hole is deep enough he drops a bundle into it and covers it with dirt. Behind him a little girl looks on. After re-filling the hole, he walks off.

Scene.

It is early morning. We are in a well-appointed home. In fact, it is an updated Brooklyn brownstone. Brooklyn is my home. I would know it anywhere. The exterior stands stately and proud. The interior is right out of Architectural Digest magazine. There is a floor thru kitchen leading to a dining area. Behind the dining area is a slide away door leading to an office.  Scenic Designer Regina Garcia did a fantastic job conveying not only this apartment, but also the street where it lives. This is the home of Nadima (Jessica Dean Turner) and her lover Rachel (Sydney Charles). Theirs is a happy, solid home, at least it is staged that way. Rachel is a New York City school teacher and Nadima, is a real estate agent, she’s used to staging homes for sale.

When Nadima answers the front door and sees Monique (Ayanna Bria Bakari), her lover’s sister, she practically shuts the door in her face. There is history between these two and it creates much needed tension in this play. It is Rachel who invites her sister Monique and Sam (Kylah Renee Jones, Aliyana Nicole alternately), her niece, into the house. After negotiating with her lover, Rachel allows Monique and Sam to stay, only for Monique to create a convoluted story and leave without Sam a few days later in the middle of the night. 

“Last Night….” takes us back to those nights before life spiraled out of control for this family. We meet Reggie (Namir Smallwood), Monique’s boyfriend, and Sam’s father. We see the love between Reggie and Monique before Sam’s birth.  We see Reggie and Sam playing hand games, games meant to calm as well as teach Sam about life. Whose memories these flashbacks are isn’t quite clear. Through conversations with Nadima we learn of Rachel and Monique’s upbringing. We learn of generational traumas they had to bear, and the guilt Rachel has for her escape... We also start to see this once solid relationship show signs of weakness.

Director Valerie Curtis-Newton has assembled an excellent cast whose major job is supporting the child character of Sam. Sam is the raison d’ étre of “Last Night….”   It is a lot to put on a child, but Jones (on opening night) shows she has the acting chops to not only play this role but to shine in it.

In my opinion, Donnetta Lavinia Grays’ “Last Night….” suffers from a lack of a clear antagonist. There are some beautiful lines and certain scenes are precious, but it lacks a certain dramatic immediacy. Other than Sam, we never spend enough time to truly care for these characters. They seem to have it all figured out anyway, after all, the real problem is buried. The rest is just life.

When: Through May 14

Where: Steppenwolf Theatre, 1650 N. Halsted St.

Tickets: $48 - $88

Info:  steppenwolf.org

By the time Charles Fuller’s “A Soldier’s Play” debuted on Broadway in January 2020 it was already a classic in American theatre. It premiered with the Negro Ensemble Company in 1981, winning the Pulitzer Prize in Drama in 1982. It was adapted to film and was nominated for Best Picture, Best Adapted Screenplay and Best Supporting Actor for the Late Great Adolph Caesar at the 1985 Academy Awards. After 40 years it finally graced the Broadway stage just before the death of its playwright. According to Fuller, his refusal to change the line “You’ll have to get used to Black people being in charge.” at the producer’s demand, prevented the show from going to Broadway sooner. I personally believe the universe was waiting for just the right director to bring the majesty of this play to Broadway. The only director filling that role is the talented Kenny Leon.

The play opens on an U.S.  army base in Louisiana in 1944 during World War II. Tech Sergeant Vernon C. Waters, (an excellent Eugene Lee) drunk and staggering out of his mind, has been brutally murdered.. Waters is a self-hating, sadistic evil man. He takes out his anger on his men. He hates his white comrades for who they are and his Black comrades for who they are not.

To investigate this crime, the Provost Marshal General’s office in Washington sends Capt. Richard Davenport (the debonair Norm Lewis), a Black lawyer. The white officers are shocked at the sight of a Black officer they may have to answer to. The Black recruits are bursting with pride to see one of their own in a position of leadership.

Davenport, despite roadblocks to his investigation prides himself on following the clues and getting to the truth of the murder. He meticulously interviews enlisted men both Black and white to understand why Waters would be a victim of murder. Based on interrogations and flashbacks we learn the murderer can be anyone even the very men in his charge.

Director Leon gets the best from this uniformly stellar cast.  Among the standout performances are the exuberant Alex Michael Givens as Corporal Ellis, our very own Sheldon D. Brown as Private C.J. Memphis, a simple guitar playing man and William Connell as the skeptical Captain Charles Taylor.

The two-level scaffolding set with bunks and footlockers works well, showing present action up front while when necessary showing what’s happening in the background. Scene changes were effortless and clean. The flashback effects were greatly assisted by Lighting designer Allen Lee Hughes lights. World War II military attire were realistic thanks to Costume Designer Dede Ayite.

Although it did not affect my enjoyment or enthusiasm for “A Soldiers Play “it must be stated, one of the major themes in this play is COLORISM.  “A Soldiers Play” is not just a murder mystery as Roundabout Theatre Company’s production would have you believe. Omitting colorism does a disservice to the script.  Fuller was extremely clear about casting. “A Soldiers Play” is Fuller’s exploration of Blacks’ attitudes toward each other as well as toward the white military community he was once a part of.   Rule of thumb, if you must ask a playwright is it alright to do something, you probably shouldn’t be doing it.

“A Soldiers Play” is a classic from the Negro Ensemble Company demonstrating fearless writing, professional execution and top notch acting, for that it should not be missed.

When: Through April 16

Where: CIBC Theatre, 18 W. Monroe St.

Running time: 2 hours, 15 minutes

Tickets: $35-105 at 800-775-2000 

www.broadwayinchicago.com

“It should be a crime to not acknowledge another person’s humanity.”

Didi – “How Blood Go”

I’m not a fan of hospitals, television dramas taking place in hospitals or anything involving healthcare. From a very young age I’ve had an uncomfortable relationship with the healthcare industry. My grandmother, God rest her soul, was a diabetic double amputee.  From a young age I would accompany my grandmother to her doctor visits. I would visit her when she had extended hospital stays. I learned how you can be treated if you have no one to advocate for you. The last thing I wanted to see was a play about healthcare. When I saw Lisa Langford was the playwright of “How Blood Go”, my interest was piqued, and I had to be in the audience. I didn’t realize how much healing I needed…

I remember Lisa Langford from her sci-fi play “Rastus and Hattie”. It was written for the stage and beautifully reworked during the pandemic as an audio play produced by Ann Filmer’s 16^th Street Theatre Company. The play was inspired by the Black presenting robot manufactured by Westinghouse in the 1930’s and exhibited at the National Electric Light Association Convention in San Francisco. It is a powerful play. I was disappointed it didn’t receive the staged production it so rightfully deserved. I knew I would hear from Lisa Langford again; her writing was refreshingly daring and brilliant.

Courtney O’Neil’s set has the effect of making the audience feel like medical students watching a delicate medical procedure in an operating theatre.  We walk into an immaculately sanitized operating room. There is an industrial door one would find in a hospital separating two curtained areas. Instead of finding patients in the literal sense, behind those curtains, we find two very different worlds. One side takes us to a fully realized room in Macon County, Alabama circa 1930’s. Behind the other curtain is a contemporary apartment complete with a full array of junk food. The set along with Levi Wilkins lighting design and Mike Tutaj’s projections make for a most ingenious visual.

We meet Quinntasia (an energetic Jyreika Guest), a woman once 300 pounds but now fit and healthy. As she sits having coffee with her best friend Didi (a special performance by Yolanda Ross) we learn of the issues facing older Black women dating older Black men as well as issues of substandard healthcare in the Black community. Quinntasia is an exception. She is a success story. Her doctor has attached a device to her neck supposedly tracking her steps. Quinntasia is so confident in her progress, she decides to ask her doctor, Ann (Caron Buinis) for funding to start a wellness clinic, Quinnessentials.

We are drawn behind the first curtain. Ace (the excellent Ronald Connor) and Bean (David Dowd, who should be awarded immediate and permanent tenure on the role) are two impoverished sharecroppers. Bean isn’t well. He visits a government doctor and he’s told he suffers from “bad blood,” a local term used to refer to a range of ills. What he is not told is that he has syphilis or that the disease is passed on through sex. As Langford conveys thru the character Big Gal (Kristin Ellis) “they just send you out like a bomb” and “your kisses taste like mercury”, a treatment initially used for syphilis. Ace, on the other hand, gets an education and becomes a doctor. Both roles are written as archetypes, possibly because of how these men are seen by white society. BRILLIANT!

Behind curtain two we are invited to the apartment of Tron (Marcus Moore) and Quinntasia. There are issues with this relationship that could possibly be a play within itself. Qunntasia decides on something she cannot undo. It will affect her forever.

Tiffany Fulson has directed this play with a steady sympathetic hand. The scenes are surgically precise thanks to Fulson’s ability to merge distinct energies and voices together, forming a finely calibrated ensemble.

Lisa Langford is proving herself be the playwright of the future. “How Blood Goes” is a poignant reminder of how far America must go to reach equity. In my opinion, it is one of the most important plays written in the last 5 years. It will stay with you long after you leave the theatre. Langford writes bold and takes chances. She’s in Pulitzer Prize territory.  

Congo Square Theatre Company shows why they are one of the most respected African American theatre companies. Creating and producing new works isn’t easy and they do an excellent job of it.

“How Blood Go” is among their best work. It will probably be in NYC before long. (I’m calling it!)

When:  Thru April 23 - Thursdays, Fridays, and Saturdays at 7pm, and Saturday and Sunday at 2pm.

Where: Steppenwolf’s 1700 Theatre – 1700 N. Halsted, Chicago, Illinois

Tickets:  $35 ($20 for seniors and students)

Info: www.congosquaretheatre.org.

“Thank you very kindly, my friends. As I listened to Ralph Abernathy and his eloquent and generous introduction and then thought about myself, I wondered who he was talking about.”

Opening to the “I’ve Been to The Mountaintop” sermon by Dr. Martin Luther King Jr.

Katori Hall’s deceptively simple play “The Mountaintop” imagines who he was talking about.

"The Mountaintop" first opened in London's West End in 2009, receiving the prestigious Olivier Best New Play Award. It is now receiving a spectacular mounting by Invictus Theatre Company under the watchful direction of Aaron Reese Boseman.

The premise is simple, In Memphis to support the striking sanitation workers, Martin Luther King Jr. (Mikhá el Amin) has returned to his room at the Lorraine Motel after delivering his “I’ve Been to The Mountaintop” speech. He has sent Ralph Abernathy to the store for Pall Mall cigarettes. While waiting for his cigarettes, he works on a new speech “Why America is Going to Hell”. Frustrated, he places a telephone call to the front desk asking for room service to bring him a cup of coffee. When Camae (Ny’ ajai Ellison) knocks on the door with coffee, cigarettes, whiskey, body and personality, the play kicks into its next gear. At this time in the civil rights struggle, King was known for his womanizing, the FBI had him under surveillance, and he was fatigued and full of self-doubt. Is it possible Camae was sent to entrap King?

If only it were that simple.

The chemistry between King and Camae is palpable, thanks to Hall's clever writing and Boseman's pas de deux directing technique.

Amin was born to play the role of Martin Luther King, Jr.  Not only is there a slight resemblance to King, he also speaks and delivers words evoking how the real-life King spoke. It is obvious Amin studied King to wonderful results. Amin is too fine an actor to resort to mimicry. There are times we see a near-broken man, so haunted by death threats that every peal of thunder outside the motel causes a panic attack. We see a vanity in King that seems honest.  Amin’s depiction of King is strongest when he expresses his fears, anxieties, and desires. One of Amin’s most powerful scenes as King features him on a telephone call. It's heart wrenching to watch him plead and rationalize. It’s a garden of Gethsemane moment. To say anymore would spoil the beauty.

Ellison is spot on casting for the role of Camae. When she says “Preacher Kang” she tells us a world of what we need to know about Camae. Ellison’s Camae is eloquent but mouthy, sensitive yet crude, blatantly sexual yet resistive to King's urgings, skeptical about nonviolence and instead sympathetic to the Black Power ideology of Malcolm X. Ellison’s Camae is every bit a match for Amin’s King. She provides a comedic foil to Amin’s serious King. During the night, they challenge each other, They talk about the future; they talk about the past; they talk about politics, and she is just too many wonderful things. Ellison’s most impactful acting comes at a serious moment involving Camae's background story. Her story is powerful and one that will linger in the memory.

Scenic Designer Kevin Rolfs has created an accurate recreation of room 306 of the Lorraine Motel down to the original 1960’s color scheme. Liz Cooper’s Lighting Design worked well with Warren Levon’s thunder and ambient rain sounds that runs throughout the production. Thunder and lightning serve as punctuation for important lines of dialog.

The projection and special effects designer DJ Douglass is masterful in his execution. Together this design team changes a simple hotel room into something magnificent.

Highly Recommended —The Mountaintop reminds us that even our icons are human. We are all kings and King is all of us. "This baton is no longer the burden my image can bear," he says. "For you are the climbers, the new carriers of the cross. I beg you, implore you, don't give in and toss it off."

Side note:  

This is just another example of the excellence coming from Invictus Theatre Company. They constantly exceed their reach. I have to remind myself this is a storefront theatre.    

Performed at Reginald Vaughn Theatre through March 19th. For tickets and/or more show info, click here.                    

The start of the civil rights movement was not Rosa Parks refusal to leave her seat on a bus. The civil rights movement started when the photo of 14-year-old Emmett Till, laying in his coffin beaten beyond recognition was graphically published on the cover of Jet Magazine for the world to bear witness. He was the victim of a heinous attack by brothers Roy Bryant and J.W. Milam.

“Trial in the Delta” is a reenactment of the trial held at the Tallahatchie County courthouse in Sumner, Mississippi on September 23, 1955. This reenactment took 2 hours thanks to the laborious job of paring down 5 days of actual court transcripts into a cohesive 2-hour production. The adaptation by G. Riley Mills and Willie Round was sharp and concise making the arguments of both sides extremely clear.

It had to be difficult directing a production where everyone knows the outcome and keep it fresh and new, yet this is exactly what the directing team of Dana N. Anderson and Anthony Moseley accomplished. They made the audience spectators to this miscarriage of justice. They never took the easy road of playing on emotions. They went for words that were spoken they went for intent. They were aided by a spectacular cast.

Although their backs were to the audience most of the time, the body language of JW Milam (Matt Miles) and Roy Bryant (Tyler Burke) spoke volumes. There were times I couldn’t take my eyes off them. Prosecutor Gerald Chatham (Andy Luther) pushed and pleaded knowing it was all in vain while Defense Atty. JJ Breland (Steve Silver) played verbal gymnastics with the witnesses knowing he had the upper hand. All the witnesses that took the stand had different perspectives. I felt the fear of Moses Wright (Darren Jones) as he pointed. Undertaker Chester Miller (Lyle Miller) was dignified as his profession required. The testimony that gripped me was Carolyn Bryant (Maddy Brown).  It was alarming. The work that Carolyn Bryant put into that story and the way Maddie Brown brought that story to life made me pinch myself. I realized this is a tactic that’s been around forever, and it still works. The way Bryant/Brown weaponized her tears broke my heart. It was evident this trial was over, and these men would be free. Mamie Bradley (Kayla Franklin) remained stoic thru all the proceeding even when was her turn to take the stand. Her last speech is powerful.

Looking at the program for this production, I noticed there are major people in the theatre community associated with this production and it shows. DuSable Museum, while not my favorite place to see a play, made this production work. The set is a maple wood courtroom. To the left of the witness box are 12 empty seats. The Jury…..12 White men.  Whenever the jury came or left the courtroom, we see a projection of 12 white men entering of leaving and we hear their footsteps. There are maple bannisters separating the Attorneys from the spectators.

Witnesses are seated throughout the audience and as they are called walk up to the witness stand and are sworn in.

This production is an example of how systemic racism works and as such would not be shown in Florida. Governor Ron DeSantis has signed into law the Stop-Woke (Wrongs to Our Kids and Employees) Act, which prohibits educational institutions and businesses from teaching students and employees anything that would cause anyone to feel guilt, anguish or any form of psychological distress due to their race, color, sex or national origin. I’m sure this production was not created to cause any undo harm or guilt. This is not only African American history, but also American History.

When: Through February 19th - 7 p.m. Thursday-Saturday, 3 p.m. Sunday

Where: DuSable Black History Museum and Education Center, 740 E. 56th Pl.

Tickets: $30-$55

Info: Collaboraction.org