Displaying items by tag: Jamal Howard

More jukebox than musical, Theo Ubique’s production of 8-Track: The Sounds of the ‘70s, conceived by Rick Seeber with musical arrangements by Michael Gribben, is a tribute to 70’s AM radio, performed by an ensemble of powerhouse vocalists, showcasing a range of tunes from Motown to the Bee Gees. There is no metal, punk, or hip-hop, but the range of pop sounds that provided the soundtrack for the decade is wide enough that, in the hands of the capable musicians who perform them in this lively rendition, there is something for everyone in the set-list. The actor/singers do a good job of creating distinct characters, but plumbing the depths of relationships or creating anything resembling a plot is an elusive quest when there are 50 songs to get through. Director/Choreographer Jamal Howard has done his best to pay tribute to the social movements of the 70’s, but this backdrop only makes one wish for a deeper dive; the production is more successful when the music guides the choreography and relationships are lighter. Music director/conductor/designer and keyboardist Jeremy Ramey keeps the tempos brisk and the harmonies tight, providing a musical setting that ensures one is not sucked into the morass of the more saccharin or outdated numbers. The cast is respectful of the material but does not allow their reverence to try to sell numbers whose expiration date is past—though they still have fun with them. Billed as a holiday production, this is a light-weight but entertaining option for people who loved even some of the music of the 70’s or those whose pop music education began in later decades and want a quick primer.

Performed by a stellar eight-person cast led by four lead singers, Jamal Howard’s production pays tribute to the social movements that defined the decade, especially the post-Stonewall gay rights movement. Several characters explore their sexual orientation, questioning and fearing their feelings of attraction until finally embracing them with the advent of disco at the end of the decade.  The Vietnam War was nearing its end at the beginning of the 70’s, but the draft was still claiming the lives of young men without the means of it, and the music and Howard, with assistant director/choreographer J Alan, honors those who were forced to take up arms. Feminists were starting to demand equality of pay and opportunities for women, which was reflected in the music of the time (Helen Reddy’s “I Am Woman” being a more obvious example), though there were plenty of songs that countered that narrative as well (the Commodore’s “Brick House” being a rousing but egregious example). In trying to bring these narratives into a musical without a book, Howard occasionally creates frustratingly mercurial relationships that leave one wanting some dialogue to flesh things out, but the historical framework offers insights into the decade that younger viewers will not have. Howard’s choreography is serviceable throughout, but shines when he draws on the dances of the time period.

The design elements also help transport the audience to the era. Mara Ishihara Zinky’s scenic design combines elements of wood-paneled basement and music club. Costume designer Jasmine Aurora Medina’s first act designs seem to be a year-by-year march through the Sears catalogue, though characters become more consistent as they “find themselves” and the disco looks are truly fabulous. Lighting designer Piper Kirchhofer brings a concert-like feel to the evening, relying on super-saturated colors to provide shifts in mood. Sound designer Stefanie M. Senior adds additional period context, and audio engineers Isaac Mandel and Max Cichon provide invaluable support.

The eight cast members all create distinct characters and bring both acting chops and vocal expertise to the experience. There is a lot of music, and the arrangements are complicated by the addition of voices to the core cast of four, but all the performers flawlessly execute the vocal journey and choreography. The four lead singers, Wesly Anthony Clergé, Mia Nevarez, Patrick O’Keefe and Jasmine Lacy Young all bring confidence and exuberance to their performances, capturing the emotions of their characters’ relationships and the songs that provide the vehicles. Jasmine Lacy Young brings soaring vocals to the anthem “I Am Woman,” and more meditative songs like “Just the Way You Are.” Wesly Anthony Clergé brings out the anger in “War” as the veteran who could not avoid the draft. Clergé’s well-modulated voice and ingratiating smile are a highlight of the show. Mia Nevarez, a relative newcomer, has a beautiful, smooth soprano that manages to make even “You Light Up My Life” rise above its schmalzy mediocrity. Navarez and Clergé join forces for a beautiful rendition of “The First Time Ever I Saw Your Face.” Patrick O’Keefe rounds out the quartet of principals; he ends up having to sell some of the less sturdy music of the decade and his character takes a while to come into his own, but he brings a nice longing to songs like “I’m Not in Love” and “Desperado.” The remaining members of the ensemble provide become love interests and swell the sounds of the music. Chamaya Moody distinguishes herself with her dance moves, but all the actors, Moody, Alli Atkenson, Matt Patrick and Roy Samra find ways to create characters that remain consistent while changing with the decade. The show is at its most joyful and fun when the eight-member ensemble joins together for “tracks” (the show is divided into eight of these, appropriately), including a raucous party in the first act, and a road trip and disco tribute in the second. With a versatile band consisting of Jeremy Ramey on keyboards, Perry Crowder on guitar, Egan Franke on bass and Carlos Mendoza on drums backing up the vocals and rocking out on their own, the production more than does justice to the artists that created the sounds of 70’s.

If one has musical memories of the 70s, 8-Track: The Sounds of the ‘70s will provide a joyful trip to the past, with the talented cast breathing life into even the most moribund hits of the decade. If one is too young to recollect the times, many of the hits may still ring a bell, and the show will provide an energetic introduction to those that don’t. If you are looking for complex plots and characters, this is not your show, but director Jamal Howard and the exuberant ensemble have created a respectful but not too reverent time capsule that provides a nice break from the winter weather as well as a reminder that every decade has its own struggles and celebrations.

8-Track: The Sounds of the ‘70s runs through January 23 at Theo Ubique Cabaret Theatre at 721 Howard Street, Evanston. Tickets are on sale at www.theo-u.com or 773-939-4101. Prices are Thurs. & Sun. $42 bar seats, $45 riser seats, $50 table seats; Fri & Sat: $46 bar seats, $49 riser seats, $54 table seats, except ticket prices for the New Year’s Eve show (including a champagne toast) are $70 for the show only. No performances Christmas week Thursday, December 23 through Sunday, December 26. Optional three course prix fixe dinners catered by Good To Go Jamaican Cuisine are available for $29.00 per person, per show. Dinner reservations must be placed one week in advance of the desired performance date. Theo Ubique will be requiring all audience members to be fully vaccinated from COVID-19 this season. Photo ID and proof of vaccination (photos or photocopies are acceptable) will be required at the door. (Starting one hour before curtain, all unsold seats will be released for $20.)