"Ma Rainey's Black Bottom" Review

Once again, super behind on posting this but heregoes:

Review of ATC’s Production of Ma Rainey’s Black Bottom

by Marc Hansen

In his career, prestigious playwright and legend August Wilson wrote, in addition to others, a series of ten plays, each detailing the African-American experience of one of the decades in the 20th century. These were called his “Century Cycle” or his “Pittsburgh Cycle,” as all ten of these plays were set in Pittsburgh’s Hill District, with the exception of one: Ma Rainey’s Black Bottom, which takes place in Chicago and has now come to Tucson, Arizona at the ATC. This time the ATC keeps it light on the elaborate sets (though the one set they do have is still well done), and mostly relies on Wilson’s fabulous script and a superb cast to make for another enjoyable experience.

Ma Rainey’s Black Bottom takes place over the course of one day in 1927, in a recording studio in Chicago, Illinois. The four struggling band members, the stubborn old record producer (Michael Tezla), and Ma Rainey’s peace keeping manager (Phil Kilbourne) are waiting for legendary singer Ma Rainey to arrive and record her new jazz record. After coming an hour late, major pop diva Ma Rainey (Jevetta Steele) refuses to sing until she has her Coca Cola and demands that her stuttering nephew (Ahanti Young) speak a line in the title song (“Ma Rainey’s Black Bottom”). Meanwhile, back in the rehearsal room, feuds between the cocky, young trumpet player Levee (James T. Alfred) and the other three goofball musicians arise, ultimately leading to dire consequences and expressing the hardships of black Americans in the 1920s.

The best thing about the play was Wilson’s extraordinary and well-thought out dialogue, which had a poetic rhythm to it and reveled in the possibilities of the English language. It’s one of those screenplays that I would love to read on its own and get the full nuances of the arrangements of the words. I loved the banter back and forth between the back up band members, which is only heightened by all four actor’s extremely natural, yet completely convincing, performances (Abdul Salaam Razzac as Toledo is the most lovable of the three misfits, though all three are equally hilarious). Although, at some points, Ma Rainey does get a little too talky for its own good. Consisting of almost all dialogue, it’s easy to get lost and lose focus, and overall the play could use some more action to balance out the important themes the actors do express in their lines.

The play definitely picks up in the second half, after Ma Rainey has entered the picture and we get to watch a performance or two of some of the songs. (Warning to some members of the audience: Though this is a play very much about music and musicians, it’s not a musical; Don’t go in expecting Dreamgirls or lots of bluesy songs, as many members seemed to be disappointed by a lack of this - it is instead an intense and powerful portrait of African-Americans in the ‘20s). Jevetta Steele, in particular, is stellar and has a very commanding stage presence. She nails the arrogant, pop diva act and when she’s on stage, you can’t take your eyes off her. The MVP of the cast though is by far James T. Alfred as Levee, which is truly saying something as I actually admired every performance. However Alfred won me over when at the end of the first act, after having his character play the role of the arrogant and ambitious up-and-comer, Alfred reveals Levee’s true self when erupting into a towering monologue, truly showing how troubled, damaged and hot-tempered Levee really is.

Once again, the production isn’t perfect, as it does get a little slow and too long at various points, but all in all through Wilson’s mostly tight script, and the even better realized performances from this production of Ma Rainey’s Black Bottom, ATC certainly creates an emotional experience in which you empathize and understand the actions of these fascinating characters.

Overall Grade: B+