"Lost in Yonkers" Review

Review of ATC’s Production of Lost in Yonkers

by Marc Hansen

ATC’s marvelous production of the classic play Lost in Yonkers is possibly the best play they’ve produced in the last two years. Written by playwright genius Neil Simon (The Odd Couple), for which he won the Pulitzer Prize, Lost in Yonkers is Simon’s magnum opus, containing his wittiest, most hysterical dialogue combined with the surprising emotional impact the play unleashes on you. It may be the least flashy ATC play this year in terms of lighting or set design, but it excels in theatre’s two most important aspects: acting and writing.

Lost in Yonkers starts out in Grandma Kurnitz’s living room, where two young brothers, Arty (Maxx Carlisle-King) and Jay (Ryan DeLuca), recount horror stories they’ve heard about their strict, paternal grandmother (Judy Kaye) that they hardly know. This is the living room that the rest of the play will be set in and that we’ll come to know so well. And though the play begins with an almost sitcom-y premise where the two mischevious youngsters are forced to live with their overbearing grandma for nearly a year, while their father (Spencer Rowe) travels around the country, the play takes a rather unexpected turn. Being a comedy, and a Neil Simon comedy, I naturally expected the children to eventually come to terms with their demanding immigrant grandmother and realize how much they love and appreciate her in the end, in a very predictable fashion. And though this ultimately does happen in a way (albeit much slower and more realistic than typical ‘90s comedies), the play slowly becomes more about the dysfunctional relationships Grandma’s Kurnitz and her own children have. As the mentally challenged aunt (Kate Goehring) and smooth criminal uncle (Preston Maybank) of the boys start to play a larger role, we realize that Lost in Yonkers isn’t about the boys. The boys, in fact, represent the audience, watching all the drama unfold upon them.

Obviously, the biggest reason Lost in Yonkers is so successful is because of Neil Simon’s book. It’s not only full of his very clever, very funny writing, that I was well aware of after reading The Odd Couple, but includes a really profound, emotional center at the heart of the story that wasn’t as present in the cheeky Odd Couple. Yonkers is really phenomenal writing on all fronts, with extremely deep, well rounded characters pushing the engaging story forward. At first, I thought Grandma Kurnitz was just your typical stereotypical strict authority figure, but as the play went on, I realized what an incredibly complex character she was and Bella, the retarded aunt, is the best written handicapped character I’ve ever seen. She may have disabilities, but that doesn’t mean she doesn’t have intense, conflicting feelings and desires that emerge pass the surface of her illness.

The characters obviously wouldn’t work without the proper cast though, which is why it’s so amazing that Lost in Yonkers literally perfectly casted every character. Goehring as Bella is obviously the stand out, in the best portrayal of a mentally handicapped character I’ve ever seen. But to say that Bella is just a ‘mentally handicapped’ character isn’t doing the character justice, as she is so much more than that, which is what I love about the performance. Goehring lets that come through very naturally, but she plays Bella as a deeply confused, hurt, and sheltered little child in a grown woman’s body, with a grown woman’s desires, yet the naivety to think that that life is possible for her. It’s very hard to pick a favorite among such a great cast though. Maybank as Louie is so cool and suave and badass that you completely see why the young boys would admire and look up to him, yet he’s also intimidating and scary enough that you’re simultaneously scared of his next move or the trouble he might bring. In his small role as the father, Rowe completely convinces you in the play’s first pitch, understanding how conflicted this caring father is about leaving his children behind, that the set up doesn’t seem at all like a gimmick. Kerry McCue, in another small role as Aunt Gert, is incredibly funny with her vocal timing and even DeLuca and Carlisle-King as the boys had great comedic chops. But I can’t forget Kaye as Grandma Kurnitz who feels like your lovable, grouchy, old grandma and propels her into more than just than an one-note character. Such great acting and execution can only happen at the tips of great direction though, which is why the stupendous work of ATC’s very own Samantha Wyer can’t be forgotten.

Yes, perhaps the production isn’t perfect. Some extensive dialogue scenes start to feel a little long and maybe a score would’ve helped, but I prefer not to nitpick when everything else is so wonderful. Lost in Yonkers isn’t a theatre, or art, experience that you get to experience often, so why not appreciate it while you can?

Grade: A

"Ten Chimneys" Review

Sorry this is so late.

Review of ATC’s Production of Ten Chimneys

by Marc Hansen

The world premiere of Ten Chimneys, the newest production playing at the ATC, is a delightful, amusing little comedy about actors’ drama behind the stage.

The play follows the renowned husband and wife team of real Broadway stars Alfred Lunt (Steve Hendrickson) and Lynn Fontanne (Suzanne Bouchard) in 1938, as they decide to perform Anton Chekhov’s masterpiece, The Seagull, for their next production. They retreat to their legendary and gigantic Wisconsin mansion to rehearse, bringing their fellow actors and extended family. Quirky family hijinks ensue, as well as a blossoming love triangle between Lunt, Fontanne, and their young, new lead actress Uta Hagen. On top of all this, the behind-the-scenes drama in Ten Chimneys directly correlates with the drama in the play they’re rehearsing (which is also about actors). Gee, how coincidental.

A lot of praise should be heaped upon writer Jeffrey Hatcher for not only writing an intelligent and complicated script, but for making it play out so simply (as well as props to director David Ira Goldstein for providing that seamless flow). Ten Chimneys has a rather complex written premise (with all the play-within-a-play nonsense), which though an attraction to me, may drive a lot of people away. However, though playfully clever (sometimes even coming across as too impressed with its own cleverness), the play never seems overly complicated. It’s smart, but still incredibly entertaining and interesting. In fact, the play-within-the-play plot point isn’t even necessary, though it does reinforce that age old theatre theme that life is a stage.

The cast is all fantastic. Hendrickson stands out as nailing the flamboyant character of Alfred Lunt, but then I think about how perfectly Bouchard played Fontanne’s materialistic Broadway diva star or the unexpected emotion Michael Winters brought to the character of Sydney Greenstreet, and it becomes much harder to pick a favorite. Sure, the characters are stereotypes of traditional family and actor roles (Lunt’s extravagance, Fontanne’s prima donna, or Linda Stephens as the lovably bitchy mother), but it all works in the play’s favor. Instead of feeling cliché, it simply feels familiar. Immediately you know these characters and it starts to feel like your own family.

The production values are all excellent and greatly enhance the play. The rotating set is captivating and the lush, green “trees” really made me feel like I was in Wisconsin. In fact, the prop and scenery pieces were replicated from photos of actual items found at Ten Chimneys and the cast actually got to rehearse for a week in the legendary estate. It’s this attention to detail, though not obvious, that adds such an authentic feel to the production.

However, the play does have its flaws. For one, the play is a little too play-centric for its own good. Of course, it’s no surprise that a plot like this would elicit a favorable response among the thespians that put on this show, but sometimes it felt like there were a few too many “inside jokes.” I had no idea until I researched the production afterwards that Lunt and Fontanne were real Broadway stars, and though that only made the play cooler, there were times within the play that I felt a little lost when they were extensively dealing with The Seagull production. Some would argue that that’s fine and that a prerequisite knowledge of The Seagull is simply necessary, but I think there are more people who know nothing of The Seagull than people who do, even among the theatre buffs that frequently attend the ATC’s productions.

It’s also a little lightweight. It’s fun and entertaining, but after the show’s over it doesn’t feel all that memorable, unlike the productions Lunt and Fontanne put on themselves. It’s about what actors are like behind the scenes, but this doesn’t feel like a very meaningful theme. However that doesn’t seem to be what Ten Chimneys is concerned with. No, Ten Chimneys is just a play about people who love theatre and its main purpose is putting on a great show.

Grade: B+

New Year's Resolutions

While I think the idea of New Year Resolutions is stupid in that most people just do it because it's a cultural tradition, and not because they actually want to or plan on changing, and those resolutions almost never last the full year, I can see the appeal in wanting to improve yourself and be a better person. And what better time to do that then at the beginning of the year, a "new start," after you've just reflected on the entire past year. Although I stand by my stance that doing New Year Resolutions just to do them is stupid, I do have some things that I would like to change, for the reasons I stated earlier.

One of those things is to start working out regularly, which is a typical one, but is one I've already started with Abdul. We're now members of LA Fitness and it's going great and I feel much healthier and stronger and like a better person.

Another one of them is to start reading more. It sounds weird because I love books so much, but during this first semester of my sophomore year I really stopped reading as much as I used to. And in general, I've read way less in high school than middle school, when I had much more time, but reading was really one of my favorite things to do and unlike any other pleasure. It's beneficial and I feel I need it. I have two huge stacks of books on my desk of books I need to read and it's only gotten larger, but I'd like to clear that desk by the time I leave for college. Now I'd say that I stopped reading as much because of AP Euro reading and I'm spending more time with my friends (and often working on movies), but yet I still find time to go on the computer. :P Over winter break, now that I have had more time (and yet still so many things to do!) I've been able to read a lot more (finished two books in two weeks and started another!) and still go on the computer (and hang out every night.... when I really need to finish that wedding video, my NYU application and my AP Euro reading), but once school starts again that won't be possible, because I won't have that much time. So why sacrifice books? Which leads me to my third resolution.....

Spend less time on the computer. I really like going on the computer and it's addictive, but it's pretty much a waste of my time, when I could be doing so many other things. Yet I always find enough time to check slashfilm.com or something. But now that I'll be working out at the gym 3 times a week, have an extra class this semester (and really 2, because we never had any homework in weights) I'll have tons more homework, as well as trying to write everyday (see below) and read more. So I really don't need to read every article that captures my attention on slashfilm. I can live without it and wait on hearing every detail involved with every movie currently in production until the movies come out. I'll admit it'll be tough, but it's for the better. Facebook doesn't worry me as much, because that's pretty much just for socializing and contacting people. I really don't feel I waste much time looking at any of the stuff on there. So my goal is only 30 min. a day, though 45 min. a day seems more likely at first.

And finally, my last resolution is to start a journal, in which what you are currently reading is the first entry. I've never had a journal just for myself, though I've heard many times that I should, that many people like me have and I always liked the idea of having one (and really enjoyed journalling in my English classes), but it always seemed like too much time and trouble to do on my own. But now I feel like A) I want/need/feel I have to be writing at least every day, just to get it out of my system and because I have so much I want to say and whenever I do write, I say a lot. But B) as I look back on my life and there are so many different experiences I've had over the years, I find I hardly remember anything. Only a certain event, if something special happened that day, and sometimes just general memories of doing things, although sometimes it'll be things I never think of, but when someone mentions it I remember them. But even just ordinary things like what I used to do on a typical day in 7th grade. I have no idea! Obviously it's not very important, on a purely interesting level, but I think it's important that I remember what it was like to be me and who I was, if I was the same person or if I've changed. I've always wished that there was some way to record my thoughts, and it seems like writing's the closest thing I'll get to doing that. So, B) as a record of my life, that I can look back on, and always remember (almost) everything I did, thought, felt at this time in my life.

2010: A Year in Review

Man, what a year. I can't even describe how great it has been, how fast it has gone, and how much better it was than last year :P

....but I'll try. But first, as you know me, before I start reminiscing about the good times I've had over the course of the year, I have to define the year in movies and music, with my top ten lists (I had to get it out of my system right away!).

Top Ten Movies of the Year (UPDATED):

1. Inception

2. The Social Network

3. Blue Valentine

4. Black Swan

5. Kick Ass

6. Winter's Bone

7. Toy Story 3

8. 127 Hours

9. The Ghost Writer

10. Never Let Me Go

HM: The Fighter, Due Date

(Btw all of these films are now on DVD, except for Black Swan, Blue Valentine, 127 Hours - all in theaters)

When just thinking back over the best films of 2010 and 2009, 2010 clearly seems like a better year for movies, although I had more trouble coming up with a top ten for 2010. I could come up with nine easily, but ultimately had to include A Prophet - which I technically count as a 2009 film since it came out in France in 2009 and was submitted for the 2009 Oscars for Best Foreign Film, but didn't come out in the U.S. until early 2010. This will likely be solved once I see a dozen or so more films - some that I just missed and will have to catch on DVD, but the better of those films that would probably fill up my top ten and allow me to have honorable mentions/take A Prophet off are the ones that are in limited release now (i.e. Somewhere, Blue Valentine) that won't come to Tucson until some time next year. Once I see those, I'll update my list.

Overall I think 2009 had more films that I liked in general, but a lot of them were often unmemorable - very good films, but not great ones. 2010, on the other hand, while lacking in quantity vastly made up in quality. Don't get me wrong, there were some films from last year that are favorites of mine ((500) Days of Summer, Inglourious Basterds, A Serious Man), but this year I really loved almost my entire top ten, which had more masterpieces, while 2009 had simply more enjoyable films in general, but also more flawed.

Now:

Top Ten Albums of the Year (UPDATED):

1. The Suburbs - Arcade Fire

2. This is Happening - LCD Soundsystem

3. Teen Dream - Beach House

4. Treats - Sleigh Bells

5. Shame, Shame - Dr. Dog

6. Sigh No More - Mumford & Sons

7. My Beautiful Dark Twisted Fantasy - Kanye West

8. Write about Love - Belle & Sebastian

9. Plastic Beach - Gorillaz

10. Contra - Vampire Weekend

HM: Volume Two - She & Him; Crystal Castles (2010) - Crystal Castles

However, it was an undeniably great year in music, though not as good as 2009, which was one of the best years in music ever, with such a vast collection of music and so many great, new, rising artists coming out with their first CDs.

Book of the Year: Freedom by Jonathan Frazen

Now, the year in my life. It's amazing to think of everything that took place over the last year (and what could take place over 2011!). One year ago, Abdul, Ricardo, Nathan and I weren't good friends. We were friendly and acquaintances, but not the best of friends that we are now (awhhhh). In fact it was at the very beginning of the year that we first started spending time together. The first media project we made during 2nd semester (Intense Breast Cancer - the first of our collaborations) was the true beginning of our friendship. We spent time together working on that and as soon as you knew it, the four of us were hanging out often, and by sophomore year, practically every weekend. I got to know these four gentlemen very well, and I'm glad I did. I couldn't imagine my life without them. It would be a lot less interesting. And fun. And -- Ah, fuck it, I love those guys. There's nothing more to say.

Speaking of media projects though, I can't help but be astonished by all my work that took place over one year (and this past one!). Now this may not mean anything to you, but as I go through every project I've worked on it really illustrates how much time has passed over only 365 days. It doesn't seem like a long time in theory, and I remember it like it was yesterday, but it just seems like so much has changed since a year ago, and yet I don't feel that I've changed that much. Anyways, here's every film I made in 2010:

-(Jon Vogel's Bar Mitzvah - technically I started this in Dec. of 09 but I worked on it during '10 too)

-Intense Breast Cancer

-Crying Lightning

-Laura Video

-Life of Pi English project

(worked on "I'm in AQ" - not a work of my own (Douglas's), didn't edit it, but helped in filming and acting of it)

-Adopt a Pet PSA

-Imaginary Me

-The Intense Cabin

-Intense JTED Courses

-Highlights from Europe 1-3 (just edited; footage from 09)

-The Three Films I Made at Camp (Long Gone, A Super Story, Daydreams)

-The Intense Loft Cinema

-The Intense Cabin 2

-Salcido & Tamimi: Intensely At the Movies

-The Wojcik/Pence Wedding (which I'm still not finished with)

Even though most of those movies are less than 5 minutes, that still seems like a lot (20) for one year.

This summer was also amazing; One of those summers you always remember; The summers people write books about; The summer where you truly grew up. I can't even describe it. One half was Bonnaroo, which was such an amazing, incredible experience that was just so much fun. But also there was this moment after the weekend was over and we had seen all the shows and it was the last night and we were staying in the RV and everyone was just about to fall asleep and I sat there, just thinking. I can't even describe it, but it was like nothing else I had ever felt. I think it was because we were so busy that whole weekend that we never really got any time to reflect on how amazing or how much fun it all was, until that moment. It was just this grand feeling that literally swept over me and I just couldn't believe how happy I was and I wished that I could be this happy all the time.

And then there was camp. Of course there was the fact that the camp itself was great and gave me experiences and opportunities that I'd never had before, and the fact that I was able to live pretty much on my own for a month, letting me know that by the time college comes I will be ready (and I can't deny it certainly had an effect on me - I've been way more independent ever since), but let's face it. The best part of the camp, like the best part of life, was seeing Inception for the first time. But the second best part was the people there, and it's the people in your life that you meet and love that make life worth living and the people I met there were like no other people I've met - they were just like me. They lived, thought, and breathed film, and it was just nice to meet people like that, but the truth is they were also just a lot of fun and I got along with them really well and they were really great people that I'll never forget. I had so much fun at camp. The last night was the peak (after a long steady rise), but then the next morning I was so heartbroken to let it all go. For the next couple weeks, I couldn't stop talking about how great it was and everyone I knew thought I was really annoying. I loved camp more than I loved my life back home and I didn't know how my social life would live up to it. Yet somehow it did, and as I think about it, maybe it was just me all along. Maybe I had just learned to let go and be truly happy. Nahh, maybe somewhat, but I think I also just lucked out on my friends.

Other things I did this year:

-got my permit

-got straight A's both semesters (not that that's special)

-got my first paycheck

-travelled all by myself! (to NY! - got to visit my camp friends)

......um I guess that's it for measurable accomplishments. Wow.

But that's not to say it hasn't been a great year, full of growth, fantastic experiences, amazing friendships, and very memorable memories. In fact, I think this has to be one of my favorite years just in terms of growing up and living and experiencing and enjoying life, and what could be better than that. There is no greater accomplishment.

I mean a year ago I didn't even know who Ramtin or Haitham were. And now look at how close Ramtin and I are now. And I just got off the phone with Haitham at the Houston airport, who told me how much I meant to him as a friend and I told him how glad I am that he was a part of my life.

And Alison, assuming you're reading this (you'd be the only one ;) ), if you remember it was really a year ago when I posted a blog entry like this one, except reminiscing about the decade, instead of the year, that we started to become friends again. We were friends in 8th grade and from Mr. B.'s class and I had even known who you were since my brief time at Manzanita Elementary, but then once we got to high school and we didn't have any classes together, I didn't see you at all. But that was just the first semester. Sometime during the beginning of second semester I remember walking to Global Issues one day with Lucas, and hence you (and probably Douglas too though I don't remember exactly), and you had said to me that you had read my blog entry (about the end of the decade). I was astonished. I didn't write it expecting anyone to read it, especially considering I thought no one checked these blogs anymore anyways (except really just you and I, now). I had wrote it for myself, because I needed it, although one of my "New Year's Resolutions" was to write on my blog more - because I wanted to write more and I needed it. And really knowing one person out there was reading it probably helped me do so, as I might've stopped if I thought no one was reading what I wrote and then what was the point? But you kept me going, and though recently I've stopped a little (mostly because now I just talk to you in other ways and have facebook) I don't feel like I need it as much. I needed to write, but I didn't need this blog. Although through this blog, and thanks to Mr. B. who set these up with us in the first place! (thanks Mr. B. ;) ), I got to know you a lot better and we started to talk and our friendship blossomed. Looking at how close we are now, it doesn't seem like we were that close at all, but at the time I remember really looking forward to your posts and comments and discussing life with you. I found that you were someone else who saw the world as I did.

And that was just the first half of the year. After summer, when school started again, we became much, much closer and got to know each other extremely well, becoming the best of friends. Now, we practically talk to each other every day. Of course, I don't need to tell you this. But isn't it amazing to think that it all happened within one year, this past one. I remember exactly one year ago, on New Year's Eve, right at the end of the decade, my mom, sister, and I went to the Downtown Tucson thing they were doing to keep people safe and saw Ryanhood play and watched a couple of short movies at the Screening Room. We got home early (before midnight) and of course I stayed up till midnight, consciously awaiting the turn of the decade (the first one that I'd be aware of), and feeling very alone. I mean, it was New Year's Eve and not only that but we were entering a new decade and I had spent the night with my mom and my sister, and was now in my room all alone. That's where I was in my life. All alone. And now I can't believe how much that has changed. I feel so blessed at the number of great people I've gotten so close to and gotten to know and meet and love. I'm just happy to be here and lived through it all. Maybe it was fitting that I spent the last night of the '00s, bookending the time from when I was 5 to 14, with my family, and that by the last night of the '10s I'll probably be spending it with friends, bookending the time from when I was 15 to 24. The two different groups of people who were most important to me during those periods. I remember when the clock struck 12 and it felt like it should be such a momentous, grand, epic moment. It was a new decade, a new start. And yet the change didn't feel immediate. It was just another minute. But looking back on it now I can see the change and that night seems too good to be true, as if it belongs in a novel of my life. It means so much to me. I remember right before the year began I listened to Ryanhood's "The World Awaits You," which I'm listening to again now, and all I can say is "Man, I couldn't even imagine how much that's true."

Alison, I've figured you out...

:O

"Woody Guthrie's American Song" Review

Review of ATC’s Production of Woody Guthrie’s American Song

by Marc Hansen

If you’re the kind of person who loves traditional folk/country music, then I’m sure you would LOVE ATC’s production of Woody Guthrie’s American Song, as most of the production consists of pretty much just that. As someone who loves modern folk music, but isn’t particularly a fan of this style, I admire the play for its strengths, but overall it just isn’t the play for me.

Woody Guthrie’s American Song brings to mind last season’s Ain’t Misbehavin’, which coincidentally had the time slot as Woody Guthrie’s American Song this year. Like Ain’t Misbehavin’, Woody Guthrie takes a famous, defining musical artist in a given genre (Woody Guthrie of Depression-era folk, like Fats Waller of 1920s jazz) and performs a wide collection of their songs over the course of the play. The productions consists of mostly just that, though you also get a great atmosphere for the time period they’re trying to project.

The main difference with Woody Guthrie however, is that Ain’t Misbehavin’ was just Fats Waller songs, while Woody Guthrie actually tries to provide a plot within the play. That’s not exactly a bad thing, in theory; I was expecting the production to be a story about Woody Guthrie’s life, but as the play goes on, you become increasingly aware that it’s more about the music, with an underdeveloped story thrown in occasionally between songs. In addition, the story that’s there, maybe because it is so underdeveloped, isn’t captivating in the slightest. It’s dull and just plain confusing. I think you could certainly make at least a semi-interesting story about Woody Guthrie’s life, but this isn’t it. It’s especially brought down by the fact that the five actors in the cast constantly switch characters, which isn’t unusual for secondary characters, but even the main character of Woody Guthrie was juggled between the three male stars, all at various points in the play. This convoluted approach, I’m assuming trying to be unique or creative, just made me bewildered as to who was who and what was happening.

On the positive side, as I said earlier, the play really is more concerned with the music than the plot, and the music is great. Even for someone like me, whose particular taste doesn’t lean towards this style of music (I actually prefer the 1920s jazz of Ain’t Misbehavin’), I can’t deny that the music is great and is the production’s greatest strength. There is a reason Woody Guthrie was a defining artist of this genre, and by the time his magnum opus “This Land Is Your Land” closed the show, everyone in the audience was singing along. The three band members (Mark Baczynski, David P. Jackson, and David Miles Keenan) are all excellent multi-instrumentalists and I loved the opening number “Hard Travelin’” in which every cast member overlaps a monologue about their characters’ backstory.

The set was also fantastic, extravagantly large and vast, just like the Old West, (heightened by our balcony seating) and perfectly setting the tone and mood for the music that accompanies it. You truly have a sense of the time and place of Depression-era America. When it comes down to it, even with its pros and cons, how much you like Woody Guthrie’s American Song will be directly related to how much you like his music. If you despise it, you may not be able to appreciate the set’s beauty or the instrumentalists’ skill. And if you’re head over heels in love with old time country/folk music, you may be able to look past that horrendous attempt at a story. As for me, I found myself somewhere in the middle.

Overall Grade: B-

"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+