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Reviews
October 22, 2009 ‘The Message is in the
Music (God is a Black Man Named Ricky)’ Oh, Lord! It turns out that even
a hardcore agnostic can find plenty to enjoy in “The Message is in the Music (God is a Black Man Named Ricky)”—a
true testament to the exuberant power of the performers in Black Ensemble Theater’s latest show. October 2009 Theatre Review by Alan Bresloff Steadstyle Chicago The Message is in the Music Black Ensemble Theater is unique in that many
of the stories they tell are written by Artistic Director/Founder Jackie Taylor, who manages to find some of the most extraordinary
voices in Chicago for each production. The scripts are not the most important part
of what she brings to an audience, but they do tell a story. The current production is titled "The Message is in The
Music (God is a Black Man Named Ricky)" that takes us on a trip to heaven and allows us to watch as Lucifer
has a face-off with God, the fight between good and evil, love and hate. Yes, it is an old story and one that will always
be retold, but Ms.Taylor puts it together with a cast of powerful singers (who can truly move as well), using 27 songs to
tell the tale. Music from John Lennon, Curtis Mayfield,
Paul Simon, Ray Charles, Paul McCartney and others fill the small, intimate theater on Beacon Street,
which is soon to be replaced with a brand new state of the art facility. Songs like "Let It Be", "Tell Me What I Say",
"Imagine", "People Get Ready" and "Bridge Over Troubled Water". There is also a great
octette of musicians that make this building rock. They feel the music and play it as it should be played! Ms. Taylor knows how to utilize the small stage to
perfection and the amazing choreography by Rueben Echoles makes this tiny stage seem to have no boundaries with his steps.
This production is sizzling hot with great arrangements to the music by Robert Reddrick that bring a new flavor to the sound
with some jazzy arrangements and some very Gospel sounds. One could not ask for better voices than those that are assembled
on this stage. Often I hear that when big shows are seeking talent for their productions where African American characters
exist, that there is not enough talent around. Well somebody tell these producers to get in touch with Jackie, because
she knows how and where to find them. Ain't no doubt about it! The cast for this show sparkles with talent.
Angels Dawn Bless and Rhonda Preston will knock your socks off. Trinity P. Murdock is a powerful Trinity, Michael T.
Bartlett Jr. really moves as Demon Dwight, Carrie as Demon Doubt and her soul-sister Kylah Frye as Demon Fear are wonderful
to watch, Corey Andre Wright does a cameo as Curtis Mayfield, and the marvelous France Jean-Baptise
plays SHE (this is the name for God's woman as he is often referred to as HE). The roles of Lucifer (Donald
Barnes) and God (Rick Stone) are superbly cast. I can't think of anyone who could do these roles other than these two
men. Each has a powerful characterization and each one can belt it out with the best. While the story line is not the strong point to
the show, they do get us to think about faith and hope, trust and doubt as well as our fear. Right now our country is
going through some tough times. Could it be the work of the Devil? Is Evil lurking around every corner just waiting
to grab us? Well, I suggest that you forget about all that stuff and hop on over to the Black Ensemble Theater located
at 4520 N. Beacon (just South of Wilson Avenue and East of Clark
Street) for a wonderful two hours plus of great music! Forget about your troubles and the world around
us for two plus hours and just tap your feet, clap your hands and smile that friendly smile while being entertained by the
wonderful cast of "The Message is in The Music (God is a Black Man Named Ricky)". Performances are Fridays and Saturdays
at 8 p.m. and Sundays at 3 p.m. Tickets are $45 and are available by calling 773-769-4451
or online at www.ticketmaster.com. To learn more checkout www.BlackEnsembleTheater.org. BY HEDY WEISS Theater Critic/hweiss@suntimes.com
Hellfire and damnation, and a whole
lot of heavenly singing and earthly argumentation. That's what you get in "The
Message Is in the Music (God Is a Black Man Named Ricky)," Jackie Taylor's red-hot new musical for the Black
Ensemble Theater. The show makes the most of both
the temptations and terrors unleashed into the world by Lucifer, that destructive man with the burning tail and the propensity
for chaos and war. But it ultimately sees to it that the forces of good prevail by way of a towering, self-assured black man
named Ricky. And rarely has the battle between good and evil been quite so much fun, or come with such a blast of vocal and
instrumental power behind it. » Click to enlarge image "The Message Is in the Music (God
Is a Black Man Named Ricky)" stars Rick Stone (center), with Rhonda Preston and Dawn Mitchell. 'THE
MESSAGE IS IN THE MUSIC (GOD IS A BLACK MAN NAMED RICKY)' HIGHLY RECOMMENDED When: Open run Where: Black Ensemble Theater, 4520
N. Beacon Tickets: $45 Phone: (773) 769-4451 This is one of Taylor's more tightly
scripted and sassily directed pieces -- a zesty weave of the secular and the spiritual that uses more than two dozen vintage
hits, by everyone from Curtis Mayfield and Barry White to
John Lennon and Paul Simon, to conjure the battle for men's
(and women's) souls. And not only does it bring together some of this theater's best-loved performers -- all with clarion
voices -- but music director and drummer Robert Reddrick has assembled a smoking eight-piece band that is perched among the
"clouds" and sounds as if it had been coached by archangel Gabriel
himself. The force of light here comes in
the form of Ricky, a k a "He" (blues singer Rick Stone, whom audiences will forever think of as Howlin' Wolf). He sets the funky but self-assured tone from the moment he arrives onstage
in a snowy white zoot suit and gets the audience moving to a rousing take on Mayfield's "It's All Right." Ricky's wife, "She" (the full-voiced Meanwhile, Lucifer (Donald Barnes
in his fiery red suit) is up to no good, and his sidekick Demon Dwight (Michael T. Bartlett Jr., who lights up in "Fire")
spurs him on, even if Lucifer's sexy Demon attendants Fear (Kylah Frye, who gives a breathtaking performance of "I Wanna Be
Free") and Doubt (Carrie) dance and sing up a storm as they begin to have some second thoughts. NOTE: Taylor, a proud new grandmother,
told her audience that $13 million of the $15 million needed for her theater's new home (with two stages and classrooms) has
been raised. Groundbreaking is set for June, with a September 2011 opening.
LINCOLN SQUARE
CHAMBER OF COMMERCE September
1, 2006 France, I am writing
to thank you for another wonderful performance. It was a real pleasure to have you back at the Lincoln Square Chamber of Commerce
Summer Concert Series. We always try to recruit the best local talent for our annual concert series and for the last 2 years
you have not disappointed. You bring a big, rich, energetic sound that our really audience responds to. I have heard many
positive remarks about your show. I also appreciate
your professionalism – I can tell that you are very committed to your work and to your audience. I look forward
to seeing you perform again. We will definitely keep you in mind for future events. Thanks again and please stay in touch!
Sincerely, Christie
Hahn
December 18, 2005
BY HEDY WEISS Theater Critic
My test for devising "the year's 10 best" list could not be more simple: I just jot down the productions that
most immediately and powerfully come to mind -- the shows that live in my memory without requiring the benefit of even a glance
at the computer calendar that could easily remind me of everything I saw in 2005.
This year the list grew to more than 30 entries without any prompting. The problem was whittling it down.
Here, the top 10, in no particular order:
"Two Trains Running," opened Sept. 26, Pegasus Players: This revival of August Wilson's 1960s era play of African-American
life was on stage at the very moment that the playwright died of liver cancer at 60. This added to its poignancy, but certainly
didn't mitigate the fact that director Jonathan Wilson and his cast had created a sublime revival.
"Seven Guitars," opened May 15, Congo Square Theatre Company: Another August Wilson revival -- this one directed
by Derrick Sanders, who the playwright had mentored -- featured yet another brilliant assemblage of Chicago's black actors
in a riveting and poetic version of this 1940s chronicle about love and loss.
"Wheatley," opened Oct. 10, Victory Gardens Theatre: Lonnie Carter's verbally and intellectually dazzling riff on
Phillis Wheatley, regarded as the first African-American female poet, was performed with wit and fire, and marked Yetide Badaki
as an actress to watch. (It's worth noting that a Wheatley manuscript sold for a record price at auction just weeks after
the show closed.)
"Time and the Conways," opened Sept. 18, Griffin Theatre: This deeply moving, elegiac revival of a rarely seen play
by J.B Priestley looked at England between the wars -- with one family's bitter resentments, botched dreams and love of theater
all part of the mix. Directed by Jonathan Berry, and beautifully performed by a large cast, it was easily the finest but most
overlooked show of the year.
"700 Sundays," opened Nov. 8, Cadillac Palace: Billy Crystal's memoir of his parents, his Long Island youth and
his vast array of colorful relatives was a true tour de force that could easily have enjoyed a long run here but was inexplicably
booked for only a handful of performances.
"Dollhouse," opened June 28, Goodman Theatre: Playwright Rebecca Gilman's Lincoln Park yuppie update of the Henrik
Ibsen classic was clever, insightful and expertly produced, and notably confronted the inequities and resentments so inherent
in the American class system that many would like to deny even exists.
"Design for Living," opened Sept. 14, Circle Theatre: This storefront revival of Noel Coward's surprisingly dark
comedy of manners was carried off with the kind of panache and control that continually eludes many veteran, high-profile
casts. The starry work by relative neophytes was hugely impressive.
"Oliver," opened Dec. 10, Marriott Theatre: David H. Bell's revival of this much beloved musical is fresh, ingeniously
staged and superbly performed. As good as anything you'll see on Broadway.
"Red Herring," opened March 23, Northlight Theatre: Jessica Thebus and her knockout, precision-tuned cast created
a mock-noir laugh riot in this production of Michael Hollinger's farce that dealt with everything from marriage to McCarthyism.
"At Last: A Tribute to Etta James," opened Feb. 20, Black Ensemble Theater: Five great singer-actresses
and a cross-dressing emcee conjured the music and many-sided personality of the great pop singer. And you left the theater
snapping your fingers and humming for a good week.
And one last note...
"The Bluest Eye," opened Feb. 5, and "Master Harold ... and the boys," opened Oct. 15: These shows, rooted
in the destructive nature of racism, were presented via the Steppenwolf Arts Exchange program, but both should have been part
of the theater's mainstage season rather than being relegated to educational outreach for primarily student audiences. Lydia
Diamond's first-rate adaptation of Toni Morrison's novel, "The Bluest Eye" was exquisitely directed by Hallie Gordon, with
a gorgeous central performance by Alena Arenas, while "Master Harold," expertly directed by K. Todd Freeman, served as a reminder
of what a powerful play Athol Fugard created.
There are many rewards that come with this job. Many are mixed blessings. Anyone who loves theater
might agree that getting comped to just about every show in town would be a great reward. Not so much. It’s like dangling
a bag of cocaine in front of an addict; it’s hard to say no even when we know it’s bad for us. So we end up over-indulging.
Another reward you might think is nifty is being paid to see theater. And yes, the copious cash flow from Windy City Times
does make life grand, but we don’t really get paid to see theater; we get paid to review it, which means lots of nights
away from home and a lot of bleary-eyed hours in front of a computer screen, which brings us back to mixed blessings.
No, the real reward of being a theater reviewer is when a director, playwright, creative team, and
an ensemble all come together to create magic. The real reward is sitting in a darkened auditorium, blank notebook on my lap,
pen forgotten in my hand, while I sit spellbound, watching art come to life.
That’s why I do it. Here are 10 plays from 2005 that un-mix the blessings of being a reviewer.
These are all productions that made me forget that I was reviewing and remember the joy of what it’s like to be an audience
member. My list is in alphabetical order.
1. At Last: A Tribute to Etta James—Black Ensemble Theater had one of its finest musical biographies
on its hands with this intriguing portrait of rhythm and blues songstress James, using the conceit of having five different
Ettas on stage at the same time to represent different stages of the singer’s life. Powerhouse vocals and a small, but
mighty, band made this show pure, toe-tapping joy.
2. The Bad Seed—Camp humor at its finest. In Cornservatory’s musical drag-deconstruction
of the 1950s potboiler about a sweet little girl with terrific penmanship and a taste for murder, they captured the mood of
the film perfectly while taking it way, way over the top, with hilarious results.
3. Crave and 4.48 Psychosis—Even though these two stand-out productions were done by different
theater companies ( the side project and the Hypocrites, respectively ) , they were both stellar examples of the tragic, poetic
world of the late playwright, Sarah Kane, who committed suicide at age 28. Deep, demanding, and terrifying, these works brought
home the intense pain that just living can sometimes inspire.
4. Death of a Salesman—The Hypocrites, and director Sean Graney, continued to prove they are
one of Chicago’s best emerging theater companies with this inspired and spot-on production of Arthur Miller’s
classic take on the American dream.
5. Dollhouse—Rebecca Gilman wrote a winning adaptation of Ibsen’s masterpiece with this
Chicago-set, 1980s period piece. The Goodman’s production was flawless and gave new resonance to this early pro-feminist
masterpiece, injecting it with humor and pathos and making it accessible to modern audiences.
6. Orpheus Descending—With electrifying performances by Carmen Roman and Steve Key, American
Theater Company produced one of its finest efforts to date. Director Damon Kiely brought Tennessee William’s humid take
on love, lust, and loss to powerful and unforgettable life.
7. The Pain and the Itch—The Steppenwolf continued to stage the disturbing, thought-provoking,
and bitterly funny work of gifted playwright Bruce Norris. Norris’ portrait of a family’s secrets exploding (
at holiday time ) was a giddy roller-coaster ride of sublimely dark humor.
8. Spamalot—Before it became a Broadway smash, it was here, with its original triumvirate: Tim
Curry, David Hyde Pierce, and Hank Azaria ( plus show-stopping vocal turns by Sara Ramirez ) . This take on Monty Python’s
Holy Grail did what so many marketing savvy producers seek to do: adapt a hit and make it better.
9. Take Me Out—About Face staged Richard Greenburg’s witty and sharp ( and Tony award-winning
) look at coming out of the closet in the baseball big leagues at Steppenwolf. The production was a home run on all counts:
great story line, thought-provoking themes, and oh well, I’ll say it, eye-popping eye candy.
10. Much Ado About Nothing—Chicago Shakespeare Theater welcomed Canadian director Marti Maraden
to its stage for the first time and she delivered with a dazzling interpretation of one of the Bard’s finest and most
complex comedies.
I’m already anticipating 2006 with bated breath: more Bruce Norris at Steppenwolf, the Hypocrites’
production of Angels in America, Mary Zimmerman’s take on Pericles at the Goodman … the list goes on, but the
column inches do not. Here’s to blank notebooks, uncapped pens, and the joy of reviewing theater.
September 27, 2005 BY HEDY WEISS Theater Critic
The winners of the 11th annual Black Theater Alliance
Awards honoring achievement in Chicago area productions featuring African-American artists were announced Monday night at
the Hyatt Regency McCormick Place Hotel. And it turned out to be a very good evening for both the Congo Square Theatre Company
and the Black Ensemble. Congo Square's sterling production of August Wilson's
"Seven Guitars" was named best play of the 2004-05 season (with awards also going to its director, ensemble, leading actor,
featured actress and set and costume designers). The Black Ensemble's irresistible, multifaceted portrait of singer Etta James,
"At Last: A Tribute to Etta James," was named best musical of the season, while also earning a nod for one of the show's actors
and its musical director. Here's a complete list of the award winners: PRODUCTION, PLAY: "Seven Guitars," Congo Square Theater Company.
YEAR Best Play (Musical or Revue) 1995 Doo Wop Shoo Bop- Black Ensemble Theater 1996 Train Is Comin’- The Chicago Theater Company 1997 This Far By Faith - eta Creative Arts Foundation 1998 Chicago's Golden Soul - The Black Ensemble Theater Best Production (Musical or Revue) 2003 Howlin' At The Moon - The Black Ensemble Theater
At: Black Ensemble Th., 4520 N. Beacon
Phone: ( 773 ) 769-4451; $35
Runs through: open run
“Etta James. Etta James. Etta James. I loves me some Etta James.” And so will you ( if you don’t already
) when you witness Jackie Taylor’s musical biography triumph of the powerhouse singer. The line above is a signature,
used throughout Taylor’s crafty and wise portrait of the woman who wrestled with serious demons ( abuse, neglect, drug
addiction, and more ) while churning out an astounding body of musical work that spanned decades and included R&B, blues,
jazz, gospel, and rock and roll. Musical biographies ( read: revues ) are often a cumbersome affair, linking a set of hits
with tidbits from the artist’s life to try and capture something elusive and ethereal. Often, the links between songs
sound like a school report. Not here. Jackie Taylor surprises and enthralls with her portrait of James. Taylor made the inspired
decision to have not one, not two, but five Etta James on stage at the same time ( wonderful shorthand for demonstrating psychological
complexity and what the span of years can do to a person physically and emotionally ) . Not only does this stroke of brilliance
showcase the complexity of a tortured artist’s psyche, it also allows for some real dramatic conflict as the various
versions of James argue, tease, and sympathize with one another.
Tying it all together is a drag queen ( Ms. Real, in a perfectly modulated, perfectly sassy turn from Rueben D. Echoles
) , who—with a firm, but loving hand—keeps the girls on track and sensitively leads them to conclusions about
themselves and their self-worth. It’s a risky device, but it works here, drawing us in and painting a complex and riveting
portrait at the same time.
While it’s interesting to hear about Etta James and her rise to fame ( she was a child gospel prodigy at five, and
won just about every musical tribute and award there is to be had throughout her long and platinum career ) ; and it’s
interesting to hear how a woman who was an icon of popular music couldn’t find love ( except in the latter part of her
life ) and had problems with substance abuse, what really makes this show sing is, well, the songs.
Fortunately for Taylor ( and more importantly, for the audience ) , we have five absolutely amazing voices to thrill and
touch us. When this show rocks, it’s hard to sit still. In fact, if you can sit still, you better check your pulse.
France Jean-Baptiste, Desla Epison, Dawn Mitchell, Carrie, and Melanie McCullough are not only gifted actresses; they are
dynamite in interpretation and vocal pyrotechnics ( James knew how to belt out a song ) . We’re treated to about two
dozen songs over the course of the show, and every one of them is a slam dunk.
At last, Jackie Taylor and her fine ensemble have brought us a musical portrait worth taking notice of. Jackie Taylor’s
spell was cast … and here we are in heaven, at last. It’s time to update your resume. Call: 312-368-8888 for the
location nearest you.
Our Critics Highly Recommend: At Last: A Tribute to Etta James Floyd and Clea I Love You, You’re Perfect, Now Change At Last: A Tribute to Etta James Produced, written and directed by
Jackie Taylor Musical Direction by Robert Reddick At Black
Ensemble Theater 4520 N. Beacon Chicago, IL Call 773-769-4451, tickets $35 Friday & Saturday at 8 PM Sunday at 3 PM Running time 2hrs, 10 min with Intermission Limited open run So silky smooth, so bluesy, so wonderful! I never really understood what “soul”
was or meant until I heard Etta James sing. She is the smoothest blues artist with a large dose of emotion that penetrates
into your soul. I’m starting to understand the essence of the blues. Etta James marks a path. In Jackie Taylor’s
song feast which is a tribute to a little known (outside the Black community) blues singer who is an R & B, jazz, country,
folk, pop and rock artist whose silky smooth style is infectious. Featuring 25 varied songs sung by the
five ladies playing each of Etta’s personas, this show is rich in amazingly emotional numbers. From songs like “If
I Can’t Have You” to “Something’s Got A Hold on Me” to “In The Basement,” the tribute
captures the magic of Jamesetta Hawkins (1938 - ) who gained notoriety as a child gospel singer. She became a star at age
14 with “Roll with Me Henry, “ a Rhythm and Blues song which was an ‘answer song to Hank Ballard’s
“Work with me Annie.” Jackie Taylor points out that the show isn’t a bio or a book show; rather it is
a tribute to the spirit of Etta James who overcomes adversity (drugs, abusive men and booze). James is a survivor
whose struggles are amplified in her music. Songs like “Fool That I Am,” “I’ll Be Seeing You”
and “Don’t Blame Me” are filled with her angst. We are treated to 5 marvelous ‘Etta’s,’
France Jean-Baptiste, Desla Epison, Dawn Mitchell, Carrie and Melanie McCullough. Just when I was thrilled by
one of these talents, another stepped into the spotlight and nailed her number. This continued until it was obvious that each
marveled in a particular Etta James style from toe-tapping R & B, to country to gospel to smooth jazz to torch
songs with Etta’s heart-wrenching blues being featured. Jackie Taylor had fun with us by having Rueben
D. Echoles narrate in full drag. She was a shear delight! Etta James’ songs are captured in this song feat—if she wonders into Black Ensemble Theater—she’ll
be delighted. Highly Recommended Tom Williams May 1, 2005
Friday, May 20, 2005
Etta James tribute swings with power By BETTY MOHR From musical biographies of black music legends in shows such as "Doo Wop Shoo Bop," "The Jackie Wilson
Story," "The Nat King Cole Story" and others, the company has kept the joint jumpin' and jivin' with world-premiere musicals
like no other theater troupe in town.
Now, Black Ensemble has done it again with a terrific upbeat celebration of powerhouse songbird Etta
James. Written and directed by Jackie Taylor, the theater's artistic director and producer, this show soars with the same
kind of hope-filled and inspirational theme that its fans have come to love.
Taylor previously focused on the celebration of famous male musical artists, but this year switched
her focus to highlighting women musical stars.
While this show still has the same story line — in which the artist has to overcome hardships,
adversities and personal demons to finally achieve success — in this production, Taylor has made a few changes in presentation.
Instead of a revue in which one actor plays the part of the celebrated performer, this show features
five women — Dawn Mitchell, Melanie McCullough, Desla Epison, Carrie and France Jean Baptiste — playing the part
of James.
These women represent the different personalities that James exuded and suggest her inner torment.
Another change comes in the form of the narrator. While previous productions featured a narrator who was personally or professionally
connected to the star, this time around, the narrator is a mystery woman who is played by a man (charming Rueben D. Echoles).
While it's an interesting departure, using one actor in the part of the main character would be effective
in getting to the heart and soul of the showcased star. That said, this revue rocks with some of the most hand-clapping, you-can't-help-dancing
musical numbers.
You might not get as deep as you'd like into James' personality, but you get really deep into her great
music, which combined rock, blues and gospel for such numbers as "Roll With Me, Henry," "Something's Got a Hold on Me," "A
Sunday Kind of Love," "At Last" and many more.
The music swings with powerhouse performances, such as Mitchell's heartbreaking rendition of "I'll
Be Seeing You" and Baptiste's "Blues Is My Business." And the show's orchestra, led by musical director Robert Reddrick, with
the beat of Kenneth Clark's saxophone and the trumpets of Kenneth Anderson and John Meggs, has never sounded so good.
Along the way, we're treated to stellar performances, from the twitchy, young, strung-out
Etta (McCullough) to the earthy, centered, eldest Etta (Jean-Baptiste).
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I
knew from past experience of Ms. Jean-Baptiste's incomparable acting abilities, given her stellar performance in my last show,
"Lingis in Love." However, I was in for a whole new side of her...Singing Diva. France, elegantly dressed in a maroon sequined
gown, entered the room, and the drama commenced! Her hair and make-up were perfected as if there had been a team of queens
primping and prepping her. However, she is beyond the beautiful songstress/ muse stereotype one may perceive her to be upon
first glance, and given her musical selections, you know there's much more to this talent. What left a lasting impression
was that I didn't hear the same ol' tired blues and piano-bar songs. Instead, I was taken on a journey of my youth, and the
trip was one that left me feeling elated. I know my fans think that since I'm so young, my childhood reflects songs by Britney
Spears...thanks for the flattery, but I don't think so. Selections
such as Journey's "Open Arms" left me reminiscent of carefree afternoons spent while riding my BMX with my boys. I truly melted
with "Sarah Smile" as I reflected upon my first love, Sarah. Why were these emotions so overwhelming? I'll tell you, the reason
is that France Jean-Baptiste is an "Eccentric Martini." Ever had one?
It's part Jimmy Scott, part Marianne Faithfull with a dash of Etta James and finished off with a sweet cherry. I looked
away and blushed as she captivated me with her spellbinding glances and smooth and sultry stylized vocals. Vocals that lifted
me and said, "I've seen many things. I've loved and I've hated. I'm at a good point now." That's
what her presence and amazing voice, unknowingly, share with you. The audience was in outer space with France, and everyone
was orbiting with one final destination...Planet Happiness. France Jean-Baptiste epitomizes avant-garde; eclectic R&B
meets altered state of consciousness. Do
me a favor, check out France and request "Love Don't Live Here Anymore." By the end of the song, you'll appreciate the very
moment you're living in. When the last note is sung, she'll leave you feeling the essence of joie de vivre as well as a permanent
engagement on Saturday evenings...The Raw Bar & Grill, featuring Ms. France Jean-Baptiste ... |
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