“Black Pearl Sings!” In A Rousing Production at San Diego Rep.

I didn’t know of Minka Wiltz before I went to see “Black Pearl Sings!” by Frank Higgins, now at the San Diego Repertory Theatre through Dec. 17th in the Lyceum Space, but I do now, she has a voice that soars, laments and is soulful! “Trouble So Hard”.

As Pearl in “Black Pearl Sings!” Wiltz teases, tantalizes and plays with us until she unleashes the full extent of her vocal chords in an array of soulful tunes, bringing us to our collective feet at plays end with “African Song”. 

Minka Wiltz

The story, set in 1933/34 of “Black Pearl Sings!” is based on a little known researcher by the name of Susannah Mullally (Allison Spratt Pearce), a musicologist who was hired by the Library of Congress to research long forgotten people and their legacies through music; “If I can find a song that came here on the slave ships…we can prove to the world that a song can be stronger than slavery chains.”

Pearl didn’t come looking for Susannah; she’s ten years into her sentence in a Texas prison for the murder of the man who raped her daughter.  No, Susannah sought out Alberta Rose in the prison after all the women the warden recommended didn’t have what Susannah what looking for.  

“Why you’re in prison is none of my business. But you sing better than the other women. People with good voices usually know a lot of things.” “I’ve found that prisons are a good place to look for old songs.”

“Black Pearl Sings!” is based on the story of Huddie Ledbetter AKA Lead Belly. Originally musicologist John Lomax began making ‘field recordings of various folk music styles’ with the help of Lead Belly.

Harvard folk musicologist Lomax and guitarist/singer Belly made the lecture circuit on the east coast with an eventual recording contract then went on to record over forty songs for the company, but they never sold well.

In playwright Frank Higgins’ current incarnation Lomax and Belly now the women Susannah and Pearl as protagonists seems right as he might have smelled the changing times and put Susannah right in the middle of a, before her time, feminist and a strong voice/movement for women fighting the cultural tide. 

And I confess while I have not heard Belly sing, I can attest to the showmanship and voices on stage with both Pearce and Wiltz, and you won’t hear any complaints from me.

The story pretty much follows the cat and mouse game the women play as they flush each other’s motives out. Susannah is woman of independent mind, very unusual for a woman of her time, whose spirit and chutzpah make her a perfect candidate portraying what it takes to be a strong woman living man’s world.

Allison Spratt Pearce and Minka Wiltz

Pearce is that strong woman and although she has such a marvelous voice herself (“Sound of Music”, “Gypsy” “My Fair Lady”) she is Pearl’s advocate and she excels in that role. She sings in her clear soprano voice some Gaelic folk songs she learned from her families cook as a tease for her next musical role. (conjecture on my part) 

“History can be made through music… and a song can be stronger than slavery shackles.”

Pearl wants to get paroled, find her 22-year old daughter that she left behind in Houston and bargains with Susannah to that end.

On the other end of the spectrum, Pearl has to fight to get what she wants as a black woman in a white (wo)man’s world. And sing she does, with almost two- dozen songs in the song list; she pretty much captures the audience with jaws dropping.

The two find themselves seesawing back and fourth faces softening as they make plans for Pearl’s ultimate release and Pearl giving Susannah almost what she wants. Ms. Wiltz, an accomplished musician in all fields including opera, stunned and surprised with her powerful vocals.

Under director Thomas W. Jones II deft direction their story unfolds fairly true to form with Wiltz’s Pearl as some match for Pearce’s Susannah, but both holding their own contrasting views.

In the first act we meet up with Pearl as she enters, locked into a ball and chain singing, “Down on me Lord, Down on me” crashing the ball and he foot on the floor as she walks around the stage finally stepping up and meeting Susannah.

Allison Spratt Pearce and Minka Wiltz

It’s serious business, this bargaining back and fourth, but in between we have the privilege of being witness to some terrific acting and even at one time when they both strut their stuff to the tune of “Little Sally Walker”… ‘put your hands on your hips and let your backbone slip.’ “Now shake it to the east. Now shake it to the west. Shake it to the one that you love best.”

After intermission we find that Pearl is released from prison. The two are sharing Susannah’s Greenwich Village flat and getting ready for recordings and concerts. They still have conflicting views on how the concerts will go but as long as Susannah keeps her end of the bargain and does all she can to look for clues about Pearl’s daughter, Pearl conforms, sot of.

And short of ruining all her chances of singing before large academic groups oft times going off at the mouth, she succeeds in giving in to Susannah for the most part but saving the very last treasure for herself.  

Minka Wiltz and Allison Spratt Peaece

 Credits go to Mary Lawson’s for her great period costume design, Sherrice Mojgani’s lighting, Matt Lescault-Wood, sound, and Victoria Petrovich projections that filled the walls around the prison office and Susannah’s Greenwich Village apartment and changed the face of the moveable columns designed by Sean Fanning.

Battling for what women want takes courage, perservance, and moxie. Both women had what it took then.

It’s an uphill battle still given the references in the play that Susannah would have to pay dearly for Pearl’s parole, as covert inferences during some exchanges, were explicit during the give and take between phone talk with Susannah and the warden.

TBC.

For a modern day drama with historical references, this should whet your appetite.

See you at the theatre.

Dates: Through Dec. 17th

Organization: San Diego Repertory Theatre

Phone: 619.544.1000

Production Type: Musical

Where: 79 Horton Plaza, Downtown San Diego, 92101

Ticket Prices: $25.00 and up

Web: sdrep.org

Venue: Lyceum Space

Photo: Daren Scott

Humphrey and Steinberg Shine in NVA “Secret Garden”

When I was in 6^th grade our teacher would read a chapter from Frances Hoggson Burnett’s 1911 children’s book “The Secret Garden at end of week on Friday afternoons.  

To say that it captured my imagination would be an understatement: India, England an overindulged and spoiled thirteen year old girl, nannies, doctors, a brooding uncle, a secret garden.

Mary Lennox, an orphaned girl (then about my age) was sent off to a dark and dreary Manor in Yorkshire England after her own parents died in a cholera epidemic in British India.

There she meets her hermit uncle, Archibald Craven, along with Mrs. Medlock (Dagmar Krause Fields, excellent) Cravens housekeeper, a bevvy of maidservants both friendly and some no so. She is dressed over and fussed over even while acting out in her nastiest personality, rejecting everyone in her path. (“A House Upon A Hill”)

Cast of Secret Garden 

The manor hums with rumors and ghostly sightings/images. Mary’s recluse, hunchback uncle Archibald Craven has been in state of depression since his wife died in childbirth ten years earlier. He wants no part of anything or anyone manor related.

Maids and nannies scurry around trying hard not to be noticed. Her invalid cousin Colin, delegated and kept out of sight in his room, is declared ill with an unknown affliction and his doctor Archibald’s brother Neville Craven has his own secret motives for keeping the boy at bay and Mary Lennox out of sight.

Sarah Mahaffey, Samantha Vesco, Jacob Farry (center) Chris Bona and Devin Collins

Dickon the moor boy, who talks to the birds in the skies and charms the animals with his music, befriends Mary while the maidservant Martha Sowerby lets the cat out of the bag and tells Mary about a secret garden that is being taken care of by the gardener Ben Weatherstaff. It’s garden that once belonged to her now deceased aunt Lily.

The book and its intrigue were a perfect marriage for a musical. In 1991 the musical script with lyrics by Marsha Norman and music by Lucy Simon premiered on Broadway and ran for 709 performances.

That same year it won the Tony for Best Book of a Musical, Best Featured Actress in a musical and Best Scenic Design. It is currently on stage at New Village arts in Carlsbad through Dec. 24^th under the direction of Rosina Reynolds. 

The musical, with over 30 numbers (a bit excessive) under the musical direction of conductor Tony Houck (oft times too loud for this venue) and his four musicians off stage bring the story into view with strong voices from Humphrey, Samantha Rose Steinberg, Kevane Le’Marr Coleman (Mary’s late father), Chris Bona as Dickon, Samantha Vesco as Martha (“If I Had a Fine Young Horse”) the maidservant and Nadia Guevara as Ayah, Mary’s nanny in India.

Manny Fernandes (background) David S. Humphrey

Guevara also choreographed the many dance numbers with the dreamers or deceased players circling those alive in sequences where the characters, in flashback, play out their otherwise lives. This device gives the audience a chance to glimpse into what brought us to the present and how their otherworldly influences can change the tone and outcome from dark and dreary to hopeful and optimistic.

Overall the cast does well with the overstuffed and repetitive musical numbers as the story brings us out of darkness into a full light when Mary and Colin secretly form a bond of trust and friendship allowing the boy (thirteen year old Jacob Farry is impressive) to gain strength and a chance at happiness away from the watchful and devious eyes of Dr. Craven (Manny Fernandes “Lily’ Eyes”).

Thirteen- year old Sara Mahaffey, making her acting debut and doing a fine job as the spoiled and petulant 13 year old (she is after all in the know) does not quite have the musical chops required as the lead character but does carry the story with an amazing change in personality.

 The rest of the cast, in fine voice overall, carry her along (It’s a Maze”, “Letter Song” “Opening Dream” Come Spirit, Come Charm” “Lily’s Eyes”.)

Sarah Mahaffy and Chris Bona

And charming it is as Chris Bona’s Dickon, who talks to the birds, takes over the spotlight every time he’s on stage. Manny Fernandes’ Dr. Craven is in good hands whether singing or just brooding about his life. 

Both Humphrey (a perfect role allowing him to expand his repertoire) and Steinberg are shining stars. Samantha Vesco is another bright star as Martha the maidservant who brings a smile in the room.

Finally when the door to the garden opens and Lily sings “Come To The Garden”, with Mary, Archibald, and Colin all together as a family, “Come To The Garden. Come Sweet Child”, I have to admit I welled up. 

Sarah Mahaffey David S/ Humphrey and Jacob FArry

The thirteen members cast, all dressed in high necked gowns of lacy white gauze, uniformed outfits for the men (Elisa Benzoni) singing and dancing on Christopher Scott Murillo’s minimalist set lit in shades of dark and darker (Curtis Miller) with hints of vines hanging from the walled off garden, can take credit along with Reynolds for the charm and ease with which this production sails.

The show is about two and a half hours long, and I loved every minute of it.

See you at the theatre.

Come To My Garden

Dates: Through Dec. 24th

Organization: New Village Arts

Phone: 760.433.3245

Production Type: Musical

Where: 2787 State Street, Carlsbad Village

Ticket Prices: Start at $43.00

Web: newvillagearts.org

Photo: Daren Scott

“Summer, The Donna Summer Musical” Makes World Premiere at La Jolla Playhouse.

The San Diego community, and then some have been waiting to see “Summer, The Donna Summer Musical” since the 2018 season was announced. Well, it’s here in all its technical glitz, glory and roar. Along with the three faces of Donna featuring a tremendously talented trio of gorgeous women with voices to match, telling the story of the ‘Queen of Disco’, “Summer The Musical” barely lives up to its potential. 

If you asked me before I went to see "Summer, The Donna Summer Musical" if I know/ knew of her music, I could truthfully say no. If you asked me when I left the theatre the same question, I could honestly tell you that I recognized exactly one; "On the Radio". 

When I asked my now adult daughters who of the three were playing her music when they were growing up, all fingers point to the oldest. I’ll check back with her again later.

It’s clear former La Jolla Playhouse Artistic Director Des McAnuff (“Jersey Boys”), a disco enthusiast himself (He has his own band.) found her life and music to be interesting enough to collaborate with Coleman Domingo and Robert Cary in putting together this world premiere musical tribute. It will be playing in the Mandell Weiss Theatre through Dec. 24^th.

Ariana DeBise as 'Disco Donna' with the cast of "Summer, The Donna Sommer Musical

With more pizzazz than substance, the show rocks with mega technical sounds maxed out to almost deafening, strobe lighting and in your face lighting, brighter and oversized than is needed lighting and subtitles lighting up around the stage telling us places and dates. Howard Binkley’s lighting design, certainly eye popping, is oft times blinding as well.  

The orchestra with musical director/conductor Victoria Theodore and her five piece band (led by Taylor Peckham on opening night), rocked the auditorium that sent my hearing aide off into places that made listening more difficult than not. Sound designer Gareth Owen might want to tone it down just a bit. I assure you it will still be effective.

Robert Brill’s (“Yoshimi Battles The Pink Robots”) scenic design is glossy white with geometric cubes, white furniture and shades of white in the background and over the course of the evening many of the cast were in variations of white while the three faces of Summer, in blue and black contrast beautifully.  

The three are all quite beautiful and dressed to the nines, for the most part in shades of blues coordinated by award winning costume designer Paul Tazewell. I even thought I caught a glimpse of some of Diane Von Furstenberg style dresses at one point in the transitioning years worn by other members of the cast. 

LaChanze as 'Diva Donna'

The three actors playing five time Disco Queen and  Grammy Award Winning Summer  are: Tony Award winner LaChanze as Diva Donna (“She Works Hard for the Money”, “Hot Stuff’ and “Last Dance”), Storm Lever (On My Honor” and “Duckling Donna”) as young Donna and Ariana DeBose (“On The Radio”) as mid-career Donna.

The three faces piece the story together separately and together sometimes one ends where the other begins. Oft times not. The strategy works in allowing the three talents to show off their musical magic but it still doesn't make up for the depth of story that it so lacks.  

In making their appearances they are lifted up from below stage on large white pedestals. They are pixelated on digital screens as large as the stage is across and overall at least part of Summer’s face is looking into the audience. Sean Nieuwenhuis is credited for the projections, of which there are many.

There are over a dozen looking men/women/ androgynous types/chorus singing the twenty or so songs by Summer, Giorgio Moroder, Paul Jabara and others. Most of the time I had to ask my theatre date if they were hers? It’s a good idea to take someone in the know if that person that doesn't know is you.

(L to R) LaChanze, Arians DeBose and Storm Lever

The dancers, choreographed by Sergio Trujillo are more interesting to watch than the story director McAnuff has strung together. Good news/bad news, most of what he and his collaborators are selling can be found on line by typing in her name.

Told in flashback as a youngster she found herself singing solo in her church. What most of the info does not reveal is that the same leader of the family church in Boston that praised her was also molesting her over the years.

She often ditched her classes in high school and never finished slipping out visiting the disco clubs (‘Studio 54’) in and around Boston and New York.

When she finally told her parents she was offered a part in the touring company of “Hair” in Germany and that she was going, over protests that she at least finish high school, she wore them down and that started her on a career that she tells us from the start ‘was fragmented but now wants to put it all together’.

It was in Germany that she met her first husband actor Helmuth Sommer (Rebecca Riker) with whom she had a little girl along with a rocky, to say the least abusive relationship that followed her all the way back to the states after they parted.

She set records, breaking through the racial barriers while overseas. Back in the states she wowed everyone in the industry with her breakthrough demo recording of “Love to Love You Baby” that became an overnight success.  

Her business successes and or not are glossed over, almost disappearing in a blink. She turned to religion later on in her life and dependence on drugs was mentioned over and over again, yet she continued one successful song after another along with national recognition on the way to stardom.

Donna Summer died at age 63 in 2013 from lung cancer. Her career spanned R&B, Disco and hip- hop. Her successes span the 70’s, 80’s 90’s well into 2000. Her awards and record setting albums fill the pages of professional magazines and Hall's of Fame. On the short list: “MacArthur Park”, “Hot Stuff”, “On The Radio”, and “Bad Girls”, “She Works Hard for the Money” and “Last Dance”. 

Her story deserves to be given more attention than we see in the 100 minute or so intermission-less production. With it all, McAnuff and his team while not really putting their best foot forward in this latest bio- musical by glossing over more than we get, does offer some great entertainment and a small peek into the turbulent life of “The Queen of Disco”, and first inductee into the Dance Music Hall of Fame in New York.

 For those in the know and even those on the outside her circle of music, and who knows with some tweaking it might even make it to Broadway. Catch it while you can  and you will be one of the many that can say, “I saw it when”.

“What I aspire to in my life, truly, is to be loving.”

 See you at the theatre.

Dates: Through Dec. 24th.

Organization: La Jolla Playhouse

Phone: 858.550.1010

Production Type: Musical

Where: 2910 La Jolla Village Drive, La Jolla, CA 92037

Ticket Prices: Start at $58.00

Web: lajollaplayhouse.org

 Venue: Mandell Weiss Theatre

Photo: Kevin Berne