Timothy Bond should be proud of his directorial debut with Syracuse Stage. ‘Ma Rainey’s Black Bottom’ is a dramatic reflection and critique on the societal values that makes a person not only look upon himself, but also stop to think about how our society and values have changed over the past century.

The play is a poignant, entertaining view of one man’s hopes and aspirations that people in the audience can readily relate to. The cast, who portrays musicians in 1927 Chicago, captures the essence of societal oppression and all that it entails. They mix emotional scenes of talented drama, with effervescent ones of anecdotal comedy.

The stage at first view is a well designed, intriguing portrayal of a three-story music studio from the 1920s. It leaves no detail out – from the wear on the wooden benches, to the early style microphones set in the middle of the stage.

With the front few rows removed, the play more accurately depicts the basement of a music studio, with the stage posing as the ground floor. Sitting far away, one can truly understand and appreciate the design of the stage as it is a more practical representation of the music studio.

At the start of the show, two men appear, arguing about Ma Rainey (Ebony Jo-Ann), a famous, black female singer who has made gained prominence as a blues performer.

Irvin (Kenny Morris) is Ma’s manager, excellently portrayed as a neurotic, nervous sycophant who is constantly under pressure from his boss. Sturdyvant. John Ottavino delivered a stoic, straightforward performance in that role.

The pair’s love-hate chemistry can be felt from the moment they walk into the light. Morris provides a supportive, yet paradoxical look at the way blacks and whites interact at that time. He’s constantly being put down by Ma Rainey, with her cold, pompous indifference toward not only Morris, but toward everyone she comes into contact with. That dynamic stands out constantly throughout the show.

After gaining an understanding of who Ma Rainey is and how she behaves, the audience is introduced to the backup band. The band is composed of four talented actors who delineate the struggles of being a black American at that time, and shares moments of laughter, heartache, suspense and wit with the audience.

The main character, Levee, played by Warner Miller, makes a strong Syracuse Stage debut. His dynamic performance as the young musician with big dreams and even bigger setbacks causes the audience not only to sympathize with him, but in some ways relate to him.

His most gut-wrenching scene comes during a soliloquy in which he describes his haunted past before the end of the first act. This tale of the violence he was exposed to as a young child leaves him shouting to the heavens, viciously waving a knife towards the gods.

He and the rest of the backup band provide morose, yet important chronicles that are often interjected with comedic interludes that make the show all the more enjoyable. At certain parts, some of the stories seem to drag on, but they soon pick up and further advance the forceful exposé of black history and black presence. For the majority of the time, the black musicians spend their time conversing and philosophizing in the basement of the studio which represents their low status in society as the white men look down from above in the third floor sound booth.

When asked to review the show, Rob Flower, a professor of philosophy at LeMoyne College referred to the show as ‘delightful, grand production’ and said that ‘although there is humor, there is a certain dark aspect to it.’

‘Ma Rainey’s Black Bottom’ is a deep, critical look at, not only the social conditions of 1927 for struggling black men, but also a fabulous look at human nature and the values we place in different aspects such as religion, money and equality. The tableau scenes found in this show are well executed and aid in the process of creating a flow to the production.

Overall, Bond’s cast gives a wonderfully seasoned, dramatic performance that leaves the audience with deep feelings of profound moral quandaries. This exciting and highly compelling piece of theatre left people not only stunned at the end, but also standing up during the final curtain call.

wmmilill@syr.edu

Published on September 17, 2008 at 12:00 pm