IT AIN'T NOTHIN' BUT THE BLUES at TheatreWorks.

(back row) Mississippi Charels Bevel, Tony Marcus, Chic Street Man, (front row) Alison Ewing, Michelle Jordan, C. Kelly Wright, and James Monroe Iglehart in the regional premiere of IT AIN'T NOTHIN' BUT THE BLUES at TheatreWorks. Photo Credit: Mark Kitaoka

IT AIN’T NOTHIN’ BUT THE BLUES: A Musical Revue by Charles Bevel, Lita Gaithers, Randal Myler, Ron Taylor and Dan Wheetman. Directed by Randal Myler. TheatreWorks at Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto. 650-903-6000 or www.theatreworks.org. Through April 11, 2009.

IT’S MORE THAN THE BLUES

Music often defines nationality, ethnicity, social class and race and the Blues are inextricably bonded with Black culture in America. Tony Marcus, one of the two white faces in the cast, reminds us that English indentured servants who worked side by side with the slaves added their own take on the Blues. Although in the final set piece, ebullient James Monroe Inglehart insists, in song, “I’t ain’t nothin’ but the Blues”, “Mississippi” Charles Bevel, co-author and performer in this rockin’ musical revue, informs us when the genre moved Uptown to Chicago, the motif was more Honky-Tonk than Country or Blues. Regardless, be assured that TheatreWork’s revival of this 1999, Tony nominated show will have you “clappin’ you’ hands” and bring you to your feet as did the opening night audience.

It is a story of the origin of the Blues illustrated with historic photos projected onto three screens fusing the social history with the music. The more than 30 songs begin the first act with chants (Odun De and Niwah Wechi) used by the slaves to communicate in the fields. The first Blues number Danger Blues is handed to C. Kelly Wright, who was a smash hit in the lead Carolina, or Change. Be prepared to admire her as an expressive singer and dancer.

It is an ensemble evening. All seven members have strong voices to match their larger than life stage presence that did not need the excessive amplification in this small theater. Many numbers start with the twang of a guitar, the pluck of a banjo string, snap of fingers or a casual stroll center stage before blossoming into memorable vignettes. James Monroe Inglehart, a limber limb giant, acts as the narrator and steps forth in multiple numbers outdoing himself in all, starting with I’m a Blues Man with the three women as back up. Each actor has his turn in the spotlight. Michelle E. Jordan sings one of the most beautiful renditions of St. Louis Women. Allison Ewings’ Now I’m Going to be Bad is very believable when she throws out the line, “I’ve been Snow White but I drifted”, and her finger snapping Fever heats up the stage and the audience. Chic Street Man, with the prodding of Mississippi, pulls off a rendition of Goodnight Irene that knocks the socks off of the cast bringing cheers from the band. With the exception of church gospels, all the numbers are a joy to hear and watch. There are too many to include in this review.

Whereas the ordinary clothing worn in the first act reflect the rural origins of the Blues, the actors burst out in colorful costumes for the final act with “Let the Good Times Roll” sharing the stage with a six member swing band with keyboard, saxes, guitars, basses and drums. It is the “Uptown” part of the show “Sweet Home Chicago” where someone sings, “I’d prefer to be a lamp post in Chicago then a bed of Roses in Atlanta!”

The song selection follows the timeline origin of the Blues and are expertly arranged giving the entire production almost a perfect pacing under the superb direction of Randal Myler. Highly recommended. Running time one hour and 50 minutes with an intermission.

Kedar K. Adour

www.Theatreworldinternetmagazine.com