August Wilson’s “Ma Rainey’s Black Bottom” is onstage at the Phoenix Theatre Cultural Center March 8-24.
Set in a 1927 recording studio in Chicago, Ma Rainey and her band of jazz and blues musicians attempt to record a handful of songs while dealing with trauma, racism and ghosts of the past.
Known as the Mother of Blues, Gertrude “Ma” Rainey was famous for her deep voice and warm, flashy stage presence. Her music, which shaped the landscape of Southern blues known today, blended notes of early vaudeville with the blues of the Deep South.
Although a large presence onstage, Ma Rainey, played by Alicia Sims, did not feel like the main character. That is not to say the show was not hers, but the majority of Act I and a lot of Act II focused on her band, consisting of Toledo (Bryan Ball), Cutler (Ben Rose), Slow Drag (John Singleton) and Levee (Xavier Jones).
Toledo, jazz pianist and a well-educated, comedic know-it-all, is endearing as a character. Albeit loud, cheerful and a little bit preachy, it is clear he is well-loved and respected by his fellow musicians, well, most of them.
Where Cutler takes charge, Slow Drag is just happy to be a fly on the wall. Reasonably argumentative, Cutler is quick to appease to avoid conflict, while Slow Drag’s loyalty to Ma and easygoing personality de-escalates most tense situations.
But Levee, the young and stubborn trumpet player, is not a likable character. LaKesha Lorene, founder and producing director of the NAATC, insists “there are no villains in the theater.” While I can agree with her, Levee’s past traumas and current hardships steer him in unfavorable directions almost immediately — despite it being so clear that everyone in the room, onstage and off, wants better for him.
When Ma did take the stage, she was magnetizing, although usually antagonistic. Her presence is powerful and bold, a true feminine pain in an anxious white man’s ass. Sims’ portrayal of Ma does not stop at her stage presence. A voice as strong as her will reminds the audience just why this woman is remembered for her contributions.
Dussie Mae, played by local actor Selena Jackson-King, felt like a breath of fresh air on stage. Although initially perceived as playful and even a bit promiscuous, it is clear Dussie Mae is perhaps the only character onstage not plagued by the trauma, stress and prejudice the music industry has thrust upon Ma Rainey and her band, allowing herself to act as Ma’s safe place and embrace moments of affection, fun and relief.
Dussie Mae’s character is meant to represent blues singer Bessie Smith, who was mentored by Ma Rainey and believed to be romantically involved with her, and in one scene, Cutler chastises Levee for messing around with “Ma’s girl.”
Have you ever made direct eye contact with an actor onstage before? It is quite rare; as a former theater kid, I can tell you we are usually blind up there. However, what I love about the NAATC is how intimate each of their shows are due to the small space — so small, it is as if the fourth wall disappears. We are in the room, yes, but we are not just watching; when our eyes meet, we are active participants.
It is unnerving. It is romantic. It is terrifying.
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Despite the beautiful set, flashy costumes, and brilliant acting and direction from the NAATC, “Ma Rainey’s Black Bottom” may not be right for all audience members. There is a lot of heavy content in this show, including excessive use of the N-word and conversations about sexuality, violence and death. The show is recommended for those 14 years and older.
When I wrote about the show earlier this month, I spoke with director Edan Evans, Jackson-King (Dussie Mae) and Lorene. Even with knowledge of the cultural context and Ma Rainey’s story, I was not quite prepared for the intensity of some of the conversations onstage. It sat with me through the weekend.
It is still sitting with me.
Although perhaps that is the point and I missed it until now. It is rare that live theater can feel that real — that critical. Catharsis does not always happen right as the curtain closes; it may hit you a few days later.
“Ma Rainey’s Black Bottom” received copious laughter, palpable moments of silence and a whistling, standing ovation at its preview night — before the show officially opened on March 8.
“Ma Rainey’s Black Bottom” is onstage for 12 performances at the Phoenix Theatre Cultural Center March 8-24. Tickets start at $30 and are available online at naatcinc.org or by calling the Phoenix Theatre Box Office at 317-635-7529. For more information and a list of trigger warnings, visit naatcinc.org or phoenixtheatre.org.
Contact staff writer Chloe McGowan at 317-762-7848. Follow her on Twitter @chloe_mcgowanxx.
