Getting to the "Bottom" of Things with "Ma Rainey's Black Bottom" at the Ritz Theatre Co.
by April Johnson
Who knew that one day in the studio could change one’s life, whether for good or detriment. August Wilson meticulously penned this masterpiece as a part of his Pittsburgh Cycle; however, it differs in location setting.
“Ma Rainey’s Black Bottom” takes place in 1927 at a studio in Chicago. Although this piece revolves around a factual character, Gertrude “Ma” Rainey, it is a fictional account of events that took place in one day.
The story begins as Irvin, Rainey’s manager and Sturdyvant, the recording executive, anxiously anticipate Ms. Rainey’s arrival. Known for her prima donna antics, mother of the blues Gertrude “Ma” Rainey keeps them on edge. Sturdyvant goes down the list of what he will not tolerate, and Irvin assures that there will be no problems. As time passes by, Cutler, Slow Drag, and Toledo, Rainey’s accompaniment band saunter in with their instruments and are unaware of Ma’s whereabouts. Then enters in Levee, the young, gifted, yet audacious trumpeter/music arranger who is determined to make it as a headliner in the industry.
As the band awaits Ma’s arrival, Irvin gives the list of music that will be recorded, namely the signature song. However, the debate starts as to which arrangement will be rehearsed and recorded—the original or Levee’s. In the meantime, you hear the stories and the development of each band member—their passions, pastimes, and pains.
Finally, Ma Rainey, depicted by Florence Taylor, saucily storms in the studio with her equally disgruntled crew; Dussie Mae, Ma’s love interest, and Sylvester, Rainey’s nephew, escorted by a policeman, performed by James Van Nostrand, attempting to diffuse a situation because of an automobile accident.
However, this may be the beginning of situations at the studio. Rainey demands the original arrangement to be recorded including Sylvester, who has a speech impediment, lay down an introduction. Frustrations arise in the room, including Ma’s demand for cold colas, and bring a halt to the recording session. As a result, the band members disperse and tend to other, ahem, business. Ma’s concern with Levee’s overconfident playing and demeanor leads to planning to let him go. However, Levee’s attentions were far above just competing with Madam Rainey about music.
Rainey continued to express her views about the industry, along with her contributions. With that notion, she ran with the impression that no matter what “they” wanted from her, she had the sovereignty, audacity, and the goods to call the shots.
As recording commenced and finally completed, Rainey was satisfied and made her final decision which reached an unfortunate turn of events.
The cast took this piece and gave vivid life and breath to Wilson’s pen and pages. Florence Taylor voluminously shined as the bold Gertrude “Ma” Rainey. You show up for Ma Rainey; the musicians keep your eyes peeled and seats glued. Jai Surles resoundingly riveted as Levee, Ma Rainey’s trumpeter. Craig Bazan intelligently served as the steadfast leader of the crew by his passion and timing as the practical trombone player Cutler. Jerald Bennett’s cool and collected comedic prowess as the bassist Slow Drag kept us on the edge of our seats in laughter. Jared Malcolm remarkably presented pianist Toledo as an experienced yet sensible voice of reason. Tasha Holmes was enchanting as Dussie Mae, Rainey’s love interest. Zain Mann exuded sentiment as the sweet and mild-mannered Sylvester, the nephew of Ma Rainey. Steven Butler spectacularly portrayed Irvin, the devoted and appeasing manager of Rainey. Sturdyvant, the intolerant as well as condescending executive, was brilliantly depicted by Richard Mooney. James Van Nostrand greatly delivered as the demanding and unsettled Policeman.
The vision and direction of Darryl S. Thompson, Jr. clearly gives his audience many provocative thoughts and emotions to walk away with after viewing this production. The fascinating multi-level set was brilliantly designed by Michael Arigot. Costume design was luxurious with texture by Megan Iafolla, assisted by Addison Clark. Lighting was designed by Ryan Phillips and sound was engineered by Matthew Gallagher. Marissa Molek served as Stage Manager.
This production is a must see…so….
Ah 1, ah 2, ah you know what to do!
Make your way down (or up) to the Ritz Theater, grab a cocktail from the bar, and sit down for a spell and be enthralled by the cast of “Ma Rainey’s Black Bottom” from Oct.13th-29th (Wed, Fri-Sun). https://www.tix.com/ticket-sales/ritztheatreco/6520
