For Release: December 20, 2017
Baltimore Center Stage to Present the World Premiere of SOUL The Stax Musical
May 3 – June 10, 2018
Baltimore Center Stage has announced the final play of the 2017/18 season. SOUL The Stax Musical is a world premiere which tells the story of Memphis, Tennessee based Stax Records, its impact on the American cultural landscape, and the launch of iconic artists who created the foundation of what we know today as soul and rhythm & blues music. Directed by Kwame Kwei-Armah and produced in association with Stuart Benjamin and Concord Music, SOUL The Stax Musical will feature the music of such legendary acts as Otis Redding, The Staple Singers, Isaac Hayes and others. SOUL The Stax Musical celebrates how music played a role in bringing Americans together during the early years of the Civil Rights Movement, and continues to bring generations together, from those who remember the early days of R&B, to those who have discovered the phenomenal impact of Stax Records and its artists through recent interpretations of their iconic catalog. A full cast and creative team announcement will follow.
What: SOUL The Stax Musical
Book by Matthew Benjamin
Directed by Kwame Kwei-Armah Produced in association with Stuart Benjamin and Concord Music
When: Performances Begin May 3, 2018
Where: Baltimore Center Stage – 700 North Calvert Street, Baltimore, MD 21202
About Baltimore Center Stage
Baltimore Center Stage is a professional, nonprofit institution committed to entertaining, engaging and enriching audiences through bold, innovative and thought-provoking classical and contemporary theater. Named the State Theater of Maryland in 1978, Baltimore Center Stage has steadily grown as a leader in the national regional theater scene. Under the leadership of Artistic Director Kwame Kwei-Armah OBE and Managing Director Michael Ross, Baltimore Center Stage is committed to creating and presenting a diverse array of world premieres and exhilarating interpretations of established works. In 2017, the theater completed a $28 million building renovation that created more opportunities for art making and community building, with new public spaces to gather before and after shows and state-of-the-art performance spaces with the best in theater design and technology.
Baltimore Center Stage believes in access for all—creating a welcoming environment for everyone who enters its theater doors and, at the same time, striving to meet audiences where they are. In addition to its Mainstage, Off Center and Family Series productions in the historic Mount Vernon neighborhood, Baltimore Center Stage ignites conversations among a global audience through digital initiatives, which explore how technology and the arts intersect. The theater also nurtures the next generation of artists and theater-goers through the Young Playwrights Festival, Student Matinee Series and many other educational programs for students, families and professionals.
PRESS RELEASE: Baltimore Center Stage to Present the World Premiere of SOUL The Stax Musical May 3 – June 10, 2018
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Technically, this production is top-notch. Set Design by Tim Mackabee and Light and Sound Design by Rui Rita and Lindsay Jones, respectively, pull this production together in an awe-inspiring mix that tingles all the senses. Mackabee is wise to use a minimal, unit set that is quite appropriate and does not interfere with, but enhances the telling of the story, providing levels and though-out set pieces to keep the production interesting. Working in tandem with Mackabee’s design is the well thought-out and attention grabbing light show that sets the mood of each scene beautifully and gives a nightclub feel in well-placed points of the production, keeping the audience engaged and interested.
Lindsay Jones’ sound design is nothing but superb. Every effect is placed perfectly and carefully making the experience that much more enjoyable. Not only is he responsible for Sound Design but he also wears the hats of Composer of original music and Musical Arranger taking the well-chosen songs and fitting them into the piece perfectly to help move the story along and give it depth. Major kudos to Jones for his impeccable work on this piece.
Moving on to the performance aspect of this production, all of the actors in this small ensemble take on many, varied roles but it’s worth mentioning the extremely able ensemble members Jessica Bennet and Sensei Silab. Bennet and Silab are committed and it’s easy to see they give 100% to their various roles. Both of these actors have a definite grasp on the complex choreography and musical arrangements and they add great value to this production as a whole.
Christopher Ramirez takes on the roles of Dodgson (Lewis Carroll) and the White Queen, among others and his performance is commendable. He understands his characters and shines as the caring Mr. Dodgson who gets on the level of a young girl and tries to explain the world to her in terms she might understand. He is hilarious as the White Queen, throwing shade that RuPaul himself would be proud of, but also balances out by playing the character seriously and not over the top, exuding a compassion and caring that is required of the role. Vocally, Ramirez does a bang-up job with a smooth, booming baritone voice and shines in featured numbers such as in Milo Green’s “Afraid of Everything.”
Markita Prescott takes on the titular role of Alice in this production and gives an absolutely authentic and natural performance, embodying this young girl as she navigates through Wonderland searching for a way to become a queen. Prescott has great chemistry with her fellow ensemble members and really seems to have a great comprehension of her character. She plays Alice with the innocence of a child but the sass of a girl who can take care of herself and the curiosity of a person coming of age. Vocally, Prescott is superb with a strong voice that resonates throughout the theatre in numbers like the driving Emile Sande song “Breathing Underwater” and a more subdued, delicate sound that she uses in the poignant “Golden.” Overall, Prescott gives a strong, confident performance that pulls the piece together.
The definite standout in this production, hands down, is Patrice Covington as the Red Queen. Though she gives great turns in roles such as the Dormouse and Tweedle Dee, she shines brighly and intensely as the Red Queen. She steals the show during her featured number, the high-energy, upbeat Demi Lovoto tune “Confident”and that’s exactly what she exudes in her performance. The balance of elegance and diva-ness she brings to the role is on point and makes for an authentic portrayal of a tyrannical queen. Covington’s vocal performance is powerful and seemingly effortless as she wails her number with confidence, as the song suggests, and her own flare of showmanship that is second to none. I’ll be following this actresses career and am looking forward to seeing her onstage in the future.
Running Time: Approx. 2 hours with one 15-minute intermission
William Shakespeare is a mythical figure as it is and so many questions surround his life and work and many stories have sprouted up through the ages. Shakespeare in Love does a great job at mixing history and events that could have possibly happened, but are most likely fiction. This piece takes place around the creation of the great tragedy Romeo & Juliet and a star-crossed love affair (go figure!) between Shakespeare himself and Viola, the daughter of a rich merchant in London during the 1530s and during the reign of Queen Elizabeth I.
Costume Designer Kathleen Geldard is to be commended for her authentic and thoughtful design for this production. Period pieces can be tricky to costume, especially the Elizabethan era with wild designs and layers upon layers but every character was costumed appropriately, differentiating class and style with each character. Queen Elizabeth was decked out to the hilt and I loved every moment of it. Kudos on a job well done.
Blake Robinson takes the helm of this production and gives us a fresh take on this beloved story. It’s easy to see Robinson is not trying to put the film on stage but trying to make this stage version its own entity and does so with success. He captures the true essence of the piece, which is simply a love story, weaves it through the twists and turns of the story. There are a few bits that are curious such as the jolting turns of drama and comedy where some confusion comes into the piece as if it’s a comedy or a drama. If it’s both, the blend could use some work, but the dramatic parts are well portrays, just as the comedic parts. Regardless, Robinson has a great comprehension of the material and he guides this ensemble to a successful telling of the story. The transitions are smooth and his staging is impeccable.
Moving on to the performance aspect of this piece, it’s worth saying the entire ensemble is dedicated and committed to this piece giving 100% to telling this story. Avery Glymph shines as Christopher “Kit” Marlowe, the man who would have probably been Shakespeare’s only equal. It’s been an argument that it was actually Marlowe who wrote the great plays that are credited to Shakespeare and being a Shakespeare fan, I don’t follow that line of thinking, but it is hinted to in this script but is very clever in the fact that it is portrayed as Marlowe just giving ideas to Shakespeare rather than writing the play completely. Glymph portrays him with dignity and a certain humility that works well for the role and he has a great command of the stage. Likewise, David Whalen, who takes on the role of Ned Alleyn, the egotistical, but realistic lead of the Admiral’s men (a company of actors), gives just the right balance of ego and humbleness that is required of this character making him one of my favorite characters. Michael Brusasco as Wessex plays a believable protagonist in this piece, exuding the snootiness and desperation of a man with a title and not much else. I wouldn’t be doing this review much good if I didn’t mention Meatball, a little Chihuahua who takes on the role of Spot, the resident dog of the troupe, who was obviously frightened, but managed to do his job and do it well! Kudos to Meatball for a great debut!
Barzin Akhavan takes on the role of Henslowe, owner of The Rose and Brent Harris tackles the role of Burbage, owner of The Curtain and probably the most famous actor in all of England. These two actors portray these rival theatre owners beautifully with a blend of hatred that one would have for an arch nemesis and respect for each other’s integrity and art. Akhavan’s comedic timing is spot on for the character of Henslowe and Harris tackles the over-the-top, dramatic flair of Burbage brilliantly. Both work well off each other and with the company as a whole.
Taking on the title role as William “Will” Shakespeare, Nicholas Carriere gives an admirable performance and seems to understand his character quite well but there was something in the way his over-the-top gestures and facial expressions seem to cheapen the role. It’s clear he knows what the character is all about and his gestures are purposeful… just a little to big, making the performance look campy, at times. It could very well be a directorial choice, because in the dramatic scenes Carriere is on point and believable. His and Emily Trasks chemistry is a slow burn, is convincing and has the audience drawn into their relationship by the end of the story. Overall, his performance is strong and he has a great command of the stage.
Emily Trask takes on the role of Viola de Lesseps, the heroine of the piece and the forward thinker. Lady de Lesseps wants to be an actress when women on the stage was unheard of and even considered lewd. Trask takes this role, makes it her own, and runs with it. The character of Viola is complex but Trask has a good grasp on her and the problems she faces. Her delivery of the text is impeccable and she gives a natural, commanding performance.
Religion can be a tricky thing to write an entire show about. Religion is a very personal concept and people have very strong feelings about it which makes it even more risky. However, to find a good balance and write a show about religion that isn’t over-saturated with said religion is a rare and beautiful thing and 
As with any mega-church, or any service in general, music is an important aspect and Music Director Jaret Landon knocks it out of the ballpark with this production. Wisely, this piece starts off with the choir (credited as the Community Choir of Baltimore Center Stage) with an upbeat, gospel piece that has the audience tapping their feet and clapping their hands. Some even sing along, which is actually encouraged. I’d like to note I am a HUGE fan of gospel music and I found myself tapping, clapping, and singing! Landon has the choir singing in beautiful harmony and the soloists were on point. The band, consisting of Jaret Landon on Keyboards, Todd Harrison on Drums, Max Murray on Bass, and Michael Raitzyk on Guitar are tight and well-rehearsed making for a phenomenal performance along with the Community Choir of Baltimore Center Stage. The music aspect of this production really put the audience in the mindset of the piece. The only stumble that comes along in the musical styling of this production is the last choir performance which is kind of like an audience-interactive piece, like in a church, and though the choir is just as strong as they are in the beginning, the male soloist is a curious choice as he doesn’t seem to have the gospel style down as well as he should for a finale, a little stiff and a little more subdued and technical than called for, the soloists performance just seems to fall flat. Otherwise, major kudos to a job well done in the music department.
Lighting Design by Jen Schriever is precise and fits well with this production. With isolation lighting and splashes of color, where needed, it blends nicely and moves the piece along without jarring the aesthetics or being a hindrance to the piece itself. A true sign of a good lighting design is when one doesn’t notice the lighting, but does when needed and that’s exactly what happens with Schriever’s design.
Moving on to the performance aspect of The Christians, every single actor in this ensemble made his or her character his or her own and worked with and off of their cast mates beautifully.
Adam Gerber tackles the role of Associate Pastor Joshua, the staunch, zealous, yet faithful Associate Pastor who wants what’s best for the church, just like the rest of the characters, but also wants to be certain everyone believes in a certain doctrine or dogma. Gerber plays the role intensely and confidently, making his character not so likable, but not despicable. His emotion and gestures give an authenticity to this character that Gerber completely embodies. The thing about his character is, we all, in one way or another, directly or indirectly, know a person like this character and he’s hard to figure out. He has an objective, that Gerber works for brilliantly, but it’s still hard to reconcile our respect for this character and our own beliefs, making for a stimulating and exasperating character that Gerber pulls off effortlessly.
Taking on the role of Elizabeth, the preachers wife, is Nikkole Salter who has an air of elegance and dignity that is required for this role. She fits perfectly with this character and gives a poignant, truthful performance. Salter works especially well with and has great chemistry with her counter-part, Howard W. Overshow, who takes on the complex role of Pastor Paul, who’s belief is changing and trying to deal with it and the opinions of his congregation. Overshow is an absolute standout in this production giving a superb performance. From the moment he steps onstage, one feels they are in a service watching a strong, confident preacher do his thing. His booming, yet comforting voice and gestures make for an extremely realistic performance and the emotion he emotes throughout his more intense scenes is outstanding. His anguish and confusion is clear in his performance and he handles the balance beautifully.
Final thought… The Christians is a poignant, though-provoking look at beliefs and how they can shape or even re-shape a person’s outlook on life. The performances were top-notch and the book by Lucas Hnath is cleverly written as he doesn’t dwell so much on religion but on individual views on the afterlife and gives a good balance of those views. From set design, lighting, and the amazing choir supporting this piece; you don’t want to miss it! It may have you asking questions or confirming what you already believe but either way, it will make you think and that’s always what good theatre does. Get your tickets now!
Jazz
Production value at Baltimore Center Stage is always stellar and 
Costume Design by David Burdick is spot on representing the styles of the eras this piece covers. His attention to detail is superb with the low waist skirts for the younger ladies and the more conservative look of the older folks. It’s worth mentioning that Burdick does a great job showing the contrast between the fashions of the generations and he understands this piece does not require the glitz and glamour of the Jazz Age, but has managed to put together a wardrobe portraying the middle to low class residents of Harlem and all of his choices give the entire piece a very authentic feel.
This script jumps through time periods and points of view and if I didn’t have the program to give me a timeline of the story, I may have been lost so, I can tell it’s a challenging piece. Through his Direction of this piece, Kwame Kwei-Armah tries to keep it all together, and does for the most part, but the disorienting script is difficult to reign in and the story seems to spill out all over the place. Kwei-Armah keeps the action moving and he seems to have a good comprehension of the material but his choice of using the cast to make the minimal scene changes with no real blackouts to separate scenes might have added to the confusion concerning time periods and points of view. I totally understand his reasoning as it is a 90-minute show with no intermission so, you’ve got to keep the action moving, but perhaps at least a few projections or markers to keep the audience on track may have been helpful. Overall, Kwei-Armah does an admirable job and tells the story as best he can with the material given to him.
The entire ensemble of Jazz is committed and dedicated to this piece an, aside from the material, they all do a commendable job telling this poignant story and work hard to get the message across. Among the able ensemble, Michele Shay takes on the role of Alice Manfred and Leon Addison Brown portrays an older Joe Trace. Shay, though a bit scripted, does a fine job portraying the elderly, more wise female figure with down-home common sense and compassion. She clearly understands her character and keeps it consistent throughout the production. Brown, as older Joe, is also a bit stiff at times, but his comprehension of the character is clear and the emotion he exudes of a man yearning for something more than his lot is impressive.
Warner Miller is comfortable playing the role of Young Joe Trace, an ambitious, go-getter, and gives a believable and confident performance. Miller has a good command of the stage and makes the character likable from the get. Meanwhile, Jasmine Batchelor tackles the role of Dorcas, the young, beautiful “other woman,” and she is the epitome of a young woman in the 1920s. She’s authentic and assured, playing the character with just the right balance of naivete and rebellion that the character requires. 
A couple of highlights of this production are Jasmine Carmichael as Young Violet and Shanesia Davis as the older Violet, the character around whom the story revolves. The character of Violet is the most complex and has obvious emotional problems that are not necessarily explained aside from past losses and issues but both of these actresses play the character well and with an intensity needed for the role. Carmichael is outstanding as the Young Violet and seems comfortable and assured in her objectives playing a young girl starting out while Davis portrays the character a little more beat down by the world but who is a survivor and getting by as best she can, while fighting the emotional unbalance in her. Both bring an authenticity to the role that makes the audience feel for their plight and, in the end, root for this character. Both actors have great chemistry with their counterparts (Warner Miller for Carmichael and Leon Addison Brown for Davis), and they work well with their cast mates making for exquisite performances.