Review: SOUL the Stax Musical at Baltimore Center Stage

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 10 minutes with one intermission

It’s likely that we’ve all heard of Motown Records, RCA, Atlantic, A&M, and all the other big names in the music business, but what about the smaller labels that gave us the classics we know and love today? Unbeknownst to many, small companies like Sun Records, Chess Records, and Stax Record Co. have given us numerous hits and given starts to such legendary performers such as Elvis Presley, Muddy Waters, Otis Redding, Isaac Hayes, and countless others, but we usually don’t think about where these folks started. Baltimore Center Stage’s latest offering, SOUL the Stax Musical with a Book by Matthew Benjamin, Directed by Kwame Kwei-Armah, Musically Directed by Rahn Coleman, and Choreographed by Chase Brock, tells the story of one of these aforementioned companies, Stax Record Company, and it’s rise and fall in that crazy business of music.

In a nutshell, SOUL the Stax Musical concerns itself with the rise and fall of Stax Record Company and the evolution of American soul music. It begins with a brother and sister team, Jim Steward and Estelle Axton, who combined the first two letters of each of their last names to form Stax Record Company. It touches on the careers of many well-known artists such as Otis Redding, Isaac Hayes, Sam & Dave, and others who started their long, illustrious careers at the small label. It also tells of how the music business isn’t all about the music, sometimes, and bad deals, novice businessmen, and egos get in the way of the magic. Every good thing must come to an end whether we like it or not and this is not only a history of soul music but also a cautionary tale of the business part of show business.

Scenic Design by David Gallo is intelligent and practical adding value to this production. Using a unit set with set pieces coming in and out, create each space perfectly and seamlessly in this fast paced piece. Though in the background, the orchestra is presented nicely and they are noticeable but cleverly out of the way of the action. A simple looking set, it allows for ease of entrances and exits of the actors and helps tell the story in an interesting and engaging way.

Dede Ayite’s Costume Design is divine and on point as each era of this production is represented from the late 1950s through the 1970s, with a bit of the 90s thrown in there. Her attention to detail is commendable and there is no question as to which era we are in by the styles and wardrobe chosen for each character. Kudos to Avite for a superb design.

Since this piece is all about the music, Music Supervisor and Musical Director Rahn Coleman is to be commended for his fantastic direction. The tunes are recognizable and folks are familiar with most of them so it can be tricky not to mess with the music so much, but, wisely, Coleman has decided to stick to the original arrangements and the audience couldn’t have been more entertained and pleased. It’s worth mentioning the outstanding band consisting of Jared Denhard (Trombone), DeAnte Haggerty-Willis (Guitar), Matt Kruft (Guitar), Todd Harrison (Drums), Fred Irby, III (Trumpet/Flugelhorn), Winston Philip (Keyboard), Mark Russell (Bass), and Ed Walters (Saxophone/Flute). These folks hit the nail on the head when it came to performing the music of this energized, delving music and they deserve many kudos for their efforts for this production.

To go along with music being a main component of this production, Choreographer Chase Brock also gives us high energy, brilliant, and engaging choreography that is simply a joy to watch and is actually infectious, causing me to tap my foot along with the classics I grew up hearing. I found myself looking forward to and waiting with anticipation for the next choreographed number and I the dancers themselves were tight and well-rehearsed adding great value and vitality to this production.

Kwame Kwei-Armah, former Artistic Director of Baltimore Center Stage, has taken this script and presented it in a thoughtful and attentive manner, giving us the history and the humanity of a story not often told. Technically, this is a historical piece and has to be handled carefully, but Kwei-Armah with clever staging, on point pacing, and wonderful casting has managed to tell this story and stay true to that history. It’s obvious he has a great comprehension of the material (both the text and the music), and it shows in his dynamic vision that reaches into the psyche and soul (no pun intended) of the audience.

Moving on to the performance of this piece, I would be amiss if I didn’t mention how well polished and dedicated the entire ensemble of this piece is. They work well together and off of each other and it’s easy to see every member of this cast is giving 100% of him or herself and is confident in the story they are telling. Major kudos to the ensemble as a whole.

Among this amazing ensemble are a few higlights, such as Robert Lenzi as Jim Stewart and Warner Miller as Al Bell, the creator (Jim Stewart) and somewhat savior (Al Bell) of Stax Record Company. Lenzi is confident and has a complete grasp of his character – an unexperienced, wet-behind-the-ears music executive. His mannerisms and character work is impressive and makes Jim Steward a likeable character in the end. Miller, too, has a good comprehension of his character – a smooth-talking, good-intentioned radio DJ turned music executive. Miller’s blend of sincerity with a hint of sleaziness is impressive as he’s created a character that keeps the audience guessing whether or not they like him or not, making for a complex, engaging character.

There’s an old adage that goes something like “behind every great man is a great woman” and there is no exception in this story. Mary Jo Mecca takes on the role of Estelle Axton, co-founder of Stax Record Company and the logical thinker of the crew, and Anastacia McCleskey tackles the role of Deanie Parker, dedicated employee and peace-keeper of sorts. Mecca gives an authentic and poignant performance as Estelle Axton and plays this character as rough-around-the-edges but it’s easy to see she has a heart of gold and cares deeply for her brother and business partner, Jim. Mecca is able to portray this character with the perfect blend of acidity and charm that makes her a multifaceted, but likeable character. Also, her vocal performance is spot on, especially in her featured number, “Your Good Thing (Is About to End)” which she duets with an able and resonating Tasha Taylor (as Mable John).

Rounding out this uber-talened and able ensemble is Harrison White as Rufus Thomas, Ricky Fante as Otis Redding, and Boise Holmes as Isaac Hayes. These three actors couldn’t be more on point with not only their performances but their look and representation of these well-known soul singers of a bygone era. Harrison’s energy is relentless and remarkable as he sings and dances his way through is featured numbers such as “Walking the Dog,” “Can Your Monkey Do the Dog,” and the party staple “Do the Funky Chicken.” He also has a heartwarming duet with a velvet-voiced Allison Semmes (as Carla Thomas), “Cause I Love You,” which gives us a taste of the good music to come in this production.

Ricky Fante takes on the persona of the famous Otis Redding and shines bright not only in his portrayal but in his vocals in such numbers as “These Arms of Mine,” “Respect,” and the ever-popular smooth sounding “(Sittin’ on) The Dock of the Bay.” Pure magic.

Kwei-Armah couldn’t have cast anyone more appropriate than Boise Holmes as (arguably) the most famous performer to come out of Stax Record Company, Isaac Hayes (who started at Stax while he was still working at a slaughter house… who knew?!). Holmes completely embodies Isaac Hayes as he transitions this character from the early 60s to through the 70s in style and mannerisms. His deep, smooth bass vocals resonate throughout the theatre and make one stand and take notice. His featured songs are performed flawlessly, such as “Soul Man” in which he duets with an equally notable Trevon Davis (as David Porter), the slow-groove and moving “Walk on By,” and even the mostly instrumental, mostly spoken “Theme from Shaft.” Overall, Holmes is an absolute standout in this production.

Final thought…  SOUL the Stax Musical at Baltimore Center Stage is a high energy, nostalgic look at the rise and fall of a special time and place that brought us some of the most memorable and meaningful music in American history. It not only entertains but teaches us a little about the music business and its darker side where it’s not just about the music, no matter how the creators want it to be. The performances are spot on, the choreography is inspiring, and the story is one that has been wanting and needed to be told and it is told with love and care. Whether you’re a fan of soul music or just discovering it, you do not want to miss this production this season. Get your tickets as fast as you can!

This is what I thought of Baltimore Center Stage’s Productions’ production of SOUL the Stax Musical… What did you think? Please feel free to leave a comment!

SOUL the Stax Musical will play through June 10 at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets, call the box office at 410-332-0033 or you can purchase them online.

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PRESS RELEASE: Baltimore Center Stage to Present the World Premiere of SOUL The Stax Musical May 3 – June 10, 2018

For Release: December 20, 2017
Baltimore Center Stage
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
SOUL Musical
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: Single Carrot Theatre Hosts Continues Conversations Surrounding Lear

single-carrot-theatre-35
FOR IMMEDIATE RELEASE
Single Carrot Theatre Hosts Continues Conversations Surrounding Lear
Baltimore, MD – Single Carrot’s 11th Season is now open with its thought-provoking and
fast-paced regional premiere of Lear by Young Jean Lee. Like Shakespeare’s tragedy, Lee’s
text includes universal themes of family conflict, guilt, and madness; at the same time, it
takes a nuanced look race, wrestling with mortality, and the complex dynamics between
aging parents and their adult children. In the hope of continuing the conversations sparked by this vibrant production, Single Carrot will be hosting talkbacks with panelists from Morgan State University, Center Stage, the ACME Corporation, and Chesapeake
Shakespeare Company.
Race, Shakespeare, and Young Jean Lee
Sunday, October 15, following the 3pm performance
Join Gerrad Taylor of Chesapeake Shakespeare Company and Shirley Basfield-Dunlap of
Morgan State University for a discussion on the complex relationship between modern audiences and classical material. Share your thoughts on Young Jean Lee’s frenetic adaptation of Shakespeare’s famous tragedy, and engage with our panelists on issues of race, identity and performance.
Pride Night at Single Carrot Theatre!
Thursday, October 19, preceding the 8pm performance
Join us for cocktails, live pre-show music from Christen B, and a fabulous evening of theatre celebrating the 9th Annual LGBT Center Awareness Day! More about the artist: Christen B seamlessly blends electronic and acoustic instruments with transcendent vocals leaving listeners in a state of euphoria! This Baltimore native is changing the way people experience music. She allows the audience to watch as she masterfully layers unique sounds while looping them on the spot and leaving the crowd wanting more!
Adapting the Classics
Friday, October 20, following the 8pm performance
Join Gavin Witt of Center Stage and Lola Pierson and Stephen Nunns of The ACME Corporation as they discuss the complicated task of adapting famous classical texts for a modern audience. Nunns and Pierson collaborated last year on an original adaptation of A Streetcar Named Desire, Stranger Kindness, which was recently named “Best Play” in City Paper’s Best of Baltimore Reader’s poll. Witt, along with Center Stage’s Kwame Kwei-Armah, is part of a national project to reimagine and update Shakespeare’s plays for a modern audience. Join them in a conversation on the nuanced process of bringing a well-known, perhaps beloved, text into the present.
About the Play:
Lear
By Young Jean Lee
Directed by Andrew Peters
Shakespearean drama meets millennial self-indulgence in this outlandish and driving take on King Lear. Boring, stuffy parents have been left for dead – consigning audiences to the not-so-tender mercies of a younger generation, a mix of heroes and villains indulging their own selfish whims. Despite sharp wits and sharper teeth, these Kardashian-esque kids are comically shallow, callous, and vain: more concerned with dancing and drama than their own doomed parents. But superficial pleasures can only reign for so long before their conscience catches up with them, unearthing ugly secrets, doubts, and fears. Regional premiere.
WHEN:
Previews: Wednesday, October 4 and Thursday, October 5 at 8pm
Running: October 6 – 29
Thursday- Saturday at 8pm
Sundays at 3pm
WHERE:
Single Carrot Theatre
2600 N. Howard Street
Baltimore, MD 21218
Entrance on 26th Street.
Free parking available in adjacent lot and on the street.
TICKETS AND ADDITIONAL INFORMATION
Tickets: $10-$29
Web: singlecarrot.com
Phone: 443-844-9253
Email: boxoffice(at)singlecarrot.com
Twitter: @singlecarrot
Instagram: @singlecarrot

Review: Jazz at Baltimore Center Stage

By Jason Crawford Samios-Uy

Running Time: 90 minutes with no intermission
The Jazz Age held different experiences for different folks and Harlem, in New York City, became a cultural mecca in the 1920s. Author and activist James Weldon Johnson called it “the greatest Negro city in the world” as there was a predominant African-American population, but underneath the music, dancing, and good times, many experienced the hardships and tribulations of the African-American community or, in general, just trying to get by. Baltimore Center Stage‘s latest offering, The world premiere of Jazz by Nambi E. Kelley, Directed by Kwame Kwei-Armah gives us a glimpse into those hardships that transcend race but are relevant to all human beings throughout time.
Jazz covers a story of generations spanning from the late 1800s through the 1920s and follows Violet, a woman how lost her mother when she was young and sent off into the world to make her own. Along the way, she meets Joe, an eager young man who seems to want the same things in life she wants and they settle in Harlem, in New York City. After years of a seemingly good marriage, Joe strays and falls for the very young Dorcas but, after a short affair, Dorcas falls for another young man and leaves the older Joe with fatal repercussions. After the affair and a quite unfortunate incident, Violet’s life seems to spiral out of control and she tries to find the reasons why it happened while also trying to find answers from the past to explain her current state.
Production value at Baltimore Center Stage is always stellar and Jazz is no different with a minimal but very effective Set Design by Tim Macabee and Projection Design by Alex Basco Koch. The set consists of four large windows that drop in and out and various set pieces to cleverly represent different locations. The simple design helps move the story along and the representation is just enough to help tell the story and crowd the stage with unnecessary set. With help from the cast, scene changes are smooth and it’s easy to determine where each scene is taking place. Koch’s projections add much to the production and help with determining time. His use of what looks like old newsreel footage and vintage photographs gives the piece a surreal feel and moves the story along rather than distract from it. Kudos to Macabee and Basco for the Set and Projection Designs for this production.
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.
Final thought… The World Premiere of Jazz at Baltimore Center Stage is a bit deceiving by name alone as it really does not concern itself with the music style but is a story of love, love loss, and how different humans deal with that loss. The script is a bit trite and jumps around between points of view with no real definition between time periods making the transitions a bit confusing, but most of the performances are top notch and it tells a good story. That being said, the script may need work but the overall production has a beautiful look with its design and complimenting projections and is well-thought out and well put-together, telling a complex story that transcends race and is just as relevant to the 21st century as it was to the early late 19th and early 20th centuries.
This is what I thought of Baltimore Center Stage’s production of Jazz… What did you think? Please feel free to leave a comment!
Jazz will play through June 25 at Baltimore Center Stage, 700 N Calvert Street, Baltimore, MDFor tickets, call the box office at 410-332-0033 or purchase them online.
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Press Release: Baltimore Center Stage Announces Cast and Artistic Team for JAZZ World Premiere


FOR IMMEDIATE RELEASE

Baltimore—May 10, 2017. Baltimore Center Stage is pleased to announce the cast and artistic team for Jazz. This world premiere play is based on the book by Toni Morrison, adapted by Nambi E. Kelley and directed by Baltimore Center Stage Artistic Director Kwame Kwei-Armah.
In Morrison’s exhilarating novel, Joe and Violet move from the Virginia countryside to Harlem at the turn of the century, young and in love. Twenty years later, Joe’s interactions with a young woman set off a series of violent events and unforgivable acts. Peeling back layers and alternating perspectives expose ultimately sympathetic characters, who—like the growing New York neighborhood and the winding woods of their youth—reveal their own rhythms.
“I’m a huge fan of Toni Morrison, and of Jazz in particular. It’s an important chronicle of the human experience, and although it takes place in the 1920s, the story’s themes still resonate today,” said Baltimore Center Stage Artistic Director Kwame Kwei-Armah. “I’m thrilled to direct such a talented group of actors and designers to bring Playwright Nambi Kelley’s vision to life on the stage in Baltimore.”
Kelley has penned plays for Steppenwolf, Goodman Theatre and Court Theatre/American Blues Theater in Chicago, Lincoln Center and the National Black Theatre in New York, and internationally with LATT Children’s Theatre/ Unibooks Publishing Company (South Korea) Teatri Sbagliati (Italy), and The Finger Players (Singapore). The world premiere of her adaptation of Native Son (published by Samuel French) was presented to critical acclaim at Court Theatre/ American Blues Theatre (co-production) and was nominated for five Jeff Awards including best adaptation and production of the year.
The cast includes Jasmine Batchelor* (Dorcas), Jason Bowen* (Henry Lestory), Leon Addison Brown* (Joe Trace), Jasmine Carmichael* (Young Violet/Felice), Shanésia Davis* (Violet), Warner Miller* (Young Joe/Acton), Michele Shay* (Alice Manfred/True Belle), Benja Kay Thomas* (Malvonne), Avery Whitted* (Golden Gray/Parrot), and Greg Boyer* (Trombonist).
The artistic team includes Nambi E. Kelley (Playwright), Kwame Kwei-Armah (Artistic Director/Director), Kathryn Bostic (Music Director and Composer), Tim Mackabee (Scenic Designer), David Burdick (Costume Designer), Michelle Habeck (Lighting Designer), Alex Basco Koch (Projection Designer), Shane Rettig (Sound Designer), Tommy Kurzman (Hair, Wig and Makeup Designer), Paloma McGregor (Choreographer), Arminda Thomas (Dramaturg), Rick Sordelet with Sordelet INK (Fight Choreographer), Pat McCorkle McCorkle Casting, Ltd. (Casting Director), Geoff Boronda* (Stage Manager) and Erin McCoy* (Assistant Stage Manager).
*Member of Actors’ Equity Association.
Jazz opens Friday, May 26, with previews May 19-23, and closes Sunday, June 25. For more information, visit www.centerstage.org or call the box office at 410.332.0033. Press night is Friday, May 26.
Jazz is made possible by a National Endowment for the Arts ArtWorks grant, the Laurents Hatcher Foundation, PNC and the William L. and Victorine Q. Adams Foundation and the Rodgers Family Fund. The Jazz media partner is Maryland Public Television. Baltimore Center Stage is supported by a grant from the Maryland State Arts Council (MSAC), an agency dedicated to cultivating a vibrant cultural community where the arts thrive. An agency of the Department of Business and Economic Development, the MSAC provides financial support and technical assistance to nonprofit organizations, units of government, colleges and universities for arts activities. Funding for the MSAC is also provided by the National Endowment for the Arts, a federal agency, and the Baltimore County Commission on Arts and Sciences. Baltimore Center Stage’s 2016/17 Season is made possible by The Shubert Foundation and the Baltimore County Commission on Arts and Sciences.
 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.
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.