The Black Rep is nationally renowned for its presentation of musicals. Their productions of classics within the Black musical theatre canon – including “Dreamgirls,” “Ain’t Misbehavin’,” and “The Wiz” – could hold up against any national Broadway tour. They get plenty of flowers for that – and will again as this story progresses. But what can be taken for granted is the company’s willingness to serve as a training ground for emerging practitioners of the art form.
Often paired with veterans, many of whom also made their bones on the Black Rep stage, fresh faces are given the responsibility – and the trust – of adding to their rich legacy of musical stage productions that forge an instant and lasting connection with audiences.
Such was the case for The Black Rep Season 48 opener “Blues in the Night” by Sheldon Epps, which plays The Edison Theatre through September 22. The musical revue that highlights Black music in the 1920s and 1930s features a quartet of singer/actors and a quintet of musicians. The small cohort of performers and instrumentalists fill the room with as much presence as a massive cast backed by an entire orchestra. Two of the four characters make their Black Rep debut with “Blues in the Night,” which is directed by Founder and Producing Director Ron Himes.
De-Rance Blaylock (The Lady) – who won a St. Louis Theater Circle Award (Best Performer in a Musical, Female or Non-Binary Role) for her portrayal of the title role in Fly North Theatricals Company’s presentation of “Caroline, or Change” – and Adrianna Jones graced The Black Rep stage for the first time. Paired with recent Black Rep regular Amber Alexandria Rose (The Girl) and company legend J. Samuel Davis (The Man), the chemistry and cast ebb and flow make for an entertaining retrospect of the origins of Black music’s influence on popular culture from the Roaring 20s through the Great Depression.
Set in either a Chicago rooming house or a low-rent hotel, the three women use music and anecdotes to give their varied personal histories and past experiences in life, love and lust in the privacy of their boudoir. The man sings at the bar and a sitting area that is implied to be a parlor.
From the time he strolls across the stage with “The Blues is a Woman,” Davis exhibited every ounce of the charm that has made him a fan favorite over the past three decades or more. This was especially the case in the scenes and musical numbers where he is tasked with sharing the spotlight.
Typical to the music of the era, the songs are filled with thinly veiled double entendres – which the artists and the audience seemed to get a kick out of. Particularly with The Lady’s performance of “Kitchen Man” and The Woman’s “Rough and Ready Man.”
The musicians – which included Willem von Hombracht on bass, Khalid McGhee on piano, Brady Lewis on trumpet and Stan Coleman on reed – deserve recognition for providing the type of accompaniment that is entertaining in its own right, but not overbearing. And as musical director, McGhee was up to the challenge of stepping into the legacy of those who helped The Black Rep solidify its reputation in producing musicals – including the late Neal Tate and the late Charles Creath.
The Black Rep’s presentation of its season 48 opener “Blues in the Night” continues through Sunday, September 22 at Washington University’s Edison Theatre, 6465 Forsyth Blvd. For more information, or to purchase tickets, visit www.theblackrep.org or call 314.534.3807.
What other plays is the Black Rep song this season?