Of the St. Louis American
When Roz White Gonsalves stepped onstage in the Black Rep’s Mahalia: A Gospel Musical with her baby face and petite frame, audiences were probably a bit nervous about her ability to carry the show on her narrow shoulders. As a matter of fact, the beautiful wig styled in Mahalia’s trademark up-do style was the only hint of physical resemblance to the healthy legendary gospel singer.
But the instant she opened her mouth, it was obvious that Gonsalves called on the spirit of Ms. Jackson and absorbed her soul. Her voice was absolutely uncanny – from the down-home mispronunciations (e.g., chil-ren and chu-eech) to the spirit-filled runs and trills that the real life Mahalia seemed to pull from the pit of her gut.
Gonslaves was last on the Black Rep Stage in the late 1990’s installment of Tell Me Something Good. Anyone who saw that show would have been able to appreciate the brilliance of Gonsalves’ character study and how she transformed her voice to meet the needs of her character in Mahalia.
Part history lesson, part musical biography, Mahalia shows through songs and stories how Mahalia Jackson traveled from her humble Louisiana beginnings to become a world-renowned entertainer and civil rights leader.
In addition to Gonsalves as Mahalia, the small cast includes Pamela D. Mallory in the roles of Mahalia’s aunt as well as her accompanist, and Malcolm L. Speed as a host of male characters who crossed paths with Mahalia over the span of her adult life.
Mallory was excellent – a rare triple threat who acts, sings and plays piano with skills in each art that any performer would consider a blessing to have mastered. Her comedic timing, vocal range and musicianship were a huge asset to the production. It was unbelievable to watch her shift from gift to gift, like changing gears in a high-performance/high-speed luxury automobile.
As an actor, Speed was not as strong as the ladies, but his bravery in tackling multiple roles and difficult monologues deserves to be commended. Speed’s list of characters was formidable, and he was charged with the difficult task of portraying of Dr. Martin Luther King Jr. in addition to gospel music pioneer Thomas Dorsey.
Behind the scenes, Speed shined as musical director. The tricky combination of three-part harmonies and accompaniment with organ and piano throughout Mahalia: A Gospel Musical expressed his artistic ingenuity. The soul-clapping and standing ovations that ran rampant throughout the production showed his ability to move the crowd.
Another highlight from the production side of Mahalia: A Gospel Musical was the costume design by Andre Harrington. The clean lines of her suits were classic of the time period, yet so stylish that the actors could sit down among the best-dressed audience members and stand out as examples of sophistication. Mahalia’s white gown from the angel scene was – for lack of a better word – heavenly. With the seamless manner that the ensemble draped off of her back, it was evident that Harrington was mindful of every stitch as it related to each curve in the body of his leading lady.
The Black Rep made the most of the piece, but Tom Stolz’s development, writing and transitions within Mahalia were not the best. Director Ron Himes could have improved the production by shaving off about 30 minutes. Even with the tremendous talent of the three performers, the show dragged, especially towards the end. Some of the historical elements were overemphasized and superfluous, especially the “I have a dream” speech that made its way into the production.
Though it is hard to imagine, after nearly 2 hours and 45 minutes the production still left several nagging questions about the life of Mahalia. Somewhere in the several monologues that she had with God, it would have been nice to get some clarity about why she never married or had a family. It would have also been a plus to include more detail regarding relationships with her relatives back home in New Orleans in the wake of her fame and fortune.
That said, watching someone conquer the soul and song of Mahalia is worth seeing.
The Black Rep’s production of Mahalia: A Gospel Musical continues at Washington University’s Edison Theatre through Sunday, Sept. 24 and relocates to the Orthwein Theatre on the campus of MICDS from Sept. 29 – Oct. 1. For tickets or more information, call (314) 534-3810 or visit www.theblackrep.org.
