With Vim and Vigor, The Black Rep Celebrates Eubie Blake in Stellar Musical Revue

With Vim and Vigor, The Black Rep Celebrates Eubie Blake in Stellar Musical Revue

By Lynn Venhaus
Guaranteed to put a spring in your step and a song in your heart, “Eubie!” is a sparkling and joyous tribute to one of the groundbreaking talents of the 20th century.

The Black Rep’s third time presenting a musical revue of American musician and composer Eubie Blake’s greatest hits is musical theater of the finest caliber.

The convivial cast, high-spirited choreography, cheerful musical numbers, elegant costumes, and silky-smooth orchestra combine for an uplifting production.

The musical extolling the talents of James Hubert “Eubie” Blake over his long, lauded career, especially his achievements in the early 1900s that helped spark the fabled Harlem Renaissance in the ‘20s and ‘30s, was the of the toast of the 1978-1979 Broadway season, nominated for three Tony Awards, including Eubie’s score and Gregory Hines’ performance. Blake died in 1983 at 96 years old.

With his 1921 musical, “Shuffle Along,” he and lyricist Noble Sissle helped break down racial barriers because it was the first Broadway musical written, directed by and starring black Americans. It also helped shape American musical theater as we know it today.

In 2006, his album “The Eighty-Six Years of Eubie Blake” from 1969 was included in the Library of Congress’ National Recording Registry by the National Recording Preservation Board. They annually select music that is “culturally, historically, or aesthetically significant.”

Coda Boyce. Photo by Phillip Hamer

This effervescent cast has individual standouts but really comes together as an ensemble to celebrate Eubie’s contributions in ragtime, jazz, and popular music. Director Ron Himes’s thorough knowledge of the piece and the song styles helps expertly extract the very best from the cast, which has five performers making their Black Rep debut (DeAnte Bryant, Serdalyer Darden, Carvas Pickens, Tamara PiLar, and J’Kobe Wallace).

Himes deftly stages the group numbers – ‘Shuffle Along,” “I’m Just Simply Full of Jazz,” “High Steppin’ Days,” and “Roll Jordan” with polished and buoyant dance designed by master choreographers Heather Beal and Vivian Watt. Such verve!

Noteworthy in the Black Rep’s last musical, “Don’t Bother Me, I Can’t Cope” in 2019, the multi-faceted Robert Crenshaw stars and designed the tap choreography, He dances with such joy, that when he’s performing a solo number, it’s extraordinary, especially in “Low Down Blues” and “Hot Feet.”

In perhaps Blake’s most well-known song, “I’m Just Wild About Harry,” Crenshaw joined Evann De-Bose, Coda Boyce, Samantha Madison and PiLar for a rousing rendition.

Crenshaw opened the show with Boyce and Venezia Manuel, performing the jolly “Charleston Rag” and “Good Night Angeline” in the prologue.

J’Kobe Wallace. Photo by Phillip Hamer

Boyce, so good in “The African Company Presents Richard III” at the Black Rep last year, shows off her vocal chops in “Craving for That Kind of Love” and her playful moves in “Baltimore Buzz” with Manuel and lithe Bryant and Wallace.

The acrobatic moves of Bryant and Wallace are eye-popping and crowd-pleasing, and add pizzazz to the music numbers, Wallace is especially impressive in “Dixie Moon” and “Got to Get the Getting While the Gittin’s Good.”

Newcomer Darden has a good time with “I’m a Great Big Baby” and other solos of note include PiLar in “Daddy,” and De-Bose in “Memories of You.”

PiLar has a terrific duet with powerful-voiced Pickens in “My Handyman Isn’t Handy Anymore.”

They both have a good time with the cast in a fun, very theatrical number “If You Never Been Vamped by a Brownskin, You’ve Never Been Vamped At All,” where they take on roles of The Vamp, wife, husband, judge, bailiff and jury.

Taijah Silas is part of the 11-person ensemble, and they all move with vigor and enthusiasm.

Phillip Hamer Photo

Music Director Joe Dreyer, who also plays piano, is a virtuoso musician, and seamlessly leads a superb orchestra of Chris Tomlin on tuba, Bernard Long on drums, Anthony Wiggins on trumpet and Harvey Lockhart on saxophone. They are behind a scrim, but they breeze through the music catalogue with aplomb.

The musicians are part of this dream team that delighted in delivering a beautiful lesson in music appreciation of an earlier era.

The sound design by Justin Schmitz is splendid, and so is the look of the production, with impressive lighting design by Jasmine Williams and scenic design by Tim Jones setting the atmosphere through the decades.

Costume Designer Marc W. Vital II’s exceptional craftsmanship captured the period’s glamour perfectly.

It’s rare when you get to experience not only the cast having the best time on stage, but the audience thoroughly engaged and enchanted with the vitality of those involved.

“Eubie!” closes the Black Rep’s 46th season on a high note.

Photo by Phillip Hamer

The Black Rep presents the musical revue “Eubie!” from May 3 to May 21 at the Edison Theatre on the Washington University campus. Performances are Wednesday and Thursday at 7 p.m., Saturday at 8 p.m., and Sunday at 3 p.m. For more information, visit www.theblackrep.org

Photo by Phillip Hamer.
Photo by Phillip Hamer

The Black Rep Presents ‘Eubie!’ Musical May 3-21 at The Edison

The Black Rep Presents ‘Eubie!’ Musical May 3-21 at The Edison

The St. Louis Black Repertory Company continues its 46th Anniversary Season with the musical revue EUBIE!, featuring music from the groundbreaking musician and composer Eubie Blake. The production opens May 3 through Sunday May 21, 2023 at The Edison Theatre on the campus of Washington University in St. Louis. This project is supported in part by the National Endowment for the Arts.

On Broadway in the 1970s, Eubie! re-introduced audiences to Blake’s iconic career and highlighted his role in breaking down racial barriers with the 1921 musical, Shuffle Along –  the first Broadway musical written, directed by and starring Black Americans. 

At The Black Rep, the ensemble cast for EUBIE! includes Coda Boyce (The African Company Presents Richard III; The Light), DeAnté Bryant (TBR debut), Robert Crenshaw (Spell #7; Don’t Bother Me, I Can’t Cope), Serdalyer Darden (TBR debut), Evann De-Bose (Lines in the Dust; Black Nativity), Samantha Madison (Do I Move You? Black Nativity), Venezia Manuel (Crossin’ Over), Carvas Pickens (TBR debut), Tamara PiLar (TBR debut), J’Kobe Wallace (TBR debut), and Taijha Necole Silas (Behind The Sheet; Death Of A Salesman).

Audiences will be treated to well-known tunes such as: “In Honeysuckle Time,” and “I’m Just Wild About Harry,” with live music featuring: Joseph Dreyer – Piano, Chris Tomlin – tuba, Bernard Long Jr. – drums, Anthony Wiggins – trumpet, and Harvey Lockhart – saxophone.

“EUBIE! showcases many of Blake’s best songs, many from Shuffle Along, which was a smashing success when it ran on Broadway in 1921,” explains Ron Himes, Founder and Producing Director of The Black Rep. “Eubie Blake not only helped shape American musical theatre as we know it today, but that show is credited with kicking off the Harlem Renaissance that swept New York City culture in the late 1920s and 1930s.”

Directed by Ron Himes with Musical Director Joe Dreyer and written by Eubie Blake, Andy Razaf, Noble Sissle and Julianne Boyd, the production showcases Choreography by Vivian Watt, Heather Beal, and Robert Crenshaw; Scenic Design by Tim Jones, Costume Design by Marc W. Vital II, Sound Design by Justin Schmitz, Lighting Design by Jasmine Williams. Tracy Holliway D. Wiggins is the Stage Manager and Zahria Moore is the Assistant Stage Manager.

Tickets are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more. The Black Rep is highly recommending face masks inside the theatre. Please visit theblackrep.org for up-to-date health protocols.

Support for The Black Rep’s 46th Main Stage Season comes from the Arts and Education Council, The Berges Family Foundation, The Black Seed Initiative, Caleres, Missouri Arts Council, the National Endowment for the Arts, the Regional Arts Commission, Rogers-Townsend, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis, with matinee support from the Union Pacific Foundation.

About The Black Rep

The Black Rep, a 46-year-old legacy Black arts organization, is committed to producing, re-imagining, and commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of opportunities and resources for Black professionals and students in the theatre; improved representation on and back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will follow. For more information: www.theblackrep.org 

The Black Rep and Stages St. Louis Tie with 7 Wins at St. Louis Theater Circle

The Black Rep and Stages St. Louis Tie with 7 Wins at St. Louis Theater Circle

By Lynn Venhaus
Stages St. Louis’ “In the Heights,” a jubilant celebration of culture, community, and connection, won six awards, including Outstanding Musical Production, Music Director, Choreography, Set Design, Costume Design (tie) and Ensemble in a Musical, at the St. Louis Theater Circle Awards Monday.

Their world premiere of “The Karate Kid – The Musical” won Outstanding Lighting Design for a total of seven, and Jack Lane, retired executive producer, announced the musical is Broadway-bound in 2024.

Seven is what The Black Repertory Theatre of St. Louis amassed for four productions: August Wilson’s “Jitney” (2 – Outstanding Production and Ensemble), “Behind the Sheet,” (2 – tie for Outstanding Production – Drama and Best Director), “The African Company Presents Richard III” (1 – Supporting Performer, Male or Non-Binary, Cameron Jamarr Davis) and “Dontrell, Who Was Kissed by the Sea” (2 – Lighting Design and Sound Design).

Brian McKnight accepted on behalf of The Black Rep and described founder Ron Himes as a man “who has vision.”

The Muny, SATE (Slightly Askew Theatre Ensemble), and West End Players Guild each won four at the 10th Annual Theater Circle Awards, which recognized achievements in comedies, dramas, musicals and operas.

SATE’s original play “Bronte Sister House Party” won 4 (Best New Play, Outstanding Comedy Production, Comedy Ensemble and Supporting Performer Male or Non-Binary Role). “The Color Purple” at The Muny won 3 – Leading Performer, Female or Non-Binary in a Musical, Supporting Performer, Female or Non-Binary, and Costume Designer while Martin McDonagh’s “The Lonesome West” won 3 – Leading Performer, Male or Non-Binary, Supporting Performer, Female or Non-Binary, and Director Robert Ashton for the West End Players Guild.

For more than 10 years, the St. Louis Theater Circle has been presenting annual awards for regional professional theater, and resumed a live ceremony after virtual productions streamed by HEC Media online in 2020 and 2022 because of the coronavirus pandemic, cancelling 2021 (but including a few of those productions last year).

It was the first live ceremony since 2019, and held at the Repertory Theatre of St. Louis’s Loretto-Hilton Center on Webster University’s campus.

Approximately 90 productions were considered for this year’s event. Three productions – “Chicago” at the Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre — were ineligible because the same production was presented within the last three years at the respective venues.

The Circle presented more than 30 categories for outstanding achievements from 2022, with 20 theater companies receiving nominations.

Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin was honored with a special award for lifetime achievement.

Records that evening included Joel Moses winning two acting awards in one night and Jennifer Theby-Quinn won her third acting award, joining Will Bonfiglio and Laurie McConnell as three-time winners.

Luis Salgado, who made “In the Heights” ‘pop’ with his spirited direction and vibrant choreography, accepted awards while praising the theater community in St. Louis. He and actor Ryan Alvarado, a nominee for playing Usnavi, flew in from New York City to attend .

Here are the awards given out April 3:

Cameron Jamarr Davis “The African Company Presents Richard III” at the Black Rep

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role: Hannah Geisz, “The Lonesome West,” West End Players Guild

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role: Joel Moses, “Brontë Sister House Party,” SATE

Outstanding Performer in a Comedy, Female or Non-Binary Role: Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre

Outstanding Performer in a Comedy, Male or Non-Binary Role: Jason Meyers, “The Lonesome West,” West End Players Guild

Outstanding Lighting Design in a Play: Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep

Outstanding Sound Design: Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep

Outstanding Costume Design in a Play: Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis

Outstanding Set Design in a Play (tie): Bess Moynihan, “Rodney’s Wife,” The Midnight Company and Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival

Winner Jason Meyers, at right “The Lonesome West”

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role: Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role: Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep

Outstanding Performer in a Drama, Female or Non-Binary Role: Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater

Outstanding Performer in a Drama, Male or Non-Binary Role: Joel Moses, “The Christians,” West End Players Guild

Joel Moses, “The Christians” at West End Players Guild

Outstanding New Play: “Brontë Sister House Party,” by Courtney Bailey, SATE

Outstanding Achievement in Opera: (tie) Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis and Robert Mellon, “Falstaff,” Union Avenue Opera

Outstanding Production of an Opera: “A Little Night Music,” Union Avenue Opera

Outstanding Musical Director: Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis

Outstanding Choreographer: Luis Salgado, “In the Heights,” Stages St. Louis

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role: Nicole Michelle Haskins, “The Color Purple,” The Muny

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role: Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre

Outstanding Lighting Design in a Musical: Bradley King, “The Karate Kid – The Musical,” Stages St. Louis

Outstanding Set Design in a Musical: Anna Louizos, “In the Heights,” Stages St. Louis

Outstanding Costume Design in a Musical: (tie) Samantha C. Jones, “The Color Purple,” The Muny and Brad Musgrove, “In the Heights,” Stages St. Louis

Anastacia McCleskey “The Color Purple” at The Muny

Outstanding Performer in a Musical, Female or Non-Binary Role: Anastacia McCleskey, “The Color Purple,” The Muny

Outstanding Performer in a Musical, Male or Non-Binary Role: Ben Davis, “Sweeney Todd,” The Muny

Outstanding Ensemble in a Comedy: “Brontë Sister House Party,” SATE

Outstanding Ensemble in a Drama: “Jitney,” The Black Rep

Outstanding Ensemble in a Musical: “In the Heights,” Stages St. Louis

Outstanding Director of a Comedy: Robert Ashton, “The Lonesome West,” West End Players Guild

Outstanding Director of a Drama: Ron Himes, “Behind the Sheet,” The Black Rep

Outstanding Director of a Musical: Bradley Rohlf, “Assassins,” Fly North Theatricals

“Bronte Sister House Party” won four Circle Awards

Outstanding Production of a Comedy: “Brontë Sister House Party,” SATE

Outstanding Production of a Drama: (tie) “Behind the Sheet,” The Black Rep and “Jitney,” The Black Rep

Outstanding Production of a Musical: “In the Heights,” Stages St. Louis

Special Award: Joan Lipkin, for lifetime achievement

The St. Louis Theater Circle was formed the summer of 2012 and began awarding excellence in regional professional theater in 2013. No touring, community theater or school productions are considered.

Current embers of the St. Louis Theater Circle include Steve Allen, stagedoorstl.com; Mark Bretz, Ladue News; Bob Cohn, St. Louis Jewish Light; Tina Farmer, KDHX; Rob Levy, Broadwayworld.com; Michelle Kenyon, snoopstheatrethoughts.com and KDHX; Gerry Kowarsky, Two on the Aisle (HEC-TV); Chuck Lavazzi, KDHX; Judith Newmark, judyacttwo.com; Lynn Venhaus, PopLifeSTL.com and KTRS Radio; Bob Wilcox, Two on the Aisle (HEC-TV); and Calvin Wilson, St. Louis Post-Dispatch. Eleanor Mullin, local actress and arts supporter, is group administrator.

The mood was extraordinary, and, in Joan Lipkin’s words, we could feel the “palpable joy” for each other. The speeches were heartfelt, and I wish we had them on record. It was truly “celebratory revelry.”

The Black Rep was a winner for four separate shows in the same year, an a back to back winner for August Wilson, as last year’s drama production was “Two Trains Running”)

We discovered we had two different Josh Smiths nominated — the one for Shakepeare’s Italian villa who won for “Much Ado About Nothing” was not the same for the carnival in “Ride the Cyclone.”

Happy the ‘tribe’ had so much fun — and the fellowship was really special. Hope the feedback continues to be positive.

GO SEE A PLAY!

“Jitney” Best Drama Production and Best Dramatic Ensemble

Morehouse College Glee Club To Appear at The Black Rep GALA

Morehouse College Glee Club To Appear at The Black Rep GALA

The St. Louis Black Repertory Company announces the Morehouse College Glee Club in a special benefit concert Saturday, November 12, 2022, as part of the organization’s annual GALA at the 560 Music Center at 560 Trinity Avenue. 

“This has been an extraordinary year, and we are so happy to be bringing the Morehouse College Glee Club to St. Louis audiences,” said Ron Himes, Founder and Producing Director of The Black Rep. “There is no better way to celebrate our ability to experience the joy of live performance together than to hear these voices. The Black Rep made a five year commitment to present an HBCU Chorale group each year at our Gala.”

The all-male Glee Club was formed at the historically Black men’s university in Atlanta in 1911. They have performed around the world, as well as at historic events such as the 1996 Atlanta Summer Olympics, former President Jimmy Carter’s inauguration, and at Martin Luther King Jr.’s funeral – a notable alumni of the Glee Club and Morehouse University.

Under the direction of Dr. David E. Morrow, the Glee Club will perform a repertoire of African and American songs for St. Louis audiences. Tickets are available for purchase now.

Funds raised at the annual GALA directly support The Black Rep’s Community and Education programs including classes and workshops, Summer Performing Arts, Teen Tech Training, Professional Fellowships, and Regional Touring Company season for school and community audiences. Shanti Parikh and Dennis Reagan are the co-chairs of the fundraising event.

For concert tickets contact The Black Rep at 314-534-3807 or visit www.theblackrep.org.

The Black Rep’s ‘The African Company Presents Richard III’ Looks Back at a Pivotal Moment in Time

The Black Rep’s ‘The African Company Presents Richard III’ Looks Back at a Pivotal Moment in Time

By Lynn Venhaus

Bigotry is an ugly thing to witness, even in the context of 1821. It’s expected, but always unsettling, no matter what period.

So, when the first scene of “The African Company Presents Richard III” opens with a condescending and arrogant white supremist shutting down a competing Shakespearean production, that sets the tone for a battle between right and might.

As Stephen Price, the haughty and cruel producer at the Park Theatre, Eric Dean White will make your skin crawl. He is threatened by their success and will use his influence to get the powers-at-be to make it hard on them.

While our sympathies lie with the performers in The African Company, they are having their own conflicts to deal with from within that threatens their existence too.

This 1994 play within a play by Carlyle Brown is a provocative showcase for compelling artists in The Black Rep’s latest riveting work. And opens the Black Rep’s 46th season in fine fashion.

Based on a true story, Brown’s drama is set in pre-Civil War New York when two productions of Shakespeare’s “Richard III” are vying for audiences. Slavery was not outlawed yet, but there were more free blacks living there.

Shakespeare famously said, “The play is the thing,” and The African Company, through the Black Rep’s hard-hitting production, shows you why art can break barriers, and all the challenges are worth it.

Cameron Jamarr Davis as James Hewlett as Richard III. Photo by Phillip Hamer.

The first black theatre in the U.S., The African Company of New York was a downtown theater growing in popularity with not only black audiences, but white audiences too. Their satires drew crowds, particularly when it was about the status quo white society. And the unenlightened were outraged those blacks had a voice. How dare they tackle the Shakespeare and other British classics!

William Henry “Billy” Brown had turned his home’s backyard into The African Grove, where blacks could socialize as society became increasingly segregated, then he expanded to theater, founding The African Company.

Price’s company has paid a renowned British actor, Junius Brutus Booth (father of John Wilkes Booth), a pretty penny and a sweet contract promising a full house, so they want a return on the investment, more revenue, and will not play nice.

The black theater doesn’t have the luxuries afforded the other theater, and most of the actors work as domestic servants or as laborers or in other roles.

“We all charade one great role of the happy, obedient Negro,” says character James Hewlett, the first black Shakespearean actor in U.S., and is playing the lead role.

Some of the cast is worried about the police shutting them down. What if they are taken to jail?

Director Ron Himes keeps the tension simmering both in racial friction and the tussling actors. He ensures that the company’s commitment to art is a focal point, while he laces this distinctive history lesson with humor and music.

As Hewlett, Cameron Jamarr Davis is passionate about the work, and doubles-down on his conviction, despite mounting odds – and a complicated romantic entanglement.

Ann Johnson, the actress playing Lady Anne, is exhausted by her day job and feelings that don’t seem to be reciprocated in equal measure. She is confused by the part and the play’s action, and not afraid to say so. Coda Boyce gives a fierce performance as someone speaking up for herself, and not compromising in a world that expects her to be subservient.

Alex Jay is a strong Sarah, who tries to keep things going smoothly, and is an accomplished seamstress. Costume designer Andre Harrington has beautifully captured the period and the royal costumes.

Olajuwon Davis is tough and tenacious in his portrayal as the dedicated, steadfast promoter Brown, who tries to not let what he calls “silly” views of white people grind him down. He channels his anger into action.

In real life, Brown wrote “The Drama of King Shotaway,” which is considered the first play by an African American and was about the black Caribbean war of 1796 against white settlers. Somehow, it’s been lost. However, what he did for blacks in theater will never be forgotten.

Papa Shakespeare is trying hard to keep them together. He’s quite a storyteller, a repository of history and wisdom – and colorful, as played by Wali Jamal Abdull. As the racist constable, Dustin Petrillo is a despicable meanie.

The simple set, designed by Jamie Bullins, doubles as a rehearsal hall and a theatrical stage, well-accented by Jasmine Williams’ lighting design.

This well-acted, well-staged play is a noteworthy moment in time that will resonate with modern audiences, for its power is timeless.

The Black Rep presents “The African Company Presents Richard III” Sept. through Sept. 25 at the Edison Theatre on the campus of Washington University. For more information, visit www.theblackrep.org

Photos by Phillip Hamer

The Black Rep’s Lyrical ‘Jitney’ is Acting and Storytelling at Its Finest

The Black Rep’s Lyrical ‘Jitney’ is Acting and Storytelling at Its Finest

By Lynn Venhaus

Bright before me the signs implore me
To help the needy and show them the way
Human kindness is overflowing
And I think it’s going to rain today

  • Randy Newman, “I Think It’s Going to Rain Today,” 1968

As the gap between the haves and the have-nots keeps widening in America, August Wilson’s “Jitney,” the first play of his 10-play cycle in 10 decades of history, couldn’t be timelier.

The play, which is set in the 1970s in Pittsburgh’s Hill District, has lost none of its bite, and in the loving hands of The Black Rep, it is spellbinding. A richly textured tale of economic struggles, racial tensions, fathers, sons, hope, dreams, loss, strength, and the need for and meaning of community.

A jitney refers to an independently owned unlicensed car for hire. Because regular cab drivers did not service the Hill District, Wilson presented this urban renewal scenario for a makeshift gypsy cab service.

The city has decided to condemn the building, which threatens to eliminate Becker’s Car Service, and the owner frets about finances as the other characters have worries of their own. This lyrical production is powerful storytelling at its finest.

Wilson introduces us to the men who make a living driving these cabs as they sit around a dingy office waiting for the phone to ring – as well as the relatives and passengers who stop by.

The era vibrantly portrayed is after the Civil Rights Amendment, but segregation still exists, and the characters deal with those issues. Could home ownership even be possible? The soldiers who fought in Vietnam returned home (or not) with their own stories to tell.

These passionate souls have bonded – or avoided it – through their lives’ triumphs and travails. No one’s had it easy, and the world-weariness shows. But the hope for second chances is palpable.

Featuring a superb ensemble of actors who bring out distinctive characteristics that you won’t soon forget, “Jitney” is a powder-keg of emotions and the evergreen need for connection and kindness in a cold, cruel world.

As the former mill worker who has his share of problems, Kevin Brown gives a powerhouse performance, equal parts fire and compassion.

Becker is grappling with his shame over his son’s prison time for murder. Clarence “Booster” Becker was convicted for killing a white college girlfriend, who had accused him of rape after her father found out about their relationship. As the wayward son, Phillip Dixon offers a complex performance as he seeks to patch up his rift with his dad and a fresh start.

Another standout young actor, Olajuwon Davis, plays Vietnam veteran Darnell Williams, aka Youngblood, and you can feel his desire to realize the American Dream for his family as he works two jobs.

Alex Jay is memorable as Rena, his spunky pregnant girlfriend, and brings out the yearning to be part of middle-class society as they’re starting out, their lives in front of them, dreaming of bright futures.

The cast is enlivened by the dynamic of ace performers J. Samuel Davis, who plays Fielding, and Ron Himes, the director who was called to fill in as Turnbo a few days before the show began its run. Both titans in the local theater community, they are multiple winners and nominees of the St. Louis Theater Circle Awards, and their ease slipping into these roles is one of the joys of seeing them at work.

Fielding is a driver whose life has been marred by alcoholism and Turnbo, a cranky guy who knows it all, likes to stir up trouble.

Another bright spot is Edward Hill as Doub, a Korean War veteran who keeps it all together at the service.

Rounding out the cast is Robert A. Mitchell as Shealy, a local bookie who does not drive but spends his time there using the pay phone to run his numbers game, and Richard Harris as Philmore, as a hotel doorman who gets rides from the guys.

Director Himes capitalizes on Wilson’s ability to draw us into his world that is so vivid. The production is enhanced by spot-on music choices reflecting that era, an impeccably designed set by Harlan D. Penn, the always exquisite lighting design of Joseph W. Clapper and sharp sound design from Justin Schmitz. Jamie Bullins’ costume design shrewdly reflects the characters.

As Wilson chronicled African American life during the 20th century, we learned about specific journeys in a way that resonated universally. Call them ordinary people, but on stage, they create a stunning portrait of America – and they make a beautiful noise. All but one of his 10 plays are set in his hometown.

Because of the Black Rep’s unwavering commitment to Wilson’s plays, we St. Louisans have been fortunate to experience his Pittsburgh plays, or Century Cycle, in the highest quality possible.

These productions, now in the company’s second go-round, have enriched not only my theater-going but also my understanding of humanity. I look forward to the rest I have not seen.

Whether you have seen any or none, engage a ride with “Jitney” May 4-May 29.

The Black Repertory Theatre of St. Louis presents August Wilson’s “Jitney” May through May 29 at the Edison Theatre on the campus of Washington University in St. Louis. For tickets, visit
For more information, visit www.theblackrep.org

One Of Year’s Best Ensembles Hits Hard in Timely ‘Sweat’ at Black Rep

One Of Year’s Best Ensembles Hits Hard in Timely ‘Sweat’ at Black Rep

By Lynn Venhaus
A domino chain of events have a devastating effect on a group of blue-collar steel workers in Lynn Nottage’s hard-hitting play, “Sweat,” which won the Pulitzer Prize for Drama in 2017 and retains its timeliness.

The Black Rep’s outstanding production, which kicked off its 45th season on Sept. 9 and continues through Sept. 26, features powerful performances in a lived-in atmosphere.

You know these characters, the ‘little guys’ who’ve worked the factory floor for years and thought their labor unions would protect them when the corporate owners moved operations to another country for a cheaper labor force.

Set in a local tavern where the Olstead mill workers hang out in Reading, Pennsylvania, this could have taken place in Granite City or Centralia, Ill., or near the shuttered car plants in St. Louis.

Director Ron Himes knows this and understands how today’s political and racial tensions are much the same as then, as well as immigration issues. Those are addressed in two story arcs — changing demographics and the territorial birthright felt by the longtime Caucasian residents.

Sadly, this tale is often not one of fiction in real lives — and has become familiar to anyone living anywhere in the Rust Belt, part of those Northeast and Midwestern regions where an industrial decline has been going on for decades, especially where coal and steel were economy mainstays.

The 2015 play starts and ends in 2008, but most of it takes place in flashback eight years earlier – in 2000, a pivotal time in America, after NAFTA is in place and corporations are going to Mexico. Transparency is not a word in these companies’ vocabulary, as they leave communities shattered and people broken.

The North American Free Trade Agreement was signed by Canada, Mexico, and the United States in 1994 and created a trilateral trade bloc.

The action veers from longtime friends celebrating birthdays, laughing, joking and talking about their lives to escalating tension as uncertainty about their jobs increases, along with harsh outlooks on their economic futures.

This ensemble is nimble and natural, conveying the complexities of their relationships with skill and emotional depth. The cast projects how longtime friends act and what their workplace is like with ease.

Nottage’s dialogue is shrewd and perceptive about race, class and identity. She understands the frustrations of these characters, and the lens in which they view the world.

Nottage, who is the only woman to win the Pulitzer Prize twice for Drama, first for “Ruined” in 2009, frequently writes about marginalized people.

For Cynthia and Tracey, is friendship or survival stronger? The actresses Amy Loui and Velma Austin expertly convey their conflicts and mood shifts, show how friendships sour when misunderstandings and envy erupt.

Their friend Jessie drinks too much and once had dreams of traveling the world but got a job at the factory and stayed. Kelly Howe gives what could be a stereotype some nuance – and superbly displays various levels of inebriation.

The cast is anchored by Stan, the bartender who was injured on the job at the mill and reflects on multiple labor issues as he is often the voice of reason – and at least history.

He attempts to put things in perspective and tells the young bucks who are chomping at the bit that they should be outraged by the bosses, not the little guys trying to get ahead like they are.

In his Black Rep debut, Black Anthony Edwards is impressive as the guy who’s good at listening, who speaks common sense, and has made lemonade out of the lemons he was given impairing his leg and being unable to work at what he did for years.

Physically, he looks like the character Stan. Praise to the costume designer Hali Liles for her spot-on outfits depicting the wardrobes of ordinary people living in the Rust Belt.

After they strike, and Cynthia and Tracey’s sons Chris and Jason are laid off, their lives are altered forever after tensions explode in violence. The fight choreography by Paul Steger is fluid and the cast well-rehearsed to make it seem natural.

Chris wanted to make something of himself, and Brian McKinley earnestly portrays his yearning to achieve, especially after watching his dad Brucie (frequent Black Rep performer A.C. Smith) fall on hard times after being shut out at a textile plant.

The boys serve prison sentences, as reflected in the opening scene with parole officer Evan, played with authority by Don McClendon. Franklin Killian is strong as the hothead redneck Jason, now tattoed on his face and a white supremist. He perfectly embodies the once fun-loving guy now a lost soul.

The subject of the boys’ rage is represented by Oscar, a Colombian American who works as the bar’s busboy but seizes an opportunity to make more money by replacing striking workers. The regular clientele are seething about this ‘scab.’

Oscar, well-played by Gregory Almanza, pours out his heart to Stan, telling him about how ignored he is, perceived to be an immigrant when he was born in the U.S. His dad swept floors at the mill, now he wants to achieve more. He is caught in the crossfire of misplaced fury.

The scenic design by Tim Jones aptly captures this world, with detailed property work by Meg Brinkley, all expertly lit by lighting designer John D. Alexander. The jukebox works well, thanks to the terrific sound design by Kareem Deanes.

Featuring one of the year’s best ensembles, a timely tale and expert production elements, “Sweat” is not to be missed.

Velma Austin as Cynthia. Photo by Phillip Hamer.

“Sweat” will continue through Sept. 26, with Thursday show at 7 p.m., Friday and Saturday at 8 p.m., and Sunday at 3 p.m.

$15 student rush tickets are available for all shows — 30 minutes before the show with a valid student I.D.

For more information: www.theblackrep.org

Season subscriptions and single tickets for “Sweat” are available at www.theblackrep.org or by calling the Box Office at 314-534-3807. Groups of 12 or more may also reserve tickets by phone. Seating will be at 50 percent capacity; for complete information on current health protocols please visit www.theblackrep.org.

The Black Rep’s 45th Anniversary Season sponsors include the Arts and Education Council, The Black Seed Initiative, Centene Charitable Trust, Missouri Arts Council, Regional Arts Commission, Rodgers-Townsend, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis.

COVID-19 PROTOCOLS

Our top priority for reopening is the health and safety of our staff, artists and patrons. We have been working diligently to bring live theatre back. The Black Rep is part of the growing coalition of St Louis performing arts venues and producers that have agreed upon Covid-19 Vaccination/Testing and Mask Requirements for audiences, artists and staff through the end of 2021.

Everyone must be fully vaccinated or have received a negative covid test results no more than 72 hours prior to coming on campus. A Covid19 vaccination card or a negative test result must be presented upon entering the building.

Masks are required at all times while indoors on campus. Even if you are seated in pods and distanced, masks must remain in place.

Everyone will need to complete the visitorscreening.wustl.edu within 2 hours of your arrival to campus. You will receive a message indicating that you are cleared to come to campus and you will be asked to present the “cleared” message to ushers at the entrance of the building. For those without smart phones, there is a station in Mallinckrodt where you can complete the screener on an iPad. If you receive a message that you are “not cleared”, we ask that you not come to campus or leave campus if you are completing the screener on campus.

The Black Rep Opens 45th Season with Lynn Nottage’s ‘Sweat’ Sept. 10

The St. Louis Black Repertory Company opens its 45thAnniversary Season September 10 with an in-person production of the Pulitzer Prize-winning “Sweat” by Lynn Nottage. Addressing the complexities of race, class and friendship at a pivotal moment in America,
the powerful work will be presented in person at the Edison Theatre at Washington University and directed by Founder and Producing Director Ron Himes. Previews begin on Wednesday, September 8.

A courageous and heartbreaking story explores the lives of a tight-knit group of factory workers who spend their days drinking, sharing secrets, and laughing. When layoffs and strikes create tension within the group the trust is broken. “Playwright Nottage tensely captures the root of our current political and racial tension in society today,” said Himes. “Are we only looking out for ourselves or are we
responsible for each other?”

The cast features Velma Austin (Joe Turner’s Come and Gone, The Screened in Porch), A.C. Smith (King Hedley II, The Trials of Brother Jero), Amy Loui (Canfield Drive, Three Ways Home), Don McClendon (Blues for Mr. Charlie), and Brian McKinley (Home, Spell #7). Franklin Killian, Blake Anthony Edwards, Gregory Almanza, and Kelly Howe will all be making their debut at The Black Rep

The production will feature Scenic Design by Tim Jones, Lighting Design by Jonathan Alexander, Costume Design by Hali Liles, Sound Design by Kareem Deanes, and Properties Designed by Meg Brinkley.

Fight Choreography will be done by Paul Steger who is certified by the Society of American Fight Directors and holds advanced certificates from the British Academy of Stage and Screen Combat & Fight Directors. Jim Anthony is the Stage Manager and Technical Fellow Tatiana Durant is the Assistant Stage Manager.

Season subscriptions and single tickets for “Sweat” are available at www.theblackrep.org or by calling the Box Office at 314-534-3807. Groups of 12 or more may also reserve tickets by phone. Seating will be at 50 percent capacity; for complete information on current health protocols please visit www.theblackrep.org.

The Black Rep’s 45th Anniversary Season sponsors include the Arts and Education Council, The Black Seed Initiative, Centene Charitable Trust, Missouri Arts Council, Regional Arts Commission, Rodgers-Townsend, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis

The Black Rep’s In-Person Season To Explore Identity and Self-Worth

The Black Rep’s In-Person Season To Explore Identity and Self-Worth
  • Set to emerge from the pandemic for live audiences, the compelling new season of work features both well-established and new Black voices, the Black Rep has announced. The St. Louis Black Repertory Company will begin its 45th anniversary with in-person performances beginning in September at the Edison Theatre on the campus of Washington University in St. Louis.

    The season opens with “Sweat,” a Pulitzer-Prize winning drama fitting for the current times, followed by “Dontrell,
    Who Kissed the Sea,” exploring one young man’s present-day heroic quest. The season continues with “Fireflies,” a
    telling of the complexities of love and color, and “Behind the Sheet,” the untold story behind the sacrifices made for
    a significant medical breakthrough. The season closes with “Jitney,” August Wilson’s powerful look at one
    community’s unwavering determination and connection. Each production will include post-show talk backs and
    intergenerational matinees.

    “As we all pick up the pieces of our life in our community, we wanted to include a range of plays that explore how
    people define their self-worth and cope with society’s view,” said Ron Himes, Founder and Producing Director of
    The Black Rep. “With each of our five productions this season we’ll ask our audience to join us to explore their own
    identity and place. And, I personally can’t wait to see everyone.”

    Sweat by Lynn Nottage September 8-26, 2021 at the Edison Theatre, Washington University

    Addressing the complexities of race, class and friendship at a pivotal moment in America, this heartfelt drama tells
    the story of a group of co-workers who find friendship working on a factory floor. With layoffs and picket lines
    entering the picture, these friends must decide if they should look out for each other – or prioritize themselves.

    Dontrell, Who Kissed the Sea by Nathan Alan Davis January 12-30, 2022 at the Edison Theatre, Washington
    University

    When 18-year-old Dontrell Jones decides to voyage into the Atlantic Ocean in search of an ancestor lost during the
    Middle Passage, his family struggles with the thought of losing their prized son. Blending poetry, humor, wordplay
    and ritual, this rhythmic journey is a present-day hero’s quest to explore the lengths and depths we must go to
    rewrite history’s wrongs.

    Fireflies by Donja R. Love February 9-27 at the Hotchner Studio Theatre, Washington University

    Set in the Jim Crow South, “Fireflies” tells the story of Olivia, the inspiring speechwriter and force behind her
    charismatic husband Charles and his freedom movement. When four little girls are bombed in a church, the
    couple’s relationship is thrown into jeopardy.

    Behind the Sheet by Charly Evon Simpson March 16-April 3 at The Berges Theatre, COCA
    This compelling work challenges what history remembers and reframes the very origin story of a great medical
    breakthrough. This production is made possible in part by the Ensemble Studio Theatre/Alfred P. Sloan
    Foundation Science and Technology Project along with additional support from Caleres and The Black Rep’s
    Sophisticated Ladies.

    Jitney by August Wilson May 11-29 at the Edison Theatre, Washington University

    Set in the late 1970’s, August Wilson’s first in his 10-play cycle of 10 decades of history in Pittsburgh takes place
    in the midst of urban renewal and follows a group of men who make a living driving gypsy cabs, as they navigate
    love as fathers and sons, loss and hope, and ultimately, community.

    Subscriptions are available for purchase now by calling the box office at (314) 534-3807 or online
    at www.theblackrep.org. Groups of 12 or more may also reserve tickets by phone. Opening Night packages as
    well as a New Flex Pass are available, along with an early purchase Post Pandemic discount.

    Season and individual production support has been provided by: The Arts & Education Council, Black Seed
    Initiative, Caleres, Centene Charitable Foundation, Ensemble Studio Theatre, Missouri Arts Council, Regional
    Arts Commission, Rodgers-Townsend, Shubert Foundation, Steward Family Foundation, and Washington
    University in St. Louis, with additional support from the Black Communities Investment Initiative of the St. Louis
    Community Foundation.

    About The Black Rep
    The Black Rep, a 45-year-old legacy Black arts organization, is committed to producing, re-imagining, and
    commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded
    by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of
    opportunities and resources for Black professionals and students in the theatre; improved representation on and
    back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will
    follow.

    For more information: www.theblackrep.org

The Rep and The Black Rep Team Up for Roundtable with Playwright Lynn Nottage

The Rep and The Black Rep Team Up for Roundtable with Playwright Lynn Nottage

The Pulitzer Prize-winning playwright visits St. Louis to discuss her timely and important works, being presented locally by both theatre groups 

ST. LOUIS (June 18, 2021) – The Repertory Theatre of St. Louis (The Rep) and St. Louis Black Repertory Company (The Black Rep) are pleased to welcome two-time Pulitzer Prize-winning playwright Lynn Nottage to St. Louis for a very special roundtable event, Telling the ‘Tale’ with Lynn Nottage on Friday, June 25 at 6 p.m. via Facebook Live and YouTube. Hana S. Sharif, Augustin Family Artistic Director at The Repertory Theatre of St. Louis and Ron Himes, Founder and Producing Director of The Black Rep will spend 90 minutes in conversation with Nottage, moderated by Adena Varner, Director of Learning and Community Engagement for The Rep. 

The conversation will center on two key works by Nottage being presented by the local theatre groups: Mlima’s Tale, currently being performed by The Rep through July 11 at the Catherine B. Berges theatre at COCA; and Sweat, set to open The Black Rep’s 45th season from September 8 through 26 at the Edison Theatre at Washington University. 

“Lynn Nottage is one of the most important voices in modern American theatre, so bringing her thought-provoking, Mlima’s Tale, to life as The Rep’s first in-person production this year has been a true joy” said Sharif. “It is a gift for the St. Louis community to have two of her groundbreaking plays produced this year. I am delighted to partner with Ron Himes in this incredible opportunity to delve deeply into her work and the themes she explores.”

Himes added, “I’m looking forward to being in conversation with these two brilliant women of the theatre and to continue The Black Rep’s relationship with Lynn Nottage by presenting Sweat to open our in-person 45th Anniversary season. We have presented Intimate Apparel and Ruins in past seasons and our audiences have been moved; our artists have been challenged. Mlima’s Tale continues to elevate Nottage as one of our best American playwrights.”

Nottage is the first, and remains the only, woman to have twice won the Pulitzer Prize for Drama. Her plays have been produced widely in the United States and throughout the world. She was named as one of Time magazine’s 100 Most Influential People in 2019. 

Telling the ‘Tale’ with Lynn Nottage is a free online event with an RSVP required via Eventbrite.

About The Repertory Theatre of St. Louis

The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Visit www.repstl.org for more, and find The Rep on Facebook, Twitter, Instagram and YouTube.

About St. Louis Black Repertory Company

Founded in 1976 by Producing Director Ron Himes, The Black Rep is one of the largest professional African-American theatre companies in the nation and the largest African American professional performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African American and African Diaspora playwrights are produced. Main-stage  productions and education programs combine to reach more than 80,000 people annually. For more information visit theblackrep.org.