Kuntu Repertory Theatre presented August Wilson’s “Ma Rainey’s Black Bottom” in the auditorium of the Homewood branch of the Carnegie Library of Pittsburgh. “Ma Rainey” is the only play of Wilson’s “Century Cycle” that did not take place in Pittsburgh; instead it takes place in a low-budget recording studio in the mid-1920s Chicago.
While the title may lead you to believe the play is all about the famous Ma Rainey, “mother of the blues” (an oft-mentioned fact through the course of the play), its more about the undercurrents of the exploitation of music by the record producers (still relevant nearly a century later) and the quest for dignity and self-determination in a still young 20th century darkened by the long shadow of Jim Crow as the great migration is picking up steam.
The studio operators are determined to maintain an upper hand so that the late arrival of Ma Rainey causes some consternation to the high-strung Sturdyvant, (Eric Leslie) who is placated by Irvin (Zachary Bord), Rainey’s manager. As the musicians trickle in ahead of Ma, they head to a lower level band room to warm up. They use that time to shoot the breeze, sharing stories about life, music, philosophy and verbal jousting.
The newest member of the backup band, Levee, is the young hothead of the lot and somewhat of a legend in his own mind, ready to set the world on fire with his horn. Toledo, the piano player, occasionally looks up from his newspaper and shares his wisdom without being asked while Cutler, the trombonist and Slow Drag, the bassist, bicker over sharing smokes. Levee, excited at the prospect of recording his arrangement of “Black Bottom,” assumes the band is jealous when they balk about playing the new version of the song and the testosterone and accusations fly.
Meanwhile, Ma Rainey (Teri Bridgette) finally arrives with a flourish, accompanied by a young woman, a young man and a very agitated policeman.
As with Wilson’s other plays, “Black Bottom” is a study of contrast, interaction and survival. The exchanges among the musicians seem familiar and reminiscent of easy barbershop banter with occasional flashes of anger when the conversation turns combative. Herb Newsome as Levee consistently works everyone’s last good nerve with his incessant bravado while proving sensitive to any hint of criticism from Cutler or Toledo; Slow Drag (Vendell Nasir II) manages to lay low in the seams, out of the line of fire most of the time. As the band’s leader Cutler, Charles D. Timbers, Jr. is a stabilizing force who attempts to maintain order among the sidemen particularly when Toledo (Anton Floyd) indulges in his frequent need to drop some of his unsolicited knowledge.
Producing director Vernell A. Lillie continues the Kuntu legacy of Pittsburgh theatrical village in presenting new, young talent to the stage, with Adonis Whitner (policeman), and Shannon Finley making their debuts along with high schoolers Dray Cottingham (of City Charter) as Sylvester and Bord (of CAPA).
Combining an efficient set that serves double duty as studio and rehearsal space and performances fueled by the color and passion of Wilson words, Ma Rainey is a “dra-medy” that builds to a climatic, inevitable ending that will not leave you unscathed.