The Fourth Walsh

Goodman Theatre presents August Wilson’s MA RAINEY’s BLACK BOTTOM.

Legendary blues singer, ‘Ma’ Rainey, is scheduled to record at a Chicago studio. She’s late. Her delayed arrival agitates the producers. Irvin placates an annoyed Sturdyvant while instructing the band in the song list. Although the band is ready to play, they insist Ma always decides the set. The young trumpet player is the exception. He delights in Irvin’s plan to feature him more prominently. His excitement is short-lived. Ma arrives and immediately takes charge. She demands her own musical arrangements, her stuttering nephew’s inclusion and a Coke.

Playwright August Wilson imagined the real life “Mother of the Blues” taking on the white  patriarch. Wilson’s set-up has the band reminiscing about their time on the road while they wait for Ma. As Cutler, Slow Drag and Toledo swap tales of their past, Levee boasts of his pending stardom. The problem is Levee’s dreams are dependent on the studio’s promises. Wilson’s play centers around black oppression in the 1920s. The seasoned band members are resigned to it. Levee doesn’t believe it applies to him. And Ma vehemently defies it like a storm threatening hurricane destruction.

Director Chuck Smith effectively utilizes Designer Linda Buchanan’s multi-level set to tell the story. Sturdyvant (played by Matt Decaro) is pacing from his booth perch. The band is huddled around the piano in the rehearsal room. And Ma’s (played by the formidable E. Faye Butler) arrival fills the main room with colorful commotion. The visually in-depth storytelling engages. Butler commands attention, respect and the world to adjust to her liking. Irvin (played by Marc Grapey) continually bends to her will understanding she is an iconic talent. This is a role Butler, a Chicago fan favorite, was born to play and she crushes it.

Although Butler plays the title role, the main story centers around the band: David Alan Anderson (Cutler), Al’Jaleel McGhee (Levee), Kelvin Roston Jr. (Toledo) and Cedric Young (Slow Drag). The camaraderie of Anderson, Roston and Young is like war buddies. They spin yarns from life on the road. Their companionship feels legit as they muse about inequities. Although life has beaten them down, they still want to play together. Into their tight-knit rehearsal bursts the charismatic McGhee. He has big ideas and new shoes. McGhee showcases an impressive range from showman to victim. One minute, he dazzles – next, he spirals. His moments of bravado are hilarious and his anguish is gut-wrenching.

Goodman’s MA RAINEY’S BLACK BOTTOM brings together a sublime ensemble. Under Smith, the storytelling is balanced with drama and humor. Unfortunately for me, I had trouble hearing it, especially the band’s zingers. Audio issues, the low register of their voices, our seats in the back of the theatre or the combination of all three, it was hard to hear the dialogue in the rehearsal room.      

Running Time: Two hours and forty-five minutes includes an intermission

At Goodman Theatre, 170 N. Dearborn

Written by August Wilson

Directed by Chuck Smith

Performances are:

Thursdays, Saturdays, Sundays at 2pm

Thursdays, Fridays, Saturdays, Sundays at 7:30pm

Thru May 3

For more information or tickets

Production photos by Justin Barbin

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