Let the Good Times Roll

Blue Heaven

And I guess that’s why they call it the Blues. This powerful genre of music, that we call the Blues, emerged from the oppressed and economically disadvantaged African-American communities in the rural South. This musical style’s often believed to have originated during the 19th century, following the end of the Civil War. Blues singers and composers were descendants of slaves, but elements of their music can be traced back to its origins in Africa. 

With that background, welcome to Pearly’s, a wood-hewn dive bar located somewhere off the beaten track. Oscar Brown, Jr. (guitar), Walt Harrington (bass), Adam Sherrod (keys) and Myron Cherry (drums), members of a heavenly and magnificently talented onstage band, are tuning up and ready to roll. Strolling down the aisle of the theater, five of the biggest names in the Blues, portrayed by some of Chicago’s finest musicians, make their distinctive and angelic entrances to the ethereal juke joint. But certainly one of the most interesting things about this stellar company of performers is that each of them have given up the ghost, although their popular Blues music lives on. So, without much ado, let the good times roll! 

First we meet that gravel-throated singer, Chester  Burnett, better known to the music world as Howlin’ Wolf, and beautifully portrayed here by a most likable Lyle Miller. One of the best known of the Chicago Blues Artists, he really gets things going by opening the show with his “Smokestack Lightning.” In addition to being accompanied by the onstage band, Mr. Miller famously provides his own musical interludes on the harmonica. 

Next comes Big Mama Thornton, a bombastic, bodacious beauty with a booming Blues voice. Played by brilliant BET favorite Cynthia Carter, the production immediately becomes Big Mama’s, as she launches into her exuberantly bouncy and bawdy number, “Little Red Rooster.” She finishes her song with a swig from a beverage that she carries with her, sharing a drink with Howlin’ Wolf.

Bounding down the aisle next is another BET favorite, the handsome and gifted Dwight Neal, who portrays the father of modern Chicago Blues, multitalented musician and singer-songwriter, Muddy Waters, aka McKinley Morganfield. Mr. Neal treats the audience to his 1955 hit, “Mannish Boy,” and then bellies up to the bar to share a drink with his two friends.

The fourth singer/musician to arrive is the one and only Stevie Ray Vaughan, portrayed with professionalism and panache by Midwest performer, JJ Smith, in his Black Ensemble Theater debut. While Mr. Vaughan’s career spanned a mere seven years, the Caucasian singer and songwriter is considered one the most influential Blues musicians and one of the greatest guitarists of all time. Vaughan treats theatergoers to his sensational “Rude Mood, accompanying himself on electric guitar.

Each of the talented songbirds individually entertains the audience and one another with an additional Blues hit. Lyle Miller enchants us with a gritty “Death Letter Blues;” Dwight Neal serenades appreciative theatergoers with his “Pony Blues;” the larger-than-life Cynthia Carter lifts her majestic voice to bring us the mournful, “I Ain’t Got Nobody.” To bring this set to a close, the four talented tuners join forces with JJ Smith to harmonize with “Born Under a Bad Sign.”

Then, the fifth and final cast member of the show makes his way down the aisle. Played with sass and style by yet another familiar Black Ensemble musical darling, Aaron Reese Boseman returns to the BET stage as B.B. King. It appears that the other four musicians have been eagerly awaiting his arrival. King delights every theatergoer as a guitarist, singer, songwriter and record producer, crooning his hit tune, “Everyday I Have the Blues.” 

It’s at this time in the show that the audience learns that B.B. King, who dealt with the effects of diabetes and high blood pressure, has passed away following a performance at Chicago’s House of Blues. In fact, all five of the gifted Blues divas in this show have shuffled off their mortal coil and are biding their time in a kind of musical Purgatory. Once King finally arrives they begin preparing to give a concert for the Big Guy, before finally passing through the Pearly Gates.

Written and Directed with loving care by prolific and multitalented Black Ensemble darling, Daryl D. Brooks, this 90-minute musical revue is filled with so many classic Blues hits, Costumed by Marquecia Jordan and with Wigs created by Keith Ryan, the five-member cast, along with the onstage band, all perform comfortably upon Sydney Lynn’s rustic and artistically executed Set Design. The production is enhanced by some stunning ethereal Projections, designed by DJ Douglass and creatively Lighted by Denise Karczewski.

After warming up with Howlin’ Wolf’s “Going Down Slow,” Big Mama Thornton’s “My Heavy Road,” Muddy Waters’ toe-tapping “I Am the Blues,” Stevie Ray Vaughan’s “Life By the Drop,” and B.B. King’s hopeful hymn, “There Must Be a Better World Somewhere,” the heavenly concert begins.

While the vocalists retire backstage to change into their concert costumes, the band delights the audience with an instrumental version of Willie Dixon’s stark and haunting “Spoonful,” a song first recorded by Howlin’ Wolf and later made popular by the British rock group, Cream. When the vocalists return in their flashy and fancy duds, they treat the appreciative audience to a spectacular array songs. They include “Just Like I Treat You,” “Ball and Chain/Hound Dog,” “Hoochie Coochie Man/Mojo Working,” “Pride and Joy,” “Crossfire,” “The Thrill is Gone,” “Hey, Hey the Blues is Alright” and one of the best performances of the show, “How Blue Can You Get.” 

This soulful, effervescent and highly entertaining one-act, the perfectly titled BLUE HEAVEN, was written and Directed with heart and soul by Black Ensemble Theater’s Renaissance Man, Daryl D. Brooks. The production concludes with a Blues classic that speaks to the entire audience. Everyone in the theater  familiar with the song is encouraged to join the cast in their flawless finale, “Let the Good Times Roll.”            

Highly Recommended

Reviewed by Colin Douglas

Presented September 6-October 26 by Black Ensemble Theater, 4450 N. Clark, Chicago.

Tickets are available in person at the box office, by calling 773-769-4451 or by going to www.blackensembletheater.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.