A One, A Two…You Know What to Do

Ma Rainey’s Black Bottom

In a Chicago recording studio, impatient record producer Sturdyvant and the star’s patient, put upon manager Irvin, prepare for their diva Blues singer. Ma Rainey is over an hour late for her recording session of a new album. But time is money. Her talented band members have all arrived early and are downstairs rehearsing, while teasing each other and sharing stories from the road. These likable musicians are virtuoso veterans trombonist Cutler, bass player Slow Drag, talented pianist Toledo, and young trumpeter and loose cannon, Levee. After Ma Rainey finally—finally—makes her long awaited  entrance, her entourage in tow (with her stuttering nephew Sylvester and sexy gal pal Dussie Mae), the recording session begins, with “A one, a two…you know what to do.”

During the 1920’s, the Blues, dominated by talented, topnotch African-American performers, became so popular that the genre crossed over into mainstream America. The recording industry helped bring the music from Harlem and Chicago into the homes of White music lovers all over the nation. Blues Queens, like Bessie Smith, Ethel Waters, Josephine Baker and Ma Rainey, became household names and their music defined the sound of that era. Although there would be many long years ahead of fighting for their Civil Rights, the African-American integration into politics and the arts was, thankfully, about to commence. 

But this movement didn’t start out well. As depicted in this, the third installment of August Wilson’s “Pittsburg Cycle,” also called the “Century Cycle,” the anger and frustration felt by African-American artists gradually begins to mount. Wilson wanted to create a series of plays that offered White Americans a new way to look at their Black counterparts. This is, however, the only play in his ten-part exploration of the African-American Experience that isn’t set in Pennsylvania. The play takes place in Chicago, in March of 1927, when the Windy City was the capital of the recording industry. Written in 1982, Wilson’s play deals with issues of race, religion, art and the exploitation of black recording artists by white producers.

Inside conniving Sturdyvant’s recording studio (played with seething frustration by veteran Goodman actor, Matt DeCaro), Ma Rainey’s accommodating, gentle and even-tempered manager, Mr. Irvin (an outstanding portrayal by Chicago favorite, Marc Grapey) tries to prepare everything for the recording session of his African-American clients. Talented Scott Aiello makes his Goodman debut as a Chicago cop who’s not above taking a financial bribe to overlook certain offenses. 

While waiting for their boss, Ma Rainey, the musicians banter, argue, brag and share stories in the downstairs waiting room. The musicians include easygoing philosopher and talented pianist, Toledo (the incredibly multitalented Chicago actor, Kelvin Roston, Jr.); bass player and backup vocalist, Slow Drag (a gentle Cedric Young, recently seen in PURPOSE, at Steppenwolf); trombone and guitar player, Cutler, played by David Alan Anderson (enjoyed in STICK FLY, WITCH and MA RAINEY’S BLACK BOTTOM at Writers); and young, hot-headed trumpet player and composer, Levee (a gifted Al’Jaleel McGee, who made his auspicious Goodman debut in REVOLUTION(S), and who plans to start his own band. Jokes and stories are shared, tensions build and feelings get hurt.

But, without a doubt, the true star of this show is the incomparable E. Faye Butler, portraying the grande diva and prima donna of the Blues, Ma Rainey. An undisputed member of Chicago theatrical royalty, Ms. Butler is a 40-year veteran of the entertainment industry.  The multi-gifted actor and director has been enjoyed in performances all around the country, as well as on pretty much every Chicago stage. E. Faye Butler is well-known to audiences from her Jeff Award-winning performance in the Goodman’s wonderful NACIREMA SOCIETY, as well as in FAT HAM, CROWNS, PURLIE and the PULLMAN PORTER BLUES. As Ma Rainey, the goddess of the Blues during the Roaring Twenties, Ms. Butler reins supreme. She portrays this real-life character as a loud force of nature in a terrific performance that should not be missed.

Director Chuck Smith’s production, with music direction by Harry J. Lennix, proceeds with a slow hand and continues at an easygoing pace until the final, tragic scene. Until then, there’s a lot of waiting around in Wilson’s script, and Mr. Smith’s production relaxes into this indulgent, unhurried tempo. While his staging and character guidance is spot-on, the story’s momentum is unhurried and leisurely. Resident Goodman director Chuck Smith is a master at tapping into the meat of every play he orchestrates; and he’s especially accomplished at bringing August Wilson’s works to life. 

The look and sound of this fine production is filled with first-rate detail. Everything looks and sounds authentic and is in its proper place. Linda Buchanan’s gorgeous, detailed, three-level set design looks like an older building that’s been remodeled to accommodate the demands of this 1920’s recording studio. Jared Gooding’s lighting design focuses the audience’s attention where it needs to be placed. In addition he works closely with sound designers Rob Milburn and Michael Bodeen to create the look and sound of the noisy L train running close to the studio. And costume designer Evelyn M. Danner has fashioned an array of beautiful period costumes for her cast. Particularly lovely are Ma Rainey’s green-patterned gown with the satin gussets, as well as her luxurious fur-trimmed coat and hat. Ms. Danner has also created a yellow dress with green ruffles for Dussie Mae that accentuates all her seductive dance moves. And the costumer’s wardrobe for each of the men is meticulously researched and finely fashioned

There are no heroes in this play, no protagonists and antagonists, because that’s not the point. In Chuck Smith’s gorgeous production it’s about the characters. His excellent cast and stellar performances are as winning as anything you’re likely to see anywhere. True, this two-and-a-half hour drama that’s generously peppered with hilarity takes its sweet time. The pacing is as relaxed as Ma Rainey’s music, with peaks and valleys of emotion. And while this isn’t a musical, there are a few songs sung by E. Faye Butler, and accompanied by her talented band, that include the titular “Ma Rainey’s Black Bottom,” “Shake It and Break It” and “Those Dogs of Mine.” The Goodman offers a not-to-be-missed opportunity for theatergoers to relax and revel in one of August Wilson’s most entertaining plays, starring a cast of greats who get the evening started with “A one, a two…you know what to do!”

Highly Recommended

Reviewed by Colin Douglas

Presented March 28-May 3 by the Goodman Theatre, in the Albert auditorium, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

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