Take the A Train

Play On!

In 1996, a cleverly written musical version of Shakespeare’s classic, TWELFTH NIGHT, conceived and directed by Sheldon Epps, featured a clever update in a book by Cheryl L.West. She shifted the comedy to Harlem during the 1940’s. Because we’re suddenly in New York at the famed Cotton Club during the Swing Era, the musical score dictates it be based upon the iconic music of Duke Ellington. All the characters in this musical are based upon original Shakespearean characters, but with names that reflect the originals, that were given by the Bard. But the basic story is essentially the same and it’s quite delightful.

Vy (originally Viola) is a lovely and talented young woman who isn’t shipwrecked, as in TWELFTH NIGHT. She’s just arrived in NYC and is stranded in Times Square, trying to navigate her way up to Harlem. There, she hopes to write songs for the Duke (Duke Orsino, in TWELFTH NIGHT), the greatest composer and band leader of that time. The ensemble musically advise her to “Take the A Train” and she’ll be there in no time.

Once she’s at the Cotton Club, Vy reunites with her Uncle Jester (a talented and comical entertainer and dancer, a combination of Shakespeare’s Sir Toby Belch and Feste,). When Vy explains what she’s hoping to write music in Harlem, Jester explains that women aren’t accepted at that time as composers. They can sing, they may dance, but they definitely don’t create. That’a man’s occupation, he tells his niece. So, with Jester’s assistance, Vy disguises herself as a man named Vy-man. 

Jester takes Vy to meet the Duke, who is sad because the woman he loves, Lady Liv (based on Olivia, in TWELFTH NIGHT), a talented songstress known as the Queen of Blues, has spurned him. The Duke discovers that he loves Vy-man’s music. So he sends “him” to visit Lady Liv at the Cotton Club and present Vy’s song to the singer, pretending that it was written by the Duke especially for her. But the trick backfires because Lady Liv finds Vy-man charming and falls in love with the messenger, not the Duke. Then, as they say, mistaken identities continue and comedy ensues.

There’s a subplot in which Sweets, the conductor of the band, and Miss Mary, Lady Liv’s put-upon personal assistant, navigate their own relationship. In addition, Jester, who thinks he’s quite the lady’s man, is having trouble holding on to CC, a dancer at the Cotton Club. And all of the employees of the nightclub are united in their dislike of Rev (based upon the Bard’s character, Malvolio), the despotic and demanding club manager. Rev also happens to secretly have a crush on Lady Liv, but she never notices him. So Rev’s employees decide to play a trick on him. Knowing that Lady Liv hates the color yellow (like Olivia, in TWELFTH NIGHT), they convince him to scat, swing and dress in a hip, bright yellow Zoot suit to impress Lady Liv. This really backfires, with comic results. But in the end, the truth is finally revealed, Vy-man confesses that she’s a woman in love with Duke, and all the couples live happily ever after.

One of the best things about this hilarious and highly entertaining production is that the incomparable Sheldon Epps returns to Chicago to direct PLAY ON! What a privilege it is to have this gifted artist back in the Windy City, doing what he was born to do. Mr. Epps directed PURLIE and BRAVO PIAF in the Chicago, and he directed the original 1996 Broadway production of PLAY ON!, as well. He also directed Broadway’s BABY, IT’S YOU and BLUES IN THE NIGHT. In addition to Sheldon Epps, Duke Ellington’s delicious, bluesy score is musically directed by Theodis Rodgers, Jr. (TEATRO ZINZANNI, Chicago), while the production vibrates with the choreography of Edgar Godineaux (AIN’T TOO PROUD; MEMPHIS, Broadway). Gifted Broadway scenic designer Beowulf Boritt has created a gorgeous representation of the Cotton Club, while talented costume designer An-Lin Dauber has designed the beautiful period wardrobe for the entire cast.

The gorgeous score by Duke Ellington features two dozen of his finest songs. In addition to those previously mentioned, PLAY ON! presents “Mood Indigo,” “Don’t Get Around Much Anymore,” “It Don’t Mean a Thing (If It Ain’t Got That Swing)” and “I’m Beginning to See the Light.” It also features songs like “Hit Me With a Hot Note and Watch Me Bounce,” “I Got It Bad and That Ain’t Good,” “Rocks in My Bed,” “Prelude to a Kiss,” and several others. Audiences will leave the the Yard Theatre humming these catchy tunes.

The cast is remarkably talented and lovable. Hailee Kaleem Wright (MOULIN ROUGE; SIX, Broadway) is the true star of this production playing Vy and Vy-man. She’s so convincing as a young woman who, sadly, has to hide her true self in order to be who she is creatively. Ms. Wright sells every song and line of dialogue with honesty and a clear, sweet voice. Lady Liv is beautifully portrayed by singer Krystal Joy Brown (MERRILY WE ROLL ALONG; HAMILTON, Broadway), and she sparkles in her many beautiful costumes. Moving like he has rubber joints, Jester, played by multitalented Jame Harkness (AIN’T TOO PROUD; BEAUTIFUL, Broadway) is terrific, both as a comedian, singer and dancer. Handsome Edred Utomi (the title role in HAMILTON, both on Broadway and in the National Tour) is remarkable as Duke and shows an emotional range worthy of his title. 

While making his debut at Chicago Shakespeare Theatre, talented Alan H. Green, in the comical role of Rev, was seen recently in A LITTLE NIGHT MUSIC in Chicago. He’s also been on Broadway in SISTER ACT and SCHOOL OF ROCK. CC is played with panache by Kaylah Janssen (PINTO, A Red Orchid). Chicago’s own talented and lovable James Earl Jones II (BEAUTY AND THE BEAST, Chicago Shakespeare Theatre; CATCH ME IF YOU CAN, Marriott) absolutely lights up the stage as Sweets. And Chicago’s gorgeous and gifted Alanna Lovely (GUYS AND DOLLS; AIN’T MISBEHAVIN’, Drury Lane) magnificently and melodically portrays Miss Mary.

This is one happy, hilarious musical that theatergoers will be flocking to see. It’s a perfect fit for Chicago Shakespeare Theatre since the toe-tapping musical is based upon the Bard’s classic comedy, TWELFTH NIGHT. Not only is book writer Cheryl L. West’s adaptation clever and creative, it’s as if Duke Ellington’s music was composed especially for this story. Since both the show’s story and music are familiar, spending a couple hours luxuriating with PLAY ON! is like reuniting with an old friend after many years’ absence. But this glorious musical won’t be at Navy Pier forever. So don’t wait! Take the A Train to the Chicago Shakespeare Theatre for one of the finest productions of the Fall Season.     

 Highly Recommended

Reviewed by Colin Douglas

Presented September 11-October 18 by Chicago Shakespeare Theatre in the Yard Theatre, 800 E. Grand Avenue on Navy Pier, Chicago.

Tickets are available at the CST box office, by calling 312.595.5600 or by going to www.chicagoshakes.com.

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

Photos are by Kyle Flubacker