Too Hot to Handel takes Handel’s pious masterpiece Messiah, and turns it into a gospel/jazz version that will bring you to your feet and even possibly move you to tears. Unless you are strict about how you prefer the 1741 classic Handel’s Messiah, then Too Hot to Handel’s soulful rendition will have you swimming in symphonic sounds, and swept away by pure divine talents.
Three lead vocalists—a tenor, soprano, and alto— are seated across center stage, backed by a complete orchestra, and the Rackham Symphony Choir. The conductor is centered in the half circle, magically waving her arms as the bows of the violin move in unison, upwards then downwards. A spotlight goes up on Rodrick Dixon, a tenor with range and versatility that strikes this reviewer as out of this world. He belts out a tremendous melody from deep within his diaphragm, putting his whole being into each and every note, occasionally pausing for the lead saxophonist’s solo. Dixon, encourages us to clap along, and the almost packed theatre abides by his request, amplifying the energy on stage.
Each lead vocalist similarly has a powerful stage presence, and breath-taking voice. They are all uniquely animated in their facial expressions, and proudly await for their moment to sing again.
Handel’s original composition is maintained throughout the show, but utilizes entirely new instrumentation such as electric guitars, and a jazz organ. Each musician equally contributes to the ambiance, and surprises the audience when they rise from their seats with a solo showcasing their incredible skill. A stellar lead vocalist sings with arms outstretched, and is later interrupted by a guitar soloist who swings his instrument behind his back strumming the strings of the guitar in a rather unconventional and impressive manner. The diverse and animated choir continues singing ever so passionately until another musician is highlighted, and shows off the way they too seem to make love to their instrument.
Each year regular attendees of the show look forward to pianist extraordinaire Alvin Waddles’ cadenza, which is an improvised solo passage near the end and before Handel’s iconic Hallelujah chorus. On the projector we witnessed his fingers move at lighting speed across the keys, almost as if it was rehearsed. His approach was far too effortless for it to be planned. Throughout each musical break we erupted with applause and cheers anticipating more.
In this writer’s view, the performers of Too Hot To Handel are from another dimension, and to miss out on this interstellar magic would be a great disservice to lovers of the gospel, and jazz genre, or actually anyone who has a deep appreciation for music— period! The love in the Auditorium Theatre was at an all time high, and we as an audience could feel it. As the music swelled, our hearts overflowed with joy from each and every note. The final performance ended with a standing ovation. We witnessed people rise from their seats ,catching a profound spirit that transported them into bliss and praise. In those moment we all got to briefly escape into the magic of music.
For more information on upcoming music and other performances bookmark the Audtiorium Theatre website.
Photos by Kristie Kahns
About the Author: Jordan Rome
Jordan Rome is an actress turned director/ writer/filmmaker working and living in Chicago, IL. She received her BFA in 2014 from DePaul University in PR and Advertising and Community Service Studies. She uses solo performance and film to deconstruct our understanding of race and body politics in America. She draws inspiration through the intimate exploration of Self and Source, both which she believes are spiritually and equally intertwined.
The professional work she’s accomplished in Chicago’s theatre/film include MPAACT Theater’s, Illinois Caucus of Adolescent Health youth theatre program, Collaboraction Theatre, Theater Momentum, VAM Studios, and Soft Cage Films.
