This outbreak of appreciation came just as Lynn wrapped up her signature brand of bluesy coloratura flavored with essence of gospel and undertone hints of nearly scat. It was a moment in a shared trio with Fields and even-white-girls-get-the-blues-personified Clare Kennedy. They, along with triple threat Evan Tyrone Martin, perform Blues anthems you know, you knew but didn’t know you knew, and some you wished you had heard before. It’s one Blues standard after another, with a few jazz notes – the titular Blues in the Night, The Blues is a Woman, Nobody Knows You, Wild Women Don’t Have the Blues, Stompin’ at the Savoy, and more – two dozen en toto. Best, it’s happening right here in Chicago where these musical genres were born and are nurtured to this day.
Meanwhile, impossibly long-legged Terrell Armstrong silently weaves in and out of many scenes or is spotlighted backstage to gracefully dance out the story line, but story line might be an overreach term. It’s more plot premise than plot, rich in affect and attitude – akin to the best music videos. Without distraction of narrative, we focus on the music and the mega-talent in every corner of the wide stage, including the tempo-driving musicians accompanying each song.
The action takes place in a hotel, fully appointed with what one imagines was once spanking new Jazz Age décor, replete with a revolving door through which our silent dancing gigolo makes most of his entrances and exits. Each of the women has a room in the hotel where they sometimes sing like canaries on their perch. It’s the song lyrics that tell most of The Blues’ and women’s story – unlucky in love and life. For this writer, it’s the trios and then trio-plus-Martin that especially make the music sparkle.
The sparse book highlights how this is Black music — even by noting a White girl exception—and is mostly delivered by Fields as the one-time Chitlin’ Circuit star who shares that the Theatre Owners Booking Association is better known as Tough on Black Asses. Robbed yes; broken no – this is music that summons stamina for another day. From Fields we learn that there is also a lot of room for raunch in her music. And if you have any doubt, plan to be educated by Fields summoning Bessie Smith’s ghost to tell us double entendre style to Take Me on a Buggy Ride. Oh my, what she can communicate just by making her round eyes even rounder!
Porchlight Music Theatre Brings Blues’ Story to Its Rightful Home
From the program notes, we learn that Broadway’s Blues in the Night was Tony-Nominated. How fitting that this production has found its way to a Chicago venue. Blues in the Night brings it home, in all senses. This is a fitting primer for Blues newbies and a heart-warmer for diehard blues fans alike.
