August Wilson’s “Ma Rainey’s Black Bottom” – one of the playwright’s 10 works chronicling the 20th century African American experience – is set in 1927, nearly 90 years ago. But according to Chuck Smith, who directs the production opening this week at the Westcoast Black Theatre Troupe, the issues it addresses are just as relevant as when the Tony Award winning play was written, or when it premiered in 1984.
“It’s not like the world has changed that much,” says Goodman, resident director at Chicago’s Goodman Theatre and a recent seasonal Sarasota resident who directed “Knock me a Kiss” for the organization last season. “The African American community is still in flux and the status of the African American individual in this country at large is the same as when the play came out and the same as when it was first written.”
(From left) Robert Douglas, Kenny Dozier, Tarra Conner jones, Patric Robinson and Henri Watkins in the Westcoast Black Theatre Troupe's production of August Wilson's "Ma Rainey's Black Bottom." / Photo by Don Daly
The production continues WBTT’s commitment to showcasing every play written by the Pulitzer Prize-winning playwright, whose “Pittsburgh Cycle” depicts the devastating effects of racial discrimination and the callous indifferent with which white society has traditionally regarded African American struggles. “Ma Rainey,” the only play of the cycle set in Chicago, takes place in a cramped recording studio where a quartet of backup musicians are rehearsing as they wait for the arrival of the blues singer, Ma Rainey. When Rainey, with her entourage, joins them, she squares off against both them and a tight-fisted white producer, fighting for the respect she believes she deserves as the most renowned black singer of her day.
Cast members include Robert Douglas, Kenny Dozier, Patric Robinson and Henri Watkins as the band members; Terry Wells as the record producer, Sturdyvant; Stephen Emery as Irvin, Rainey’s agent; Earley Dean and Emerald Rose Sullivan as Rainey’s nephew and her companion; and David Abolafia as a policeman. Tarra Conner jones, who starred in the WBTT production of “The Color Purple” will play the legendary blues legend.
Though it has musical highlights, the play is not a musical; rather, it is largely devoted to a discussion among the musicians, each of whom brings a different perspective to questions of race, art, religion and the exploitation of black recording artists by white producers. Those questions, Smith says, have “shifted,” but are still topical today.
“I like to say it’s the same fight, just a different round,” he says. “In some cases, the racism isn’t as blatant – we don’t have signs anymore saying ‘No colored here’ – but you don’t have to have signs to be made to feel uncomfortable. Still, as far as the African American artist goes, it’s better. Back in the day of the play, they had no control of their work once it was out of their hands.”
Jones says part of the appeal in playing the title role is her admiration for the fiery Rainey, who faced and worked around racial and gender obstacles at a time when few other women – black or white – were willing to do so.
“I’m so attracted to her because of – for lack of a better word, her ballsiness,” says jones. “She was a go-getter, a pioneer for African American women in general. It was the ‘20s and she was making money, making choices, making it happen at a time when a lot of women were not doing that. I relate to her quite a bit.”
Jones, a longtime community theater participant in her native Jacksonville, took the plunge into full-time theater work just two years ago, after 19 years as a classroom teacher. The 45-year-old, who grew up singing in church, has previously appeared almost exclusively in musicals.
“I’m always singing and dancing and then, whoosh, off into the wings,” jones says. “The challenge for me is this kind of play stretches me, pushes me. And I tell people I’m doing just doing Ma Rainey; my plan is to resurrect her. What I’m most proud of is that I’m getting to tell her story to a generation of young people not familiar with her.”
And that brings up another point Wilson addresses in the play: the importance of African Americans developing and embracing their heritage and history. Jones says she grew up steeped in that knowledge, but she fears younger generations are not receiving the same education.
Emerald Rose Sullivan as Dussie Mae, and Robert Douglas as Levee, a musician, in "Ma Rainey's Black Bottom." / Photo by Don Daly
“I taught for many years and children are not being taught African American history the way I was – both in school and at home,” she says. “As much as I knew the Bible, my mother made sure I knew my history, my heritage. Today kids barely know who Martin Luther King is. And if they do know they name, they don’t know the history.”
That sense of heritage and knowledge of the struggles of other African Americans who came before her is part of what drives her own determination and artistic pride, in this play or any other, she adds.
“I feel I have to be great because I come from greatness,” she says. “If I’m not, there was no purpose for their struggles.”
Smith believes Wilson’s play, which he previously directed in Chicago in 1997, is the perfect vehicle for educating audiences about that history, but in a subtle way ideal for provoking present-day conversations about race relations.
“There’s so much rich material about the African American lifestyle and heritage delivered just through normal conversation in this play,” the director says. “You are a fly on the wall and it’s a learning experience for any audience member. This play is a reminder of the issues we are still confronting today.”
MA RAINEY’S BLACK BOTTOM, by August Wilson. Directed by Chuck Smith at the Westcoast Black Theatre Troupe, 1646 10th Way, Sarasota. Jan. 13 through Feb. 20. Tickets $27-$38. 366-1505; westcoastblacktheatre.org
