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AISLE SAY Florida

SOUL CROONERS 2

Conceived, Adapted, Directed by Nate Jacobs
Musical Direction by James (Jay) E. Dodge
Westcoast Black Theatre Troupe
WBTT Theatre, 1646-10th Way, Sarasota, 941-366-1505
February 22 through March 24, 2013

Reviewed by Marie J. Kilker 

A follow-up to a previous seasonÕs sold out celebration mostly of Ô70s soul music, ÒSoul Crooners 2Ó has host Emmanuel Avraham giving brief explanations of the movement between sets after a nice welcome. But song lyrics mostly show history and themes, even if secondary to the first ÒSoul CroonersÓ show that featured most of the biggest of  relevant classics. Nothing secondary about the new performances though, which couldnÕt be delivered with more pep, personality, pizzazz..
 
Act 1 goes from the cast of four harmonizing or soloing-with-backup in turn on ÒSing a SongÓ and ÒOn Your FaceÓ to  Nate Jacobs doing Donny Hathaway with ÒFor All We KnowÓ and fronting the others like Al Green with ÒL-O-V-E.Ó In the main, the music is pop soul stressing romantic love though the cast does wonders with the highly narrative ÒGrandmaÕs Hands.Ó The older singers like Nate and Leon Pitts dominate this half of the program singing as the younger two handle background, especially choreography, with undiminished vigor. The gorgeous (really) Michael Mendez creates his own miniature Heatwave with ÒAlways and ForeverÓ and sums up all the Friends of Distinction while ÒGoing in Circles.Ó He has hearts fluttering when he focuses on audience members close-up. Christopher Eisenberg, at age 9 one of the original ÒSoul Crooners,Ó now at 15 is promise fulfilled with Jackson 5 hits ÒNever Can Say GoodbyeÓ and ÒI Wanna Be Where You Are.Ó
 
Act 2 gets into more hard  rock and other genres, often expressing social changes and viewpoints toward them. Songs introduced in the Ô80s brought disco and funk and finally softer rock.  All are represented here, beginning with Nate and Leon collaborating on ÒFor the Love of MoneyÓ while Michael sizzles with ÒAinÕt No Woman Like the One I GotÓ and soon gets to the famed ÒMe and Mrs. Jones.Ó ChrisÕ early ÒDidnÕt I Blow Your Mind This TimeÓ leads all the way into ÒPlay That Funky Music.Ó Up to this, Act 2 comes through much more choreographically subdued than Act I, spending more time on solos up front.  With the Cast joining on ÒGive Up the Funk,Ó the end comes with near-ferocity of emotion and movement. Lots of audience toe-tapping and clapping too. Like an old time revival meeting.
 
Christy Owen deserves applause for the menÕs costumes: white and blue-trimmed tux with rhinestones filling the slits on the outside of the trousers above white shiny shoes in Act 1. The men return with black sequined jackets over white shirts and straight white pants, black-belted but with rhinestone buckles. Smooth! The host changes from rhinestone-accented brownish-maroon leisure suit to Act 2Õs more subdued suit yet with sunglasses.  Blue studded with almost hot pink ovals make the background throughout, designed by Jim Florek. In front of this stretch the musicians: James E. Dodge, bass; Todd Bellamy, piano; Jamar D. Camp, auxiliary keyboard; Etienne J. Porter, drums; James Johnston, guitar (and willing point of a funk joke about being white). All important lighting, designed by Eric Furbish, spikes Michael MendezÕ song ÒTurn Off Lights.Ó Sean RobinsonÕs sound doesnÕt need so much amplification, but it seems to be the fashion these days. (I expect to see ads from audiologists and hearing aid companies in theater programs soon.) I wouldnÕt be surprised to hear of a ÒSoul Crooners 3Ó in WBBTÕs future.
 
Juanita Mumford is Stage Manager for the 90 min. show, with Dodge as Production Stage Manager.

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