Reviewed by Judy Richter
An ambitious ethnomusicologist's
search for authentic songs of slavery and Africa leads her to a women's prison
farm in southeast Texas in the hot summer of 1933. That's how "Black
Pearl Sings!"
by Frank Higgins begins.
That's also what San Jose Repertory Theatre has chosen to open its 30th
season. Overall, it's a good choice by the company's artistic director, Rick
Lombardo, who
also serves as director and sound designer for this production.
The
woman in search of songs is Susannah Mullally (Jessica Wortham), a white researcher for the
Library of Congress. Even though she has sterling acredentials, she has been
shut out of a teaching position at Harvard because she's female. The woman who
can help with her search is Alberta "Pearl" Johnson (Jannie Jones), the daughter of slaves, who
has been in prison for murder for 10 years. She wants to get out so that she
can search for her 22-year-old daughter, with whom she has lost touch.
During
their first meeting, Susannah is officious while Pearl is skeptical of her
intentions. The two verbally spar and bargain, but over time, Pearl sings some
songs that Susannah records. Pearl also gets Susannah to look for her daughter
in Houston, but it seems her daughter has left town. However, Susannah is so
enthusiastic about Pearl's songs and her ability to deliver them that she
engineers a parole. The two go to Greenwich Village, where they present some
well received programs.
Jones
is a powerhouse singer whose Pearl brings the house down several times. She
also has the meatier, more interesting role. This factor, plus her sometimes
outsized performance as directed, makes for some unevenness in what should be a
relationship between two women of equal worth. Even though Susannah's role is
underwritten -- more back story, especially about her girlhood and parents,
would help -- Wortham does well. Like Jones, she sings well, too, although her
songs are mostly Appalachian folk songs as opposed to Pearl's songs, which are
more overtly emotional and sometimes bawdy.
John
Iacovelli's set
designs for the warden's office in Act 1 and an artsy, cluttered apartment in
Act 2 serve the play well, as do Frances Nelson McSherry's costumes and Daniel Meeker's lighting. Kate McCormick serves as vocal coach.
Despite
the flawed script, it's often quite funny, with most of the best lines reserved
for Pearl. It's also thought-provoking with its undertones of racism, sexism
and class differences. Finally, it's powerful, especially in the final
wrenching moments.