Playwright: August Wilson. At: Court Theatre, 5535 S. Ellis . Phone: 773-753-4472; $32-$56 Runs through Oct. 18
Producing Ma Rainey's Black Bottom can be a risky proposition. This classic 1984 August Wilson drama set in the 1920s not only calls for superlative actors, but a good portion of them also have to be top-flight blues musicians.
So go now to marvel at Court Theatre's outstanding revival of Ma Rainey's Black Bottom while you can. Court's talented ensemble pulls off all of the play's demands with such élan and polish that you shudder to think of the material performed by a lesser-caliber cast.
With Ma Rainey's Black Bottom, director Ron OJ Parson helms another winner and builds upon his recent Wilson successes at Court ( Fences, The Piano Lesson ) . Parson masterfully blends a cast of Wilson veterans with newcomers, adding immensely to one of the plays conflicts of brash youth clashing with experienced elders.
As an early entry in Wilson's monumental 10-play cycle documenting African American lives in each decade of the 20th century, Ma Rainey's Black Bottom bears the distinction of being Wilson's only Chicago-set work. And though the real-life bisexual "Mother of the Blues" Rainey ( a.k.a. Gertrude Pridgett ) is in the title, the play is really more about her fictionalized back-up musicians at a "race division" recording session.
Hearing actors Cedric Young ( as the trombonist Cutler ) , A.C. Smith ( bassist Slow Drag ) and Alfred E. Smith ( pianist Toledo ) spin Wilson's dialogue is practically poetic. They all play to each other's rhythms and cadences so convincingly that you buy them as long-time friends and band mates.
Where the conflict comes is with hot-headed young trumpeter Levee ( a fiery James T. Alfred ) . Impatient with playing what he calls "jug band" music, Levee is burning to achieve success with his up-to-date musical arrangements and jazzy songwriting. Levee is so sure of his impending success that he blows an entire week's wages on a pair of shoes.
But Levee unwisely clashes with Ma Rainey ( a note-perfect and domineering Greta Oglesby ) , since she has the power to fire him. And though Rainey knows she can make or break this recording session, she knows exactly how the record producer Sturdyvant ( Thomas J. Cox ) and her manager Irvin ( Stephen Spencer ) are exploiting and profiteering off of talented African-American musicians like herself.
Adding extra comedy to the proceedings come from Ma Rainey's entourage of her stuttering nephew Sylvester ( an amusing Kelvin Roston, Jr. ) and her young good-time gal girlfriend Dussie Mae ( a very sensual Kristy Johnson ) .
John Culbert's multi-leveled set fits cozily onto the Court stage ( even if the recording studio-portion feels a tad skeletal ) , while Jacqueline Firkins' 1920s costumes look picture-perfect.
With Ma Rainey's Black Bottom, Court Theatre once again proves that it has the goods to produce wonderful Wilson work. Miss it at your peril.