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Regional Reviews: Florida - West Coast Jazz Hot Mamas
The show was created by Artistic Director Nate Jacobs as a salute to the great ladies who sang jazz. Most of WBTT's revues have leaned toward soul and rhythm and blues which is more to my partner's taste, but when I perused the song list before the show I said to him, "These are my tunes." The bulk of the first act consists of great songs that were covered by many of the great ladies and gentlemen of jazz, including some Duke Ellington tunes, "Misty," "Lullaby of Birdland," "My Funny Valentine" and "The Very Thought of You." Later in the act is a salute to the blues, including three more Duke Ellington numbers ("I Ain't Got Nothing but the Blues," I Got It Bad and That Ain't Good" and "Mood Indigo") along with "Blues in the Night" and "Cry Me a River," before ending up beat with "It Don't Mean a Thing" (If It Ain't Got That Swing). The second act opens with tunes closely associated with a particular lady, "How High the Moon" and "A-Tisket, A-Tasket," followed by a full-out tribute to the greatest of the greats, Billie Holiday, with "Our Love Is Here to Stay," "Fine and Mellow," "Strange Fruit" and "God Bess the Child." Several later tunes which bring up thoughts of the Civil Rights era, mostly wrapped around a tribute to Nina Simone, bring us to the closer, "Mr. Melody." For Jazz Hot Mamas, Nate fields a particularly strong cast. Headed by Teresa Stanley, our home grown gal made very good (just back from several years in a leading role in the Broadway production of Rock of Ages), and featuring Naarai Jacobs (soon to depart to chase her musical dreams in Los Angeles), Kenessa "Neyce" Pierre, and new to WBTT, Matelyn Alicia. Ms. Stanley demonstrates the explosive talent that has propelled her beyond Sarasota, dominating the stage in ways none of the others can quite match. She makes all of her solo numbers highlights but especially "Strange Fruit," which because it is so tied to Billie Holiday becomes hard for anyone else to cover effectively. Naarai Jacobs is most effective in "I Loves You, Porgy"/"Bess You Is My Woman Now," which I don't always like outside of the confines of the original opera. Matelyn Alicia first caught my undivided attention with "That's All," the first chorus a capella, and when the band came in under her she was dead on pitch. Ms. Pierre has a smoother voice, one foot in pop, the other in jazz a la Miss Carmen McRae, not a bad model. She solos on "Unforgettable," "That Old Black Magic," and "Fine and Mellow" beautifully. There are also many opportunities for ensemble work and the four women blend beautifully. One of the glories of WBTT's productions are the house bands, most often led by the phenomenal James E. (Jay) Dodge II from the bass chair, as he is for this production. One of the first things I noticed when seated and looking at the stage was a piano, not an electric keyboard but a real baby grand. This period of music really needs the piano—keyboard synthesizers hadn't been invented and they simply do not have the same sound as a natural instrument. At the piano is R.J. Thompson, with J.L. Cash, Jr. on auxiliary keyboard and John Walker on percussion, giving the show the drive it deserves. Scenic design by Steve Patmagrian is one of the finest seen on WBTT's stage, instantly evoking a high class show club of the 1940s when jazz was king. Costume designs by Cristy Owen give each of the ladies of the cast several becoming outfits. Nick Jones' lighting design evokes different moods throughout the show. Jazz Hot Mamas, presented by West Coast Black Theatre Troupe, through April 4, 2015, at 1646 Nate Jacobs Way, Sarasota, Florida, 366-1505. For more information, visit www.wbttsrq.org. Cast: Created, Directed & Choreographed by Nate Jacobs
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