Past Reviews

Regional Reviews: Florida - West Coast

Harry and Lena
Westcoast Black Theatre Troupe

Also see Bill's review of Daddy Long Legs


Michael Mendez and Lexie DeAnda
When Westcoast Black Theatre Troupe announced last year that their third production would be a tribute to iconic entertainers Harry Belafonte and Lena Horne, it seemed a great idea. In reality, the task has proven to be much more difficult. Neither performer led a dramatic life, both settled into long, stable marriages without much controversy and lived lives of great dignity. They were visible, strong supporters of The Civil Rights Movement and other causes, and they knew each other but were not close friends, if my research is correct. Their careers intertwined only occasionally: They both were RCA recording artists during important parts of their careers and made an album of songs from Porgy and Bess together about the time that a major Hollywood film of the piece was made. Other than that I can find little evidence of joint ventures other than civil rights causes. Mr. Belafonte is much easier to pay homage to, as he developed a very individual repertoire: folk music of all nationalities with heavy doses of Carribbean/Calypso and American music of the people. He had many hit songs which can be re-created. Ms. Horne, on the other hand, after a brief career in Hollywood, was mostly at home in the chic supper clubs of the 1950s and '60s. Elegance was her stock in trade. Her last public performance before retirement, "An Evening with Lena Horne" at The Supper Club, was recorded for an A&E special (and released on CD and DVD); by this time her vocal equipment was shaky at best, yet I could not take my eyes (or ears) off of her, so mesmerizing was her presence. I have never been a huge Lena Horne fan because hers was never a great voice, yet she was absolutely a STAR. Because she had few iconic songs during her career and because her vocal style was uniquely her own it is harder to give an audience a sense of the lady.

WBTT founder and Artistic Director Nate Jacobs has developed this piece. If it is to have further life I would strongly suggest that he refine the biographic materials used in the show. They are too generic, and these artists deserve better. What is shared about them could apply to almost all of the major black entertainers of their era. The song choices also could be revisited. "Cocoanut Woman," "Island in the Sun," "Jamaica Farewell," "Mama Look a Boo Boo," and "Matilda" immediately summon images of Harry Belafonte. "The Man I Love," "Love" (Love Can be a Dying Ember, Love Can be a Flame), "Summertime," "Stormy Weather" and "The Lady Is a Tramp," all of which were sung by Lena Horne at important moments in her career, are also strongly identified with other singers. In fact, the version of "The Lady Is a Tramp" used in the production incorporates several Sinatra-isms ("won't go to Harlem in Lincoln and Fords, won't dish the dirt with the rest of those broads"). Then there are songs that are not identified with either performer, generic duets such as "People Will Say We're in Love" and "Let's Call The Whole Thing Off" (done almost exactly as Ella Fitzgerald and Louis Armstrong recorded it), "Amazing Grace" (which leads into a gospel medley when neither of them ever sang in that style) and Fats Waller's "Black and Blue."

The real strength of the production is the talent onstage. The idea for this show probably originated as a showcase for company favorite Michael Mendez, recently returned from making the rounds in New York. The role fits him like a glove; he is extremely handsome, as Mr. Belafonte was, and oh, so charismatic. It is hard to believe that I first laid eyes on Michael in the chorus of Love in the Key of Aretha at WBTT in 2011—good but not a standout at the time, he has grown and grown. Here he explodes! Lexie DeAnda brings a terrific voice and a vivacious stage manner, but she is unable to convey what it was that made Ms. Horne so beloved. I would love to hear Ms. DeAnda do a whole show, with material of her own choosing, but this one isn't a great fit for her talents.

An ensemble to back up the stars consisting of Victoria Byrd (15-year-old Booker High School student), Candace C. Culcleasure, Sheldon Roden and Joshua Thompson (Sarasota High School student) performs with great verve throughout the two-hour show and is featured in "Tea for Two" and "Black and Blue." The two younger members illustrate one of my favorite aspects of WBTT: Nate Jacobs cultivating talent from the local community, young and sometimes not so young.

Scenic designer John C. Reynolds provides a re-creation of a smart supper club of the era, complete with stairs. This time it is "The Palms of Bradenton." Timothy Beltley has created glamorous outfits for Lena which help us at least see her as the glamour puss that she was, as well as multiple colors of Caribbean shirts like the ones Harry Belafonte actually performed in, except that his were more form fitting. Lighting designer Nick Jones does a fine job and all the other regulars, technical director Shane Streight, stage manager Juanita Munford and house manager Myllanna McKinnon, maintain their usual high standards. James (Jay) Dodge, II leads the band, with Jamar D. Camp on auxiliary keyboard, Keith Phelps Jr. on piano, Todd Bellamy on percussion and Tony Milton on drums. As always, he is a major asset to any WBTT musical outing.

Harry and Lena, presented by Westcoast Black Theatre Troupe, 1646 10th Way, Sarasota, Florida, 366-1505. Through March 23, 2014. For more information, visit www.wbttsrq.org.

Cast:
Harry Belafonte: Michael Mendez
Lena Horne: Lexie DeAnda

Director: Nate Jacobs
Production Manager/Musical Director: James Dodge, II
Choreographer: Jim Helmich
Lighting Designer: Nick Jones
Costume Designer: Timothy Beltley
Technical Director: Shane Streight
Sound Engineer: Eric Schanie
Music Consultant: Tony Moon
House Manager: Myllanna McKinnon
Stage Manager: Juanita Mumford*
* Member of Actor's Equity Association

Musicians
Jamar D. Camp: Auxiliary Keyboard
Keith Phelps Jr.: Piano
James E. Dodge II, Bass Guitar
Tony Milton: Drums
Todd Bellamy: Percussion


Photo: DonDalyPhoto.com

--William S. Oser