American Players Theatre 2024

This year I made my second visit to American Players Theatre, the magical theater in the middle of the woods of Wisconsin. My friends at Minnesota Theater Love have been going for years, and finally convinced me to join them two years ago. I was enamored of the setting and the quality (and quantity) of work produced, and declared that "if Middle Earth had a theater, it would look like American Players Theatre," so I was happy to make the trip again after missing last year. And now I am thoroughly and irrevocably ensorcelled by the experience that is APT; I don't think I'll miss another year if I can help it. We saw five shows in three days, four of them outdoors, each better than the last. If you're a theater fan in the Midwest, put APT on your must-do list. A lovely four-hour drive from the Twin Cities through the corn fields and rolling hills of Wisconsin brings you to a two-stage, eight-show repertory theater than runs from June through September (with an additional indoor show in October). It's a gem that even the New York Times has visited - so why haven't you? This year we stayed at House on the Rock Resort which is the closest (and perfectly satisfactory) lodging to the theater at just about a mile away, but there are other hotels, B&Bs, and AirBnBs in the vicinity. Plus there are plenty of shops and restaurants in and around Spring Green to entertain you (although I do recommend making a reservation for Saturday night dinner, we visited four restaurants before we found one that could seat us). So make a long weekend of it, visit the truly bizarre funhouse that is House on the Rock (admission included if you stay at the Resort), take in the majesty of Taliesin (which I have yet to do), and enjoy some amazing theater, scenery, and cheese!

"Ma Rainey's Black Bottom" by Penumbra Theatre at the Guthrie

August Wilson wrote ten plays about the African-American experience, each covering one decade in the 20th century.  He lived in St. Paul for over ten years and worked closely with Penumbra Theatre, which has produced more of his plays than any other theater in the world, including several world premieres.  They're currently doing Ma Rainey's Black Bottom at the Guthrie, directed by Penumbra Artistic Director Lou Bellamy.  Set in Chicago in the 1920s, Ma Rainey is a fictional account of a recording session of the real life blues singer of the same name.  But it's really about so much more than that.  The way Wilson weaves in themes of racism and history and unspeakable horror along with an entertaining and humorous story is just remarkable.  After the show there was a discussion let by Penumbra Education Director Sarah Bellamy and two experts on race relations, Herbert A. Perkins and Elona Street-Stewart.  The discussion was much more profound and insightful than anything I could say!

Everyone in this cast is amazing in their roles.  Ma Rainey is played by Jevetta Steele of the fabulous local singing family The Steeles.  Ma is what some might call a "diva."  But really, she's a woman who knows what she wants and knows that her power is limited.  Before her voice is recorded, while there's something that she has that the studio owner and her manager still want, she is able to exert some power over her situation.  But as soon as the recording is done and she's signed the release, they don't need her anymore and she's nothing to them.  The four-member band is comprised of Cutler (James Craven), the leader who speaks in rapid-fire words that reminded me of Tommy Lee Jones; Toledo (Abdul Salaam El Razzac), the wise and book-reading piano player; Slow Drag (William John Hall, Jr.), the easy-going bass player; and Levee (James T. Alfred) a young man who has dreams and ambitions of his own.  He wants to play his own arrangements and improvisations, which does not go over well with Ma.  Much of the play is these four men talking and joking with each other.  Their characters are so specific and interesting that it's a pleasure to listen to them go on about nothing, but also difficult at times when we catch glimpses of the pain that's behind it all.

The recording session hits a few rough patches.  Ma wants her stuttering nephew Sylvester (Ahanti Young) to record an intro to one of the songs, and it's just heart-breaking to listen to him struggle with the words until he gets it right.  Ma's glamorous girl Dussie Mae (Lerea Carter) flirts with Levee, spurring Ma on to jealousy.  All the while the studio owner Sturdyvant (played by Michael Tezla, my costar from A Serious Man), watches from the office above while Ma's manager Irvin (Phil Kilbourne) acts as a go-between, making sure everyone is happy and gets what they want.  Eventually the songs are recorded satisfactorally and Ma and her entourage leave the studio.  The band is left behind to pack up their things.  Levee gives Sturdyvant some songs that he wrote, hoping to record them with his own band.  Instead, Sturdyvant gives him five dollars for each song and sends him on his way.  Levee is devastated, and takes his anger and disappointment out on one of the other band members in a tragic ending to the play.  It's an ending that's been bubbling up throughout the course of the play, almost as if it were inevitable.  Which doesn't make it any less shocking.

There's so much that needs to be said about this play, and I don't even know where to begin.  I guess I'll close by saying: if you have the chance to see an August Wilson play, take it.  Obviously I don't know a whole lot about what it means to be a person of color in this country.  But I feel like after watching an August Wilson play, I understand a little bit more of our shared history.  I'm making it a goal to see all ten plays in the cycle at some point in my lifetime.  One down, nine to go.