AUGUST WILSON’S MA RAINEY’S BLACK BOTTOM
One, two—you know what to do
“Ma Rainey’s Black Bottom”, a drama written by August Wilson, is set in 1927 inside a Chicago recording studio. It’s a poignant story about racism, inequality, ambition, and exploitation in the music business—and how those forces gravely affect the people caught up in the demeaning process.
Although the title centers on legendary blues artist Gertrude “Ma” Rainey, the “Mother of the Blues,” the true focus of this production is the group of musicians waiting around for their star to arrive: bassist Slow Drag, piano player Toledo, trumpet player Levee, and trombonist Cutler.
The band members sit around the studio waiting for Ma to make her entrance and record a new batch of songs. As they wait, the men talk about nothing and everything simultaneously. Toledo (Gerald C. Rivers), the band’s rational piano player, is constantly spewing out historical facts—some factual, some questionable—demonstrating that he is much more than a musician. His knowledge, however, isn’t always appreciated by the others.
Trumpet player Levee (Jamar Gilbert) is an overly ambitious son-of-a-bitch who is always talking about starting his own band. He’s tired of being in a band that doesn’t recognize what he brings to the table musically. He wants to push music forward and give people something new rather than continuing to play what he considers Ma’s tired, worn-out sound.
Levee’s ambitions put him at odds with nearly everyone around him. He takes his new material to studio owner and producer Sturdyvant (Matt Foyer), hoping to convince him to give him a record deal. Cutler (Kai A. Ealy) and the OG of the crew, Slow Drag (Alex Morris), mostly shake their heads at Levee’s nonsense. They just want to play—and collect their $25.
About an hour later, Ma (the extraordinary Amber Liekhus) finally arrives in full regalia: sequined dress, fur coat, and an entourage consisting of her nephew Sylvester (Francis C. Edemobi) and her sweetheart, Dussie Mae (CJ Obilom). The reason for her late arrival is eventually explained by a cop (James Nardini), whose disapproving look and disbelief over the incident involving a car crash disappear after manager Irvin (Bert Emmett) slips him some money to make the problem go away.
Ma immediately takes charge. She insists that Sylvester deliver the opening line to her song “Black Bottom,” but there’s a problem: he stutters. After several attempts, he finally gets through it. At last, the song is recorded—despite numerous interruptions and Ma’s refusal to be pushed around by anyone.
Amber Liekhus’ performance in the title role is a strong, compelling force. Sturdyvant describes Ma as someone who “marches in here like she owns the damn place,” doesn’t like the songs they picked, complains that her throat is sore, doesn’t want to do more than one take, and always wants a bottle of Coca-Cola before rehearsal. And he’s not wrong. Ma orders Irvin around like a racing greyhound and takes particular pleasure in telling Sturdyvant to go to hell. A lot.
But then she sings. And heaven opens up to let that golden voice shine through.
The only time Liekhus really lets Ma’s voice take center stage, she blows everyone away. She embodies Rainey’s fierce spirit and undeniable presence. She does own the room, and everyone immediately notices. How could they not?
As the talented bassist Slow Drag, Alex Morris is superb. His character delivers plenty of sharp retorts, but it’s Morris’ infectious, guttural laughter and easygoing spirit that make him a standout. Kai A. Ealy’s Cutler is the Zen of this rowdy group. Don’t mistake that calmness for being a punk. Cutler can snap back when necessary while still maintaining his cool.
The theme of racism is an open secret throughout the production which cannot be hidden. Sturdyvant continually messes with Levee’s mind by promising—and not promising—him a record deal. Levee is desperate to showcase his new music, which he sees as a far cry from Ma’s tired and worn-out sound. But his ambition runs headfirst into a system designed to keep Black musicians from controlling their own work.
That makes Levee more than just an arrogant young musician with big dreams. He becomes an honest representation of the injustice between white executives and Black artists. Unfair business practices, particularly when it comes to money and publishing rights, are the norm. The people making the music are not necessarily the people who get to control it—or profit from it. He understands how traumatizing racism affected him as a boy when he witnessed a group of white men rape his mother in front of him. Though his dad killed four of the attackers, he was later lynched and burned. It’s easy to sympathize with the young musician just trying to make a living the best he can. As the recording session winds down and Ma and Sylvester are no longer in the studio, the mood among the remaining musicians shifts dramatically. What began as playful banter and arguments about music becomes increasingly tense. Levee’s frustrations, ambitions, and resentment have been simmering beneath the surface throughout the entire performance and eventually that pressure reaches a shocking breaking point.
I won’t say what happens next. Some moments are better experienced than explained—and this is definitely one of them.
FACTS:
1. Gertrude ‘Ma’ Rainey was posthumously awarded the 2023 Grammy Life Time Achievement Award.
2. Between 1923 and 1928, she recorded 92 unique songs/titles for Paramount Records.
3. Her deep voice inspired artists like Louis Armstrong, Janis Joplin and Bonnie Raitt.
4. Ma Rainey’s Black Bottom is the only play not apart of the 10-part Pittsburgh American Century Cycle (Pittsburgh Cycle)
5. She was a late bloomer making records starting in her 30s
WHAT: August Wilson’s Ma Rainey’s Black Bottom
WHEN: Now until Sunday, September 20th. Thursday, the 17th and Friday the 18th, 7:30 p.m. Saturday, the 19th at 2 p.m. and 7:30 p.m. Sunday, the 20th at 2 p.m.
WHERE: A Noise Within located at 3352 E Foothill Blvd in Pasadena
RESERVATIONS: Call 626.356.3100 or visit www.anoisewithin.org
SHOW RUN TIME: 2½ hours and 20 minutes (with a 15-minute intermission)
DEBIT AMD CREDIT CARDS ONLY
