Fela, the Broadway musical about the Nigerian singer and political activist Fela Kuti, directed and choreographed by Bill T. Jones, is based on America's classic Big Band music, infused with African and other beats from an eclectic, world-wide exploration that Fela did in the 70's.
There are scantily-clad women dancers, and although I do love to see pretty women wriggle and jiggle, I wasn't engaged. Most of the choreography seemed general and repetitious instead of specific and innovative, and the dancers were all exactly on the beat -- sexual but not sensual. That said, the African drummers added to the ensemble are terrific and had me bouncing in my seat.
Fela's politics, influenced by the Black Power movement in the United States, did make anti-corruption and anti-suppression statements in Lagos, but they seem preachy and simplistic in this show, and Kevin Mambo, who plays Fela, speaks very quickly in a sometimes not-understandable dialect.
There are two Broadway-level singers in the show: Lillias White as Fela's dead mother fills the theater with her beautiful, clear voice and presence, and Saycon Sengbloh captures me with her singing and acting. The set by Marina Draghici seems a confused mishmash and compound the lighting aberrations by Robert Wierzel, which at times blasts into the eyes of the audience. Draghici's costumes work well. All in all, an unusual, lively, enthusiastic and rhythmic musical show with high spirits. The audience had a good time.
