It sounds as if it’s a revue of Aretha Franklin’s songs, perhaps given a biographical motif. But it’s is not. Too bad, because her songs and others popular in 1968 as rendered by WBTT’s talented singers almost redeem Love Sung in the Key of Aretha.
Four black American women, next door neighbors in a triplex at the height of Dr. Martin Luther King Jr.’s leadership of the Civil Rights movement, search for love. (The cartoonish building lines up front doors for frequent ins and outs, then unfolds to what’s essentially a bar scene.)
attie (Teresa Stanley, reflecting her Broadway experience via vibrant song, emotion, poise) happily owns, and sings at, the night club her late husband gave her. Yet she’s been looking for another love lost. Doris (affecting Ariel Blue) hesitates to finalize divorce from a cheat, but there’s a postman (likeable Steve Cannon) delivering her inviting messages.
Carolyn (Tsadok Porter, acting provocatively, singing dynamically) left one good, one abusive husband and is now waiting not for sex but for her “Dr. Feelgood” Harold (Michael Phillips, stolid) to leave his wife and kids and marry her.
Doris’ daughter Sharon (expressive Alyssa White, in excellent voice) obviously takes her education seriously. That’s also how she feels about Kevin (handsome, sweet Mikey Mendez), from a different “class” and probable Viet Nam war draftee.
Shifting from problem to problem, the script seems a result of starting with a bevy of songs written or sung by Aretha Franklin, then sticking them in whole (usually by solos) or part into places in the heroines’ lives and times. Jacobs unites the women with their community by having all await a visit from Dr. King from whom they hope to gain inspiration. Any suspense they’re supposed to feel is obviously fictional.
The play does keep one guessing -- what the next cliche or stereotype will be. Another unlikely radio announcement to set time or scene? Gossip from people across town? An ad for Mattie’s um-yum fried chicken as a major reason for her club’s success? A possible riot after Dr.King’s assasination that’s put down by quoting from the murdered passivist? A rape whose victim gets home in a spotless dress?
Most wondrous: After a suffering Carolyn declares (“Today I Sing the Blues”) she’s giving up on the existence of God, Mattie -- in a sense -- brings one to her. In stage terms, it’s a deus ex machina, coming right out of Mattie’s bosom.
Considering the many fine Franklin songs done so well, if over-amped, it’s a surprise that “Respect” isn’t among them. Another surprise: the number of costume changes and how elaborate the dresses -- often with shoes to match -- are, with the only scrimping being on material that might cover up cleavage. A logical costume change that doesn’t occur is that of a bride, who rushes off to an airplane for a quick honeymoon in her long white satin and veil.
Aside from noting the fashion show and a rousing dance in Mattie’s club, a way to enjoy Love Sung in the Key of Aretha is to close one’s eyes and listen only to the music, both instrumental and vocal, so well delivered by WBTT.
