An African-American almost-couple who need to make it together as they didn’t in the past take a white couple and initiate another young black couple into Harlem musical history. Thus does West Coast Black Theatre Troupe, in Bubbling Brown Sugar, bring Harlem home to the Sunshine Coast.
The revue is like the red-hot letters spelling out the title over a stage of musicians, sometimes shared with principals Ariel Blue and Horace Smith as the tuneful, old flirting smoothies. But mostly they saunter onto the three-quarter round where the cast joins fully or at angles, in part or in a full-fledged burst of energy such as the finale, showing “It Don’t Mean a Thing If it ain’t Got That Swing.”
Near the start, a sparkling white singer (Danae DeShazer, who shines dancing, as well) insists a rich young white man (cheerfully cooperative Brian Finnerty) tour with her through the glories of the Harlem Renaissance. Theaters, Cotton Club, the Savoy Ballroom, and a few speakeasies see them joined by Blue and Smith as well as talented young blacks Earley Dean, Derric Gobourne Jr. and Nerlynn Etienne. The latter two are highlighted as dancers, whereas Dean comes on strong as comic with songs such as “Pray for the Lights to Go Out” and “Jim Jam Jumpin’ Jive.”
Every time I see Tsadok Porter, I think she may have reached her peak. Here, she’s topped her previous self with “Sweet Georgia Brown” in two moods, “In My Solitude” and “Memories of You.” That Christopher Eisenberg is another vocal star shows clearly with his “I’m Goin’ to Tell God All of My Troubles” and in a host of roles as co-singer or back-up.
Wellington Ford also goes on doubling after his fine solo “Long, Long Ago.” Gospel becomes Alyssa White’s specialty with “His Eye Is on the Sparrow,” though she handles blues well, too. Beautifully “blue” Kristen Wilson excels proclaiming “I Got It Bad and That Ain’t Good.”
Donald Frison’s choreography mostly has the joint jumpin’. Adrienne Pitts gets to use it nicely. Dee White’s many costumes enhance everyone’s movement; they’re an example of loveliness further enhancing the lovely. That may be said, too, of Harry Bryce’s direction.
Music director LaTerry Butler well serves the works of a wide variety of composers and lyricists. I believe Loften Michell’s script has been somewhat tinkered with since he won fame for the show. If it sometimes confuses at WBTT, the troupe makes the performance bubbling and certainly sweet enough to satisfy!
