As a historical jukebox musical, Soul Man brings us lessons of the part soul music played in national political and social movements through the developmental life of hip-hop and effects on current hit music. With Nate Jacobs and his Westcoast Black Theatre Troupe as the teachers, “school” is both dynamic and engaging. The set-up: lively young Breezy Wheezy (Derric Gobourne, Jr.) brings his golden-clad self into the studio of media star Diamond (experienced singer and speaker Ariel Blue). With her help and salient projections, a half-dozen sharp singer-dancers show Breezy --and us -- where from and from whom “his” music came. Beginning with Jacobs’ and J. Dodge II’s “Out With the Old, In With the New”, the titled men emphasize songs from the 1960s. They first highlight altogether James Brown being “Super Bad” and then go, like Sam Cooke, “Twistin‘ the Night Away.” Right from the start, they merit our awe with their slick dancing. Donald Frison’s choreography then pulses their wonderful movement in various styles throughout the show. Among the vocal standouts are Sheldon Rhoden’s “I Got a Woman,” “I’ve Been Loving You Too Long,” and “You Send Me” in Part I and “Hit the Road, Jack” and “In the Midnight Hour”--both backed by the other Soul Men in Part II. Tall, robust Sheldon Rhoden also plays second to a smaller but sensational, even acrobatic Henry Washington on “Shotgun.” Michael Mendez with “Beauty Is Only Skin Deep” shows off sensually, and he often stands out in the same way with the group. But singing the very different “Chain Gang” he rivals predecessor Sam Cooke, who make that selection big. Long-time WBBT principal Leon Pitts, II has a “Baby Workout” to start and, after a number of collaborations throughout, tenderly sings “When a Man Loves a Woman.” Raleigh Mosley, Soulman 4, solos creditably with “I Can’t Get No Satisfaction” and “Say It Loud” that come on in the later group of songs. “Grand” is the word for all the group’s renditions, though not to be forgotten are the narrative remarks as well as sometime singing of Ariel Blue. Finally, there is the happy sum-up of learning by Derric GoBourne, Jr., who joins the cast dancing and in “Soul Man” the song. A large part of Michael Newton-Brown’s scenic success is owed to flooring with painted designs. A fine bright colored background for band and projections by Michael Pasquini’s lighting is complemented by predominant blue in Part I and orange in Part II. All the technical elements blend effectively. Nate Jacobs has every right to be proud of his newest creation and the direction he gave to its production.
