“A Taste of Soul” reviewed by Julia W. Rath

***** “A Taste of Soul”, beautifully written and directed by Daryl D. Brooks, is a delightful mixture of soul music and soul food recipes, plus lots of seasoning! Brimming with delectable morsels, this tribute show contains all of the nostalgia that you would have ever wished for. Featuring a sampling of musical hits from well-known performing artists from the latter half of the twentieth century, the production brings back lots of special memories about food, music, and family ties. We are reminded of grandma in her kitchen and the traditional recipes that she would prepare, such as pot roast, catfish, mac and cheese, gumbo, collard greens, and peach pie. Led by head chef Qiana (Qiana McNary) (who sings a marvelous Pattie LaBelle) and head chef Ricky (Thee Ricky Harris, who doubles as the vocal arranger), the show starts out with making a distinction between soul music versus the blues versus rock ’n roll—and how these formed popular music and pop culture. We are also introduced to a large number of sous chefs, who become the vocalists, dancers, and musicians throughout, and we are treated to stories and histories of the various performing artists prior to their likenesses taking the stage. We learn about the passion and skill involved in the preparation of various food items and their association with beloved family members—with traditional recipes being tied to the next artist we hear: such as Peach and Herb! This is a presentation that captures the mood and texture of traditional African American food and music in a way that’s fun, exciting, and full of gusto. And the mashup will be adored by those of all backgrounds and walks of life!

We in the audience are nominally supposed to be a part of a studio audience for a TV cooking program called “A Taste of Soul”, and the set is designed to look like a kitchen with hugely exaggerated appliances. (It is oh so funny to watch the various entertainers walking out of the refrigerator, the pantry, and the huge oven door!) Located on top of the range (where the burners might be) is the stage band with the wonderfully designed logo behind them. We hear the likes of artists such as Barry White, Otis Redding, Gladys Knight, Tina Turner, Ashford and Simpson, Bobby Caldwell, the Delfonics, the Isley Brothers, and Simply Red, plus the O’Jays, the Whispers. If you think that each of the scenes featuring different performers is great, just wait for the finale, which combines Lou Rawls, Hall and Oats, George Benson, Chaka Kahn, and Kool and the Gang, among others. Graphic design projections along the proscenium arch provide the names of the artists and the groups being mimicked. At the very top of the arch, facsimiles of index cards depict assorted recipes mentioned during the course of the show. Two video screens display colors and abstract patterns and project photos of the original artists. With the exception of Al Green, who is accorded a green background (LOL!), most background colors are red: suggesting the artists’ fiery solos, riffs, and grooves plus bold body language: all of which are hot, hot, hot!

Sous chefs, who take turns imitating featured stars, include ensemble members Caitlin Dobbins, Britt Edwards, Makenzy Jenkins, LaRon Jones, Vincent Jordan, Brandon Lewis, Spencer Davis Milford, Percy Nesbary III, and Trequon Tate. Music director and arranger Robert Reddrick has done a fine job enhancing the very recognizable melodies and harmonies of popular classics. The stage musicians consist of Adam Sherod (conductor/keyboards), Myron Cherry (drums), Mike Dangeroux (guitar), Walter Harrington (bass), Bill MacFarland (trombone), Dudley Owens (saxophone), Isaac Armstead (trumpet), and Chip Roy (guitar/understudy). Set, lighting, and co-projection designer Denise Karczewski and sound and co-projection designer DJ Douglass have worked together effectively to create a mélange of scenes, each neatly differentiated from the next. Choreography by Reneisha Jenkins is nicely done. Costume design by Marquecia Jordan is especially wonderful with all of the authentically-looking outfits (such as Tina Turner’s slinky dress), plus wig design by Keith Ryan could not have been any better; both designers have brilliantly turned the average ensemble member into a lookalike of their original counterpart. Costume changes are many and frequent: We see the sous chefs walk up and down the aisles with their cooking aprons on; and the next moment, we see them performing numbers wearing appropriate outfits and wigs.

My only real criticism stems from the sound design and the sound mix. I know it’s supposed to be a loud show—and I wore earplugs—but the volume was too much for me! Having the stage musicians in the rafters is good placement, but the auditorium is built in such a way that the music from above bounces too much throughout the room. Having some type of scrim or device to muffle the sound would be helpful: either that or the band should not be playing so loud. Then too, the vocal numbers are considerably louder than the patter between the chefs; the proper mix should have equalized them more. While some songs are meant to be performed louder than others, there are moments when some individuals are unnecessarily “double-miked” (that is, holding a microphone while wearing a flex headset mic boom); this makes the sound overwhelmingly brash when it doesn’t have to be! And the very end of the presentation is super-loud! All that being said, the audio issue is very easily fixed!

As we watched the entertainers, the audience felt moved to join in. People were dancing in their seats and clapping to the music. They sang along to familiar lyrics. On top of it all, those on stage seemed to enjoy themselves as much as the audience did!

You too will rave about the music, get a taste for the food, and go back in time during this two-hour-and- twenty-minute performance of soul. Not only does such a vibrant production bring people together, but it is every bit as flavorful as anything as you’ll see. Don’t just drool: Drop whatever you’re doing, and experience “A Taste of Soul” for yourself now!*

“A Taste of Soul” is playing at the Black Ensemble Theater, 4450 N. Clark Street, in Chicago, through October 15, 2023.

Tickets are $56.50-$66.50 (fees included).

Performance schedule:

Fridays at 8:00 p.m.
Saturdays at 3:00 and 8:00 p.m.
Sundays at 3:00 p.m.

For more information or to purchase tickets, go to https://blackensembletheater.org/ or phone 773-769-4451 or visit the Black Ensemble Theater Box Office, 4450 N. Clark Street, Chicago.

For groups of 10 or more, please contact Karolyn Wright at 773-754-3927 or kwright@blackensemble.org.

Masks are optional. Valet parking is available for $10 (cash only).

*As an aside, I noticed the gentrifying neighborhood since the last time I had visited (which was before the COVID-19 shutdown). The wholesale district has gradually dwindled in size in favor of the construction of brand-new condominiums.

Black Ensemble Theater is in the process of gaining city approval for expanding the venue into what is being called the “Free to Be Village.” New construction is proposed to include: a three-story Media and Technology Center (MTC), a four-story Performing Arts Education Center (PAEC), and a five-story Affordable Artists’ Apartment building (AAA), plus a single-story retail podium structure, which will unite the three buildings at ground-level and include a restaurant and café plus a terrace with outdoor green space. For more information about this project, please contact Kris Nesbitt at knesbitt@blackensemble.org. To donate to this cause or to Black Ensemble Theater in general, click on the “donate” button at https://blackensembletheater.org/.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click “A Taste of Soul”.