“Mahailia Jackson: Moving Through the Light” review by Carol Moore

[rating=3] I always look forward to openings at Black Ensemble Theatre because I know I’m going to hear great music, and “Mahalia Jackson: Moving through the Light”, is chock full of the best gospel music you’ll hear anywhere.  The story is weak, trite and contrived, and omits huge chunks of Jackson’s life, but the music is so good, I just didn’t care.  3 Spotlights

Mahalia Jackson singing her heart out on TV was the first time I ever heard gospel music.  I was raised Catholic, so I was used to Gregorian chant and songs sung in Latin.  Gospel was something so out of my bailiwick it was almost it might have been foreign.  When I heard real people singing – and clapping and dancing while they sang that gospel music, I was blown away!  One of my favorite memories – videotaping a concert by a gospel choir in Gary – an OMG experience.  My point, I love gospel music.

According to BE Artistic Director Jackie Taylor, who wrote “Mahalia Jackson”, “…this play is about ‘what if’.  What if there were a spiritual world with another level of knowledge that you must understand and attain before you can be with God.”  So, it’s a kind of travelers’ waiting room with three marshals (the Masters) who guide the person who is in transit. 

Master One (Cynthia E. Carter), Master Two (Dwight Neal) and Master Three (Stewart Romeo), the aforementioned marshals who spend most of their time sitting on mini-thrones, are kind of like spirit guides.  Their job is to help transient souls to access their memories, hinting at the knowledge gained in multiple past lives.  They also do a fine job of singing back-up.

When Mahalia Jackson (Robin DaSilva) gets there, she’s looking for God, as she reveals in her very first song, “How Great Thou Art”.  Meanwhile, the Masters are telling her to be patient while six disembodied faces (spotlighted behind a black scrim) recount bits and pieces of her life.  Some episodes and/or people, such as the cruel aunt who raised her, or the love of her life, are depicted behind that scrim.

When the Masters urge her to make joyful noise, the music begins.  Act I included iconic hits such as “Come On Children Let’s Sing”, “His Eye Is On The Sparrow”,  “Precious Lord, Take My Hand”, Mahalia’s only non-gospel recording, “You’ll Never Walk Alone” from “Carousel” and “Just A Closer Walk With Thee”.

Act II is more up-tempo with toe-tapping, hand-clapping songs like “If We Ever Needed The Lord Before”, “How I Got Over”, “Lord Don’t Move the Mountain” and “Down by the Riverside”.  In addition to singing back-up, the three Masters had a few songs of their own to sing.  Finally, those disembodied faces – Clare Flaherty, Brandon Lavell, Lorriane Lewis, Coleen Perry, Rose Marie Simmons and Levi Stewart – got a chance to come out from behind the scrim and sing.  All three Masters, plus the six ensemble members got a solo in the “In Tribute to Mahalia Concert”.  Final song, “When The Saints Go Marching In”, had everyone on their feet and dancing along.

Robin DaSilva’s smoky, deep contralto makes her the perfect choice to play Mahalia Jackson.  She’s dynamite on the lower scale but can hit the high notes too.

The BE musicians, also behind that dratted scrim, are always rocking.  Kudos to Robert Reddrick, Musical Director/Drums; Adam Sherrod, Keyboards; Gary Baker, Guitar; Mark Miller, Bass; and Dolpha S. Fowler, Keyboard.

“Mahalia Jackson: Moving Through The Light” runs through April 14^th at the Black Ensemble Theater Cultural Center, 4450 N. Clark Street, Chicago.  Valet parking is available in BET’s adjacent garage ($10).

Running time is 2 hours with an intermission.

Performances are:

Thursdays at 7:30 pm

Fridays at 8:00 pm

Saturdays at 3:00 and 8:00 pm

Sundays at 3:00 pm.

Tickets range from $55-$65.  FYI (773) 769-4451 or www.blackensemble.org.

To see what others are saying, visit http://www.theatreinchicago.comgo to Review Round-Up and click at “Mahailia Jackson: Moving Through the Light”