But don’t think of this as a recital of simple facts nor as
a song recital. Beaty’s script calls for genuine acting and for a range of many
kinds of songs, with more of an emphasis on how they relate to the narrative than
heard for their own sake. This most concerns Hayes evolution as an artist and
how his career took shape, with racism constantly darkening of the story, seen more
as a fact than as creating major drama.
Jubilant Sykes glows with warmth and depth portraying Hayes,
making the man live and breathe while singing with beauty and soul. His vocal
strength and his range enrich the experience but you never get the feeling that
this is a showcase for Sykes’ talent. Rather he makes Hayes come alive with assurance
and sincerity. Kecia Lewis as Hayes’ mother, named Angel Mo,’ has a voice and characterization
that grabs you and holds you equal to the force she displays shaping and
bending Hayes’ life. Angel Mo’ has an attitude and, while you smile, don’t you
forget it,
Director Darko Tresnjak has staged this imaginatively,
getting the best out of David P. Gordon’s inventive set, most noticeably when
Hayes is seen as a child. Angel Mo’ towers
over him as he squirms and wiggles on steps below her, Sykes’ playing these
scenes with believable charm.
Actor/pianist Tom Frey adds to the constant appeal and
interest as seven people intersecting Hayes along his path to fame, while, at
the same time, playing the music impeccably.
As for the songs, only a few are arias from opera or art
songs. Most seem to be spirituals. Unfortunately, if you want to know more, for
example to search for them and hear them again, you’ll find nothing in the
program book to help. And many sound worth hearing again.
FYI: Evidently Hayes made few recordings in his best years. You can learn more on-line at San Francisco
Classical Voice (http://www.sfcv.org/reviews/the-artistry-of-aframerican-roland-hayes).
It reports that the only CD currently available is Preiser Records’ 2-disc set, The Art of
Roland Hayes: Six Centuries of Song, consisting of Old English folk
songs, and those of Dowland, Handel, Mozart, Schubert, Debussy and Wolf, as
well as Hayes’ arrangements of what he called “Aframerican” folk songs, along
with Negro worksongs and spirituals. It would have been valuable to say this also
in the program book because this fresh exposure to Hayes leaves an indelible
impression.
Breath and Imagination continues through March 31st
at City Theatre, 1300
Bingham Street South Side-412/ 431-CITY (2489) and citytheatrecompany.org
After I posted this I was told by City Theatre that Mr.Beaty preferred to not have the songs listed because, having written some of them, he felt it was presumptuous of him to take credit given the sources of the other songs.
Nonetheless, here is a list of those songs, with City Theatre's permission:
ACT TWO
After I posted this I was told by City Theatre that Mr.Beaty preferred to not have the songs listed because, having written some of them, he felt it was presumptuous of him to take credit given the sources of the other songs.
Nonetheless, here is a list of those songs, with City Theatre's permission:
Opening/Give Me Jesus
[Gabriel Fauré (1845-1924) from Les
Berceaux
Plenty Good Room/Give
Me Jesus (reprise) [Traditional
Spirituals]
Let’s Have a
Union/Witness [Traditional Spirituals/Daniel Beaty]
Golden Slippers [Traditional Spiritual]
Golden Slippers [Traditional Spiritual]
Roland Preached
[Daniel Beaty]
Over My Head
[Traditional Spiritual]
Round About De
Mountain [Traditional Spiritual]
Hold On
[Traditional Spiritual]
Chattanooga [Daniel Beaty]
I Hear Music
[Daniel Beaty]
Lord, I Want to Be a Christian [Traditional Spiritual]
Roland, an Artist
[Daniel Beaty]
Ich grolle nicht [Robert Schumann (1810-56) from
Dichterliebe -
Text by Heinrich Heine (1797-1856)]
ACT TWO
Opening (reprise)
[Gabriel Fauré (1845-1924) from Les
Berceaux]
Never Leave Me [Daniel
Beaty]
Ich will meine Seele
tauchen [Robert Schumann (1810-56)
from Dichterliebe-
Text by Heinrich Heine (1797-1856)]
My God Is So High [Traditional
Spiritual]
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