Theater review: The Gospel Queen

by Clyde Berry of John Garcia's The Column

Of all the theaters I have visited in the DFW area, the Jubilee Theatre in Fort Worth is one of my favorites. There is always a buzz in the audience, and they know they are in for a treat. While the Jubilee focuses on pieces that comment on the African American experience, especially new works, they are succeeding at attracting a culturally diverse audience. This isn't just racial diversity, but diversity in age as well. It's nice to see a theater that everyone feels they can come to and have a good time. Their latest offering, The Gospel Queen, is no exception.

Conceived and directed by Ed Smith, the piece is a tribute to the music of Mahalia Jackson. As her bio states in the program, she was considered to be "the pinnacle of gospel music." The evening is quite simply, a revue of sorts of her more well-known pieces as if she were in concert at a formal concert hall in 1960. There are two forty-five minute acts that consist of several solo numbers for Mahalia, a few for her and her Choir Singers, and a few for Shelly, an enthusiastic young fan.

In the curtain speech, it was explained that this was an expansion of a shorter piece that had received very positive feedback. With the talent I saw on stage, I can see the interest in expanding it to a larger show, but I don't think this current version is the best, nor should be the final draft. Don't mistake me, I loved the show, but it seems that it is still trying to be decided if this is a simple revue of Jackson's works, or a work in the style/structure of Always....Patsy Cline.

To be honest, I'd be perfectly fine with either one. I was very interested to learn about Mahalia Jackson, and I did learn some. But the storyline around Shelly and her father going to see Mahalia in concert is a bit contrived at points. The show opens with Shelly and her father getting ready to go see Mahalia perform. After a cute monologue, Shelly, corralled by her father, joins us in the audience to watch Mahalia. So, we now have a frame to our story. Mahalia enters and sings several numbers, with a bit of banter between pieces that give insight into her life. The start of Act II, opens with Shelly sneaking onstage and convincing the pianist to play for her. Technically it is a means to give Shelly a few more numbers, but I found it completely improbable story-wise. Her father shoos her apologetically back into the audience, but not before delivering a monologue on the origin and nature of gospel music, and a bit more about Jackson's inspiration in it. We repeat the pattern for Act I, and Mahalia, towards the close of the show, invites Shelly to join her for one song.

I don't mind the Shelly character being a part of the performance. She and her father are a needed mechanism to get across more biographical information about Mahalia, so she doesn't become a talking head or after-school special. Still, I think the father's monologue would be much better served at the top of the show (since we only hear him offstage in Act I) to set up the style of music we are about to hear. I'd also want more anecdotal information about Mahalia, and less dates and name dropping. The other option is to cut the "story" and combine the two acts into a long one act of music only. It just depends on what this piece is going to be, a simple revue of Mahalia's music, or an insight into the woman as well as her work. My preference, since the cast is wonderful, is the audience would enjoy learning more about Mahalia, as well as hearing her sing.

Ed Smith's direction is quite good. For a piece that could be repetitious (it is a one woman concert after all), he keeps things moving quickly and has the players moving around a good deal; Sheran Goodspeed Keyton's choreography is a part of this as well. I was honestly surprised when Act I ended so quickly. George Miller's great set design reminds me of an industry studio set from the 60's. The addition of the proscenium gives it the border that makes it turn into a concert hall. His color palate is blues and grays, which is beautifully lit by Nikki DeShea Smith. Tina Pitts has done nicely in her costume designs for the choir and cast, especially Mahalia's Act I dress. She complements the set and still stands out herself, it's a beautiful picture.

Sheran Goodspeed Keyton is fascinating to watch as Mahalia Jackson. Keyton has a sincerity that comes out in her performance to honor the style and passion of the singer. While her voice sits a little lower than Jackson's Keyton has done well capturing her flavor, mannerisms, and personal charm. Keyton conveys the enthusiasm of Mahalia, getting caught up in the power of the music, without ever being showy for the sake of it. She is most moving in her middle and lower voice, letting the music simmer, before steaming out.

Catherine R. Blake does well as the enthusiastic fan, Shelly Ramsey. She warms up as she gets farther into her music, letting herself have fun. This middle schooler is off to a solid start in her lead roles. Bill Hass is very natural as Josh Ramsey, and should be given more to do. Big applause should go to Music Director Joe Rogers for his excellent preparation of the cast, especially the choir consisting of Abel Baldazo, Jr., Barbara Woods, and Gabrielle' Wilkerson. He also plays during the show and is clearly enjoying himself.

If you're not familiar with Gospel music, specifically the work of Mahalia Jackson, this production is a great start. For those who are, this is a nice reminder of why she is still considered the voice of soul.