Interludes

THE HANGOVER REPORT – Despite its storytelling flaws, BLACK NO MORE intoxicates with its out-of-the-box audacity and exciting performances

• By drediman
• February 21, 2022
• No Comments

Also last week, the anticipated new musical Black No More opened at the Pershing Square Signature Center courtesy of The New Group. The work is primarily the brainchild of Tariq Trotter (a.k.a. Black Thought of the hip-hop group the Roots), who provides the musical’s lyrics and a portion of the its music (the composing team also includes Anthony Tidd, James Poyser, and Daryl Waters). The musical is based on George S. Schuyler’s 1931 Afrofuturist novel, a satire about a fictitious machine that can turn Black people into Whites, thereby theoretically solving the race problem according to its inventor (played by Mr. Trotter himself in the current production). What it does, however – and unsurprisingly – is heighten the country’s race problem.

In terms of theatrical storytelling, there are strong shades of Hamilton throughout. Although not nearly as cohesive nor as meticulously chiseled as Lin-Manuel Miaranda’s masterpiece, there’s an irresistibly unruly quality to the show that kept me fascinated and engaged. Although a number of scenes come across as under-developed and/or end in a stunted manner, there’s a coiled energy and a sprawling sense of freedom to the work that I found refreshing. The score’s broad range of musical styles – straddling jazz, R&B, rap, hip-hop, country, and Broadway (often times in the same song) – collide in thrilling ways, giving the show an intoxicating sonic palette. The book by John Ridley (who won an Oscar for penning the screenplay to 12 Years a Slave) is a work in progress, as evidenced by murky character development and motivations, as well as an overall unsteady tone (e.g., the work’s underlying satire seems to come in and out of focus). But as a living, breathing piece of visceral theater, I found Black No More to be terribly exciting. What will be fascinating to see is if, in the musical’s developmental journey to the Great White Way (where I assume it’s being aimed at), it can successfully incorporate fundamental storytelling without diluting its out-of-the-box audacity.

The production has been staged by Scott Elliott (The New Group’s longtime artistic director) with vigor. His main asset is choreographer Bill T. Jones, who paints the largely empty stage (the austere set design is by Derek McLane) with dynamic, organic movement, resulting in a parade of striking tableaus that call to mind the work of the great Michael Bennett. From top to bottom, the cast is quite deluxe. The smooth-voiced Brandon Victor Dixon seems to have taken his experience as Aaron Burr and applied it to the the complicated central character of Max Disher, the first Black man to be converted by the notorious machine, who throughout the musical finds himself in increasingly compromising positions. The starry cast also features inspired work by the likes of Lillias White (sensational), Howard McGillin, Jennifer Damiano, and Ephraim Sykes. Best of all, however, is Tamika Lawrence, who is the breakout star of the show for her unforgettably raw and charged performance as the uncompromising character of Buni.

RECOMMENDED

BLACK NO MORE
Off-Broadway, Musical
The New Group at the Pershing Square Signature Center
2 hours, 30 minutes (with one intermission)
Through February 27