“Little Girl Blue” Honors Nina Simone

Laiona Michelle plays Nina Simone in “Little Girl Blue” now at New World Stages
Photo credit to Julieta Cervantes

Little Girl Blue – A Review

A new musical is now playing at the New World Stages. Little Girl Blue is a retrospective of American singer, songwriter, arranger, pianist, and civil rights activist Nina Simone. The production informs, entertains, and engages the audience. The excellent direction of this show is by Devanand Janki. Before opening in NY, this show premiered at George Street Playhouse, New Brunswick, NJ in February 2019. In summer 2021, it was part of the Goodspeed by the River series.

The multi-talented Laiona Michelle plays the leading role as Nina Simone. She also wrote the book for the show. Her performance embodies the spirit of the artist and makes you feel like you are actually at a Nina Simone concert. She captures her audience with passion and outstanding vocals when she sings. Michelle also plays the piano very well on several songs. She turns in a first rate acting performance portraying Nina Simone. This is a performance you will long remember seeing.

In addition to Laiona Michelle, the show brings the band onstage with her. Mike Fifer plays Keyboard and Conducts. He also serves as the show’s Music Director and Arranger. Kenneth Salters plays Drums and Saadi Zain plays Double Bass/Electric Bass.

Story and Music

The stage is set to be a cabaret club with a piano and musical instruments on stage. But Nina Simone and her band enter from the back of the theater escorted by two police officers. The police stand at either side of the stage. Eventually they leave only to return at a tense point in the performance.

It is 3 days after Dr. Martin Luther King’s assassination and concerns about rioting taking place are in the air. Mention is made that Simone has to be careful about what songs she performs and what she says on stage. She’s been told not stir things up. Well written dialog in this Act allows her character to express how she is feeling about losing Dr. King. She has stood by his side and she expresses what a loss his death is.

The show begins with the song “Feeling Good.” This song, a fervent call for freedom, is a perfect way to begin the show that evening with all that is gong on and the obvious despair Simone feels. As the performance continues, she tells stories between songs about significant events in her life. Born Eunice Waymon in North Carolina, she tells of taking piano lessons as a child. Her lifelong desire is to be a classical pianist and she was a staunch admirer of Bach’s music. A devastating life event was when she was turned away from entering the Curtis Institute of Music in Philadelphia. Instead, she tells of performing “jazz,” writing her own music, and covering the music of others composers always with her own unique interpretation.

Songs accompany the stories the character tells such as her relationship with “My Father.” She meets a man who becomes her controlling husband and we hear “I Put a Spell on You” and “Little Liza Jane.” As the show continues, tension mounts as Simone is reaching a point where she expresses anger. The police return. That leads to the final song of the act, “Angry Black Woman.”

A Scene from Act II of “Little Girl Blue” now at New World Stages
Photo credit to Julieta Cervantes

“Angry Black Woman”

In a recent interview with Playbill.com, Laiona Michelle recounts that Nina Simone was often called an “Angry Black Woman.” She says, “I wanted to give Nina’s anger context. I wanted to remind people why she was angry, why she wrote protest songs like ‘Mississippi Goddamn.’ Here she was, supposedly a citizen of this country, and yet she and her people had to march and demand human rights in a country that hailed itself the ‘Land of the Free.’  She wasn’t free in her own country.”

Michelle then explains that she wrote the song “Angry Black Woman” with Musical Director Mark Fifer. The song opens with a few chords from “Mississippi Goddam” which closed the first act in the New Brunswick run of this show. This new song closes the First Act. It is powerful and it makes a strong impact as she leaves the stage using the same route as she came in on.

Second Act Little Girl Blue

This act takes place in Mintreux, Switzerland also in a cabaret club venue. It opens with the title song of the show “Little Girl Blue.” It is 8 years later and much has happened in Simone’s life. We learn that her husband became violent and she lost a child she was carrying. Her marriage is no more and she experiences mental challenges which plague her throughout the rest of her life. She moved to Europe and travels to many places including a trip to Liberia. Several songs in this Act that really standout are Jacques Brel’s “Ne Me Quitte Pas,” and “Don’t Let Me Be Misunderstood.” The final song provides a positive ending to the show as Simone, dressed in a beautiful gown adorned with fine accessories, sings “My Way.” Her regal appearance well portrayed by Laiona Michelle solidifies the heights she reached in her lifetime.

Going to See Little Girl Blue

I reviewed this show when it ran at George Street Playhouse and thought it was sensational. It was a thrill to see it again at New World Stages this past week. It was very good in New Brunswick (sorry I missed CT) and now with some changes and additions, it is sure to be a hit.

As a very young girl, I remember some of the music of Nina Simone. I did not understand the deeper levels of her music then. I could sing along to the words and think they sounded good. But what the words actually meant to Nina Simone, well, I’m still learning that. This show is a good step in that direction for me. I hope many will feel the same way because there are a lot of Civil Rights struggles still going on. Can’t help but wonder what Nina would think today.

To read more about Little Girl Blue, or to purchase tickets, go to the official website for the show, littlegirlblue.nyc . Ticketing is through Telecharge.

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Baipás Examines Life vs. Death Issues

(L to R) Maggie Bofill and Jorge Luna in Baipás. Photo by T. Charles Erickson.

Baipás – A Review

What happens when a person is in a coma or is under anesthesia during an operation? Are they aware of the state their body is in; do they have any sense of whether they will live or die? Can they see and view their life? These questions has been debated for years with few substantial facts offered to provide answers. The play Baipás, written by Jacobo Morales, now at George Street Playhouse, centers around these issues. Under the direction of Julio Monge, the production provides a fascinating look at two people waiting to hear their fates. In addition to the cast of two delivering very poignant performances, the production uses special stage effects and directed lighting to make the tale come alive.

(L to R) Maggie Bofill and Jorge Luna in Baipás. Photo by T. Charles Erickson

Baipás A Romantic pas de deux and More

This run of Baipás at George Street Playhouse marks the premiere of the American English-language production. It is billed as a romantic pas de deux as it showcases two characters who enter a sort of waiting room between life and death. Lorena, played by Maggie Bofill, comes from the back of the stage and takes a step up onto the empty stage space. She spots the shadow of a couple who appear to be together as they leave the room and head for the side opposite of where she entered. As she watches, they disappear somewhere. Antonio, played by Jorge Luna, next enters the empty stage from the same direction that Lorena entered.

The two begin talking about where they are. Lorena mentions the couple she saw and points to where they went to not sure of what it means. Lorena and Antonio begin to talk about their individual lives and cover the basics like the work they do, marital status, and relationship statuses. Still plaguing them is the question of why they are here and where they are at.

At some point, the couple put the conversation aside and hold each other as they dance. An attraction between them surfaces.They start to talk about having a future together. At some point, the audience learns that Lorena and Antonio are patients at a hospital fighting for their lives. So the calm that radiates from the production is only broken by the sounds of heartbeats and flat-lining. Reality sets in but very calmly.

There is no way I want to ruin the series of events that bring the show to a climax and the end. You will need to see for yourself what happens to these two characters who demonstrate they have learned a great deal about themselves.

Stage Effects and Lighting

Impressive but subtle stage effects and lighting are an important part of developing the story. Although there is a sense of confusion at points in the play, there is also a sense of calm that comes through due to these elements. The sounds of the heartbeats, the light at the area where the shadowy couple went to, and even the basic sounds and music are all effective in helping establish a sense of acceptance and peace. The side panels on the stage come alive with ocean and floral scenes helping Lorena and Antonio to realize what they might have if they live.

This play runs 90 minutes without intermission. The pace is very even throughout and only Lorena and Antonio are ever heard or seen. Admissions about what makes a life enjoyable as well as acceptance of mistakes made are important parts of what takes place. But the fate each life takes may surprise you.

Ticket and Safety Information for Baipás

Baipás plays at George Street Playhouse through March 20. Tickets are available through the theater’s website.

The following statement is on the theater website about CoVid safe practices:

Beginning March 1, 2022, all patrons attending a performance at the New Brunswick Performing Arts Center (NBPAC) must show proof of vaccination, including a booster if eligible, and a photo ID.

Check the website for more information about health policies.

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Mint Theater Returns with “The Daughter-in-Law”

AMY BLACKMAN (as Minnie), TOM COINER (as Luther) and SANDRA SHIPLEY (as Mrs. Gascoyne) in a scene from Mint Theater’s new production of THE DAUGHTER-IN-LAW by D.H. Lawrence, directed by Martin Platt. Photo credit: Maria Baranova

New York’s Mint Theater Company returns to live productions this month. After two years of keeping active with virtual streaming offerings, Mint presents The Daughter-in-Law by D.H. Lawrence. The production plays at New York’s City Center Stage II now through March 20.

English writer D.H. Lawrence wrote The Daughter-in-Law in 1913. However, it was not shown on stage until 1967 long after Lawrence’s death in 1930. Mint Theater first produced the play back in 2003. It enjoyed an extended run and it remains one of the company’s most successful and popular productions. After seeing it, one understands why.

If one is looking to understand The Daughter-in-Law, one needs to understand the writer’s background. D.H. Lawrence came from the mining town which is used in the play. The couple in conflict, Minnie and Luther, are a reflection of Lawrence’s own parents. His writing in this play explores the issues of people working in mining communities including the class structure which normally rules the movements of the players. However, this one breaks ranks in that Minnie and Luther are in different classes. Luther admits Minnie is in a higher level than he is yet she is the one who moved for them to be married. Watch the play and decide for yourself why she wants Luther as a husband. You just may be moved to discover that she loves him maybe more than he loves her. Watch the ending and decide for yourself.

Issues of class in society is one important part of this play. But one cannot escape the way D.H. Lawrence shows his high regard for women and all they represent in life. He shows the strength that a mother can have and hold over her sons through Mrs. Gascoyne. But the depiction of Minnie is truly an exalted look at women in society. Lawrence is well known for his love of the sensuous side of life. His book Lady Chatterley’s Lover showed that in full force. Perhaps looking at his high regard for women helps to explain why he is so enamored by them.

The Story

The story centers on the Gascoyne family where the mother, Mrs. Gascoyne is the ruling matriarch. Her son Joe, who lives with her, has a broken arm and he is trying to get work pay. His attempts appear genuine but the reasons for not getting it center on his falling when he wasn’t on the job. The other son, Luther, has moved out to make a life with his wife, Minnie. He has not broken off his strong mother/son relationship which is later presented by his wife as an issue their marriage has. Also looming in the background is a strike at the coal mine where both sons work.

The Luther/Minnie marriage has a few issues. Minnie is more sophisticated and better educated than Luther. She takes care in the appearance of her home but she allows Luther to come to the dinner table unwashed after a day at work in the coal mines. The other issue that affects the marriage is news brought to the Gascoyne family, minus Minnie being present, by Mrs. Purdy. Mrs. Purdy’s daughter is pregnant with Luther’s child. The matter of resolving this remains a major factor that moves the action throughout the play.

Minnie takes a trip that lasts a few days to another area of the country. When she returns, she shows the Gascoyne family her purchases from money she had saved. One is an expensive ring and the other are three pictures from a gallery that she plans to get framed and hung in the house. This is the turning point of the play as the reactions of the three Gascoyne’s demonstrate their views on life. It eventually leads to a most surprising but rather satisfying ending.

Exceptional Production Elements

This current production is exceptional in the way it develops the story through the acting of an outstanding cast. Directed by Martin Platt, the cast includes Sandra Shipley as Mrs. Gascoyne, Ciaran Bowling who plays her son Joe and Tom Coiner as her son Luther. Amy Blackman plays the daughter-in-law, Minnie who is Luther’s wife. Polly Mickie plays Mrs. Purdy, their neighbor. Seth Andrew Bridges appears as the Cabman.

The Daughter-in-Law plays on a floor level stage with seating surrounding it on three sides. This provides an excellent view from all seats. The set is very basic featuring a kitchen/dining areas. The walls are painted black which ties in well with the concept of a town involved with coal mining. That constant use of black throughout the show whether it be from that set, or the black dust that miners come home with on their bodies, or even the term Blackleg (strike breakers, scab labor) gives a dark feel to the action and overall feel of what a person might have experienced in the town.

Special effects help bring about a feel for what might have been heard or experienced if one was living in the village where the action takes place. Audiences hear the sounds of a coal mine in action as workers do their jobs. The sounds are unique and they fill the entire seating area very well.

The authenticity of the dialect of the coal mining district of the Erewash Valley adds to a better understanding of what takes place. It is worth noting that the setting, Eastwood, is the town where D.H. Lawrence was born and raised. Also, Lawrence’s father was a coal miner. These realistic elements bring a strong sense of realism to the play.

Side Notes About The Daughter-in-Law

Audience members receive a program/playbill that is useful in getting the most from this show. The Mint Theater Company has information About the Dialect, a Glossary of Terms, and a fascinating look at the author, D.H. Lawrence. Reading this information helps give an better understanding of the play.

You may purchase tickets online at NYCityCenter.org, by calling 212/581-1212, or in person at the New York City Center box office located at 131 West 55th Street (between 6th & 7th Avenues). There is a $2.50 facility fee on all tickets. Phone, mail, fax and internet orders incur a service charge.

City Center is a fully vaccinated venue. Approved masks must be worn by audience members, staff, and crew at all times while inside NY City Center. Upon arrival at the theater, vaccination proof must be presented along with your ticket along with your government-issued photo ID. Check the website for more information.

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