Moore
A Woodie King Jr.'s New Federal Theater presentation of a play with music in two acts conceived by Melba Moore. Directed by Rhonda Passion Hansome.
With: Melba Moore.
Where has Melba Moore been in the 35 years since she garnered a Tony award for her performance as Lutibelle in the original production of "Purlie" in 1970?The answers, along with all the ups and downs of Moore's career, are revealed in her autobiographical play "Sweet Songs of the Soul," a well-balanced diary that illustrates reflections of youth and growing pains with a fervently heady mix of gospel, jazz and Broadway songs.
The singer-actress returned briefly to Broadway in "Timbuktu," an exotic but disastrous 1978 twist on "Kismet," and was the first black Fantine in "Les Miserables." There also apparently was a Chitlin' Circuit theater tour in "Mama, I'm Sorry." But her career was stalled by an unscrupulous manager who left her broke, and a 15-year marriage to a manipulative bully.
Yet the lady is a buoyant force of nature. She has lost none of her spunk and charm and has retained the escalating strength of that remarkable four-octave range. Her songs are laced with considerable emotional involvement. What shines through in Moore's perf is a persuasive clarity of purpose and enveloping personal warmth. In a black pants suit with rhinestone lapels, the nearly 60-year-old thrush still displays the infectious girlishness that first brought her to public attention.
The narrative chronicles growing up in rural Alabama. Moore's mother, Bonnie Davis, sang with the big bands of Count Basie and Dizzy Gillespie, and toured for months on end with the Duke Ellington orchestra. Moore cites the swing era with its defining theme song "It Don't Mean a Thing (If It Ain't Got That Swing!"). Her errant father was musician Teddy Hill who managed the famed Harlem jazz venue, Minton's Playhouse. Moore offers an adventurous scat on the Benny Goodman-Jimmy Mundy-Charlie Christian jump tune "Air Mail Special" as a nod to the golden age of big bands.
Moore profiles her life as a teenager down on the farm with Mama Lou sittin' on the porch "shellin' black-eyed peas." Mama Lou raised Moore and cared for her following her grandmother's stroke. Memories of the latter prompt an
a cappella rendering of "Rock of Ages." Another fervent gospel take is "The Other Side of the Rainbow," featured on Moore's new Believe Music CD "Nobody But Jesus."
Moore's Broadway legacy has its share of showstoppers. She graduated from a gypsy chorine to the role of Sheila in "Hair" and recalled her turn in the groundbreaking tuner with an amusing bewigged and gutsy reprise of "Let the Sun Shine In." Her stint in "Purlie" is noted with a stirring retake of the title tune. But one wonders why she chose not to revive her soaring, definitive rendition of "I Got Love," which remains a Broadway milestone.
Unidentified musical arrangements lend bold support as do the pre-recorded musicians. A live orchestra might have lifted the entertainment to a higher plateau, but the reasons for a canned orch are clear in a show done on the cheap. Antoinette Tynes' lighting design is sharp, but there is no set to speak of, save a folding screen, a chair and that old standby, a stool.
Set and lighting, Antoinette Tynes; sound, Sean O'Halloran; production stage manager, John Eric Scutchins. Opened, reviewed April 3, 2005. Running time: 1 HOUR, 40 MIN.
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Date in print: Tue., Apr. 5, 2005