The disagreement over what precisely constitutes "soul" will never be resolved, but two major components emerging from the decades-long dispute are experience at overcoming adversity, whether personal or ancestral, and a performance style characterized by the phenomenon called "duende"—a quasi-theoleptic quality amplifying artistic form through the even-if-I-die-in-the-next-minute-I-WILL-say-THIS-NOW defiance of the artist in the embrace of its divine power. This trait informs the roster of songwriters/vocalists selected by Daryl D. Brooks for his tribute to an array of musical icons exemplifying this elusive concept.
A "tribute" does not require its participants to physically resemble their personae. Even so, Rueben D. Echoles's initial appearance, costumed as James Brown, drew chuckles from an audience temporarily forgetting what dazzling footwork could be expected of the company's choreographer-in-residence. Indeed, many of the talents depicted mandate little more in the way of duplication than singing, but others are so closely associated with visual images in popular memory as to demand more of their doubles.
This can be as simple as Rashawn Thompson adopting Ray Charles's distinctive metronomic body-sway during a jubilant "Night Time Is the Right Time," or Matthew Payne's Elton John stamping the piano pedals on "Bennie and the Jets." (You heard that right, by the way. Brooks' definition of "soul" also encompasses such caucasian-persuasion warblers as "nappy-headed blue-eyed" Welshman Tom Jones and Bronx-born Billy Joel, although the latter's claim to inclusion is hampered by a faulty choice from among the composer's extensive repertoire.)
By contrast, Kyle Smith channeling Prince during an execution of "Purple Rain" in all its Wagnerian glory commands near-complete kinetic immersion into the intensely eccentric musician's individual mannerisms, as does the aforementioned Payne's fearless rendition of Joe Cocker's "With a Little Help From My Friends." Whatever amusement may be generated by his unnervingly accurate body language is quickly dispelled by his likewise accurate gravel-slide delivery.
On its first post-opening night, the evening's agenda still displayed signs of being under revision—in particular, the ballad-heavy second act, after leading off with the trio of female back-up singers giving us a preview of the upcoming “Women of Soul” revue currently in the works. This doesn't mean that you should wait before booking tickets, however. There's plenty in the currently two-and-a-quarter hours before El DeBarge's "Rhythm of the Night" and a medley of classics by the prolific Bill Withers sends us home caroling "Lean on Me" with enthusiasm, elation and maybe even a bit of, yes, soul.
