What was it like to enjoy performances of Eubie Blake’s music back in the days it was created and presented by Black people? Today’s Westcoast Black Theater Troupe’s audiences can experience that intimacy yet grandeur, under Jim Weaver’s direction, in Eubie. Adam Spencer’s simple set with background for screening and descending steps on both sides of the wide-area, black-floored stage nicely allows for both impressive scene-setting and commentary projections. With music piped in from a small club-size band screened in above, the performers have—and use—lots of room for their many movements, dance, and up-front contact with the audience.
A full company begins the show with Eubie Blake’s first all-out, atypical Broadway one, “Shuffle Along,” with Noble Sissle’s typical lyrics. The title doesn’t completely describe the choreography that ultimately swings well beyond shuffling. It leads into Quinn Q. Cason’s stand-out singing “In Honeysuckle Time.” Then the well-known “I’m Just Wild About Harry” goes to Vallea E. Woodbury, Jai Shanae, Delores McKenzie, Idella Johnson, and Warren Nolan Jr. The second Company spin-off features Ty-Gabriel, Brian Boyd, Brentney J, and Syreeta Banks in aptly titled “Baltimore Buzz.”
The middle of Act I emphasizes solo artists, starting with Jai Shanae’s sexy “Daddy,” sung from a chaise lounge and ending in bumps and grinds. Next Warren Nolan not only sings but acts out “I’m a Great Big Baby,” even with a mild tantrum! Syreeta Banks shows her star power with “My Handy Man Ain’t Handy No More.” Brian Boyd with “Low Down Blues” and Idella Johnson with “Rock Me in the Cradle of Love” each solo and then mesh in a dual version of the two songs. Act I ends with Brentney J, Delores McKenzie, Jai Shanae, and Vallea Woodbury leading the Company into “I’m Full of Jazz.”
“High Steppin’ Days” illustrated by the company leads into Act II, that features solo artists Quinn, then Idella working with all. Syreeta, Idella, and Delores do the same with a rousing “Roll Jordan,” but Valiea creates nostalgia with the still-popular “Memories” all by herself.
A group of nine not only tells but shows what you may be missing in an elaborate “If You’ve Never Been Vamped by a Brown Skin.” As if in conclusion to that assertion, Warren sings persuasively that “You Got to Git the Gitting While the Gittin is Good.”
“Oriental Blues” brings on a change of pace, amplified by Asian costuming, wigs, and an art background. Delores next sings of craving love and Ty-Gabriel shows how “Hot Feet” work. “Goodnight Angeline” featuring Delores, Vallea, Quinn and Brian presages the Finale by the Company. Jim Weaver thus concludes both his choreography and direction with its moving and audience-pleasing song and dance.
A final note of praise is in order for the impressive costuming by Darci Collins. The nightclub gowns sparkle with glitter. Other formal and everyday dress for both men and women also nicely fits the occasion of each musical number. Glamour isn’t confined only to glitzy dress but also—if in a different way—to community get-togethers. The program doesn’t mention who designs and/or applies make-up, but it’s praiseworthy.
