Ma Rainey’s Black Bottom
Ma Rainey’s Black Bottom (2020)
At the end of the 20th Century playwright August Wilson wrote ten plays detailing the black American experience in ten different decades. And screen Titan Denzel Washington has taken it upon himself to bring these to a larger moviegoing audience. Thanks very much, Denzel.
He directed and starred in 2016’s Fences and as engaging as it was it did feel at times as though a static camera had been placed in the theatre. Ma Rainey’s Black Bottom is a more slick production and succeeds with flare.
Broadway chief George C. Wolfe directs the story of celebrated blues singer Ma Rainey and her band recording a couple of tracks onto vinyl one afternoon in the summer of 1927. The opening introduction to Ma and her magnetic presence sets the tone and feels more epic while maintaining the intimacy of the stage. At times in the basement you could swear you’re with the band on stage.
Viola Davis won an Oscar for Best Supporting Actress in Fences (*cough, shoulda been Lead, cough*). Here she plays the titular Mother of Blues and if you know Ms. Viola’s work you’ll know she doesn’t do meek. She dominates. She exudes pure sensuality. Her characters possess her. Here she displays that familiar trait of an authoritarian losing their power to a young pretender. She’s fierce yet vulnerable and terrified, defending her star status whilst navigating control from the white male management.
For some, they may see the outrageous demands of a diva. But this is about knowing one’s worth. So often artists are led to believe they should be grateful just to be in the room. But when your talent/skill/craft is making all those around you rich, it’s not unreasonable to expect those same people to live up to their end of the agreement. And dammit, Ma wanted a cold Coca Cola! Take note of what happens when you relinquish control of your power.
It is so bittersweet watching the late Chadwick Boseman. He is captivating as the rogue, ambitious artist amongst veteran hired players. He freestyles his trumpet like no other and boasts “If daddy knew, he woulda called me Gabriel”. His frustrations at wanting what Ma Rainey has - autonomy over his gift - is desperately palpable.
Each cast member permits you to lose yourself in their narrative. With each delivering an engaging monologue making you squirm in discomfort and allowing each actor a chance to shine. How sweet it would be to see both Viola Davis and Chadwick Boseman’s names up there come Oscar night.
For those who’ve missed theatre this year here is a gift. Charming yet demoralising. Unsettling yet funny. It raises debate about faith and philosophy but ultimately about pride and self worth.
8 Sobering Thumbs Up!
