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NINA SIMONE: FOUR WOMEN CAST
Alexis J. Roston as Nina Simone
Gabrielle Lott-Rogers as Aunt Sarah Toni Martin as Sephronia Brittney Mack as Sweet Thing Matthew Harris as Sam NINA SIMONE; FOUR WOMEN REMAINING SHOW TIMES (tix link here)
Feb 17 2:00pm
Feb 17 8:00pm Feb 18 2:00pm Feb 19 Feb 20 7:00pm Feb 21 7:00pm Feb 22 7:00pm Feb 23 8:00pm Feb 24 2:00pm* (* = ASL Signed Performance) Feb 24 8:00pm Feb 25 2:00pm (* w/Conversation Series Actors’ Forum) Feb 26 Feb 27 Feb 28 7:00pm Feb 29 7:00pm Mar 1 8:00pm Mar 2 2:00pm Mar 2 8:00pm Mar 3 2:00pm Read More
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A single moment can often alter the path of a lifetime--
In some cases. It’s a life-defining experience; in others, a culmination of emotions that come to an internal apex and a decisive moment that forever alters a path forward.
For the fabled black classical and jazz artist Nina Simone, the moment would be on September 16, 1963, the day after the unforgivable bombing of the 16th Street Baptist Church in Birmingham, AL that killed four young black girls. She was still reeling from the June assassination of civil rights activist and good friend Medgar Evers in Mississippi and this latest unspeakable incident, proved to be the tipping point moment to transform her into an activist artist.
Nina Simone: Four Women is a fictional but powerful depiction of that catharsis, set in her Mt Vernon NY living room, as she struggles to compose her first protest anthem, which would go on to be one of her biggest and most controversial songs, "Mississippi Goddam."
At this point of her career, the Julliard-trained classical singer-songwriter had gained some notoriety, via her recording of Gershwin's "I Loves You, Porgy" from the “Porgy and Bess’ musical, but not much else noteworthy nor profound.
"Music is my activism!" she would cry out, as a result of this latest in a series of senselessly violent acts mostly in the South, “These notes are my daggers!", determined to use her voice and gifts to make a societal impact, in the only way she knew how.
Along the way of her creative process, struggling with demons, doubts, and the self-imposed pressure to succinctly put her feelings down with music, Simone is surprised by a trio of very different personalities (similarly themed to what we saw in our last KC Rep production, A Christmas Carol) with each character giving Simone greater insight, perspective, and at times, criticism as to her work.
We’re never disclosed as to the ’realness’ of these visitors, though to the Simone fan, they’re directly influenced by her own “Four Women” song from 1966, one that describes four different women of color, one with "black" skin, one with "yellow", one with "tan", and one with "brown" skin that typified some of the social stereotypes of the day.
Her first unexpected visitor is Auntie Sarah (played with aplomb by Gabrielle Lott-Rogers) a warm motherly figure who is comforting but also resilient. Next is the light skinned Sephronia (played in fine voice by Toni Martin) self-described activist who struggles with perceived privilege as a biracial woman, but still feels like an outsider to all, and the unashamed and outspoken Sweet Thing (in a firebrand performance by Brittney Mack) a streetwalker not afraid to use her body and emotions to get what she wants, completes the three visitors. The ‘fourth’ woman, as it would be revealed, is Simone herself.
In that foundational role of Simone that anchors this only five-person cast is Alexis J. Roston, a 4’11” dynamo that commands your attention whether waxing eloquently on the matters of the day or accompanied by the piano playing Matthew Harris as Sam on key numbers such as “Go Limp”, “Young, Gifted, and Black”, and “Sinnerman”.
In a later scene, where the music envelopes her body and releases itself in an emotionally freeing movement of dance, is a show highlight, and something we’ve only seen done similarly by one other, the late Sharon Jones. Set design by Shaun L. Motley counterpoised the elegance of Simone’s living room with the monochromatic destruction backdrop of the church bombing aftermath.
Opening night was fortunate to have not only the writer Christina Ham in attendance (who world-premiered the play in our former main stomping grounds of St Paul, MN back in 2016), but also director Malkia Stampley, who both stayed around following, for an opening night toast and some brief words of thanks.
Effective change is most often uncomfortable and expressing that in art is equally or more so, and the social struggles of six decades ago are still sadly too relevant – from George Floyd and countless others, to the recent public gunfire at Kansas City’s own Union Station, it can only take a moment for a path to change. Nina Simone: Four Women reminds us both of that, and Simone’s ahead-of-her-time relevance as an artist turned activist.
((Photos provided by their website) / Click on any image to enlarge and see in full)
In some cases. It’s a life-defining experience; in others, a culmination of emotions that come to an internal apex and a decisive moment that forever alters a path forward.
For the fabled black classical and jazz artist Nina Simone, the moment would be on September 16, 1963, the day after the unforgivable bombing of the 16th Street Baptist Church in Birmingham, AL that killed four young black girls. She was still reeling from the June assassination of civil rights activist and good friend Medgar Evers in Mississippi and this latest unspeakable incident, proved to be the tipping point moment to transform her into an activist artist.
Nina Simone: Four Women is a fictional but powerful depiction of that catharsis, set in her Mt Vernon NY living room, as she struggles to compose her first protest anthem, which would go on to be one of her biggest and most controversial songs, "Mississippi Goddam."
At this point of her career, the Julliard-trained classical singer-songwriter had gained some notoriety, via her recording of Gershwin's "I Loves You, Porgy" from the “Porgy and Bess’ musical, but not much else noteworthy nor profound.
"Music is my activism!" she would cry out, as a result of this latest in a series of senselessly violent acts mostly in the South, “These notes are my daggers!", determined to use her voice and gifts to make a societal impact, in the only way she knew how.
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We’re never disclosed as to the ’realness’ of these visitors, though to the Simone fan, they’re directly influenced by her own “Four Women” song from 1966, one that describes four different women of color, one with "black" skin, one with "yellow", one with "tan", and one with "brown" skin that typified some of the social stereotypes of the day.
Her first unexpected visitor is Auntie Sarah (played with aplomb by Gabrielle Lott-Rogers) a warm motherly figure who is comforting but also resilient. Next is the light skinned Sephronia (played in fine voice by Toni Martin) self-described activist who struggles with perceived privilege as a biracial woman, but still feels like an outsider to all, and the unashamed and outspoken Sweet Thing (in a firebrand performance by Brittney Mack) a streetwalker not afraid to use her body and emotions to get what she wants, completes the three visitors. The ‘fourth’ woman, as it would be revealed, is Simone herself.
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Nina Simone credits
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In a later scene, where the music envelopes her body and releases itself in an emotionally freeing movement of dance, is a show highlight, and something we’ve only seen done similarly by one other, the late Sharon Jones. Set design by Shaun L. Motley counterpoised the elegance of Simone’s living room with the monochromatic destruction backdrop of the church bombing aftermath.
Opening night was fortunate to have not only the writer Christina Ham in attendance (who world-premiered the play in our former main stomping grounds of St Paul, MN back in 2016), but also director Malkia Stampley, who both stayed around following, for an opening night toast and some brief words of thanks.
Effective change is most often uncomfortable and expressing that in art is equally or more so, and the social struggles of six decades ago are still sadly too relevant – from George Floyd and countless others, to the recent public gunfire at Kansas City’s own Union Station, it can only take a moment for a path to change. Nina Simone: Four Women reminds us both of that, and Simone’s ahead-of-her-time relevance as an artist turned activist.
((Photos provided by their website) / Click on any image to enlarge and see in full)
NINA SIMONE: FOUR WOMEN (at KC Rep Copaken Stage) |
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NINA SIMONE: FOUR WOMEN |
NINA SIMONE: FOUR WOMEN Cast |
NINA SIMONE: FOUR WOMEN Theater for All |
| john c ([email protected]) ♥ weheartmusic.com ♥ X / Twitter.com |
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