April 13, 2014 4 Comments
click on any photo to see it enlarged
Audra McDonald is the same age as the Billie Holiday she is depicting in the first Broadway production of “Lady Day at Emerson’s Bar and Grill,” a remarkable performance that transcends the two singers’ differences, which far outweigh such superficial similarities as age and race.
In her early 40’s, McDonald — the offspring of a solidly middle class family (both her parents educators) who became a Juilliard-trained opera soprano — has an ever-ascending career, with five Tony Awards (a number matched only by the 88-year-old Angela Lansbury and the late Julie Harris) and two Grammys. She is embraced for her performances on stage, on screen, in the concert hall, on iTunes.
At the same age, Holiday, often called the world’s greatest jazz singer, was appearing in a dive in North Philadelphia, strung out on drugs and all but abandoned by the public, a few months before she died in 1959. Only seven people reportedly attended the actual club performance that inspired playwright Lanie Robertson to write the play “Lady Day at Emerson’s Bar and Grill” almost three decades ago.
Just looking at the photographs of Holiday in the period of the play show the challenge that a clean liver and radiant beauty like McDonald would have in depicting her. McDonald meets that challenge successfully — but a question remains: Why?
Over 90 intermission-less minutes, McDonald sings 15 of Holiday’s songs in Holiday’s distinctive style. Although she had no formal training as a singer, and had a limited vocal range of little more than an octave, Holiday, the abandoned daughter of jazz guitarist Clarence Holiday, had an innovative ear that turned her voice into a jazz instrument. Influenced equally by the Louis Armstrong and Bessie Smith records she heard as a child, she in turn influenced generations of singers that came after her. For this role, McDonald has adjusted her very different singing voice to resemble Holiday’s to an impressive degree.
McDonald doesn’t stop there. She effectively alters her speaking voice, even her posture, while presenting the monologues about Holiday’s life story that are presented to the audience as if random, rambling patter in-between the songs.
In turn witty, coarse, playful, angry, or matter of fact – and always in a haze and a daze brought on by alcohol and drugs — McDonald’s Holiday tells us as if in passing about her rape at age 10; her prostitution at 13; the abusiveness of her first husband, trombonist Jimmy “Sonny” Monroe, who turned her on to heroin and her subsequent life-long/life-ending addiction; her imprisonment on drug charges; her cruel banning from New York City nightclubs because her felony conviction prevented her from acquiring the required “cabaret card.” Even her successes as an artist provoke sad stories. One of her longest is about the bigotry she encountered while touring as the first African-American singer in an otherwise all-white big band, Artie Shaw’s; she talks of a maitress d’ in the South refusing to allow her to use the restaurant’s rest room, and calling her Miss Day. “Listen, honey, you have me confused. I’m not Doris Day. I’m Billie Holiday. Lots of folks has said she and me resembles each other….”
Not all of what we hear is reliable information. Billie Holiday stopped touring with Artie Shaw in 1938, and Doris Day wasn’t well-known until 1945. One can charitably chalk up some of the insignificant errors in “Lady Day at Emerson’s Bar and Grill” to the character Billie Holiday’s drug-addled memory, or to the real Holiday’s penchant for fabrication, as in her autobiography, Lady Sings the Blues, but this one rests squarely with the playwright.
Only the producers can answer why this play is being revived now, just a few months after Dee Dee Bridgewater’s portrayal of Holiday in Stephen Stahl’s similar play “Lady Day” Off-Broadway, and it would probably take a sociologist to explain why so many shows continue to be built around the sad ends of great talents, such as the nearly unwatchable performance of Tracie Bennett as Judy Garland in End of the Rainbow on Broadway just two years ago.
McDonald is more watchable, although she deteriorates before our eyes, because “Lady Day at Emerson’s Bar and Grill” is much more of a genuine cabaret concert. She is backed by a competent trio: Shelton Becton at piano, Clayton Craddock on drums and George Farmer on bass. Only Becton has a speaking role, portraying Holiday’s music director and fiancé Jimmy Powers. James Noone’s set attempts, unsuccessfully, to turn the huge, 700-plus-seat Circle in the Square into an intimate club, placing some two dozen small tables around the small stage. But little of this matters, when McDonald is singing. She shares with her subject the ability to translate feeling — even feelings of misery — into something glorious.
Lady Day at Emerson’s Bar and Grill
Circle in the Square
By Lanie Robertson
Directed by Lonyy Price
Scenic design by James Noone, costume design by Esosa, lighting design by Robert Wierzel, sound design by Steve Canyon Kennedy, animal training William Berloni, musical arrangements by Tim Weil.
Cast: Audra McDonald, SheltonBecton, Roxie (that’s a dog.)
Lady Day at Emerson’s Bar and Grill is set to run through August 10, 2014.
I Wonder Where Our Love Has Gone
When A Woman Loves a Man
What a Little Moonlight Can Do
Crazy He Calls Me
Pig Foot (And A Bottle of Beer)
God Bless The Child
Somebody’s On My Mind
T’ain’t Nobody’s Business If I do
Don’t Explain/What a Little Moonlight Can Do