Genius of Ray Charles
A group of nine accomplished singers belt out a string of feelgood hits by one of America’s most influential black musicians, Ray Charles, fusing gospel with blues and country to create an enjoyable, if slightly Pop Idol-esque, celebration of his work in The Genius of Ray Charles.
The blind singer, composer and pianist was born into a life of extreme poverty in Albany, Georgia, in 1930. He started to lose his sight at the age of five, and, by the time he was seven, was completely blind. But his hardships never deterred him from his love of music and, having played piano since a toddler, also became a highly skilled clarinet and sax player. By 18, he’d moved to Seattle and started playing in a trio. He made his name with his own composition, “I Got a Woman”, in 1954, and a run of hits, including “Drown in My Own Tears” and “I Believe My Soul”, followed for this pioneer of soul music. Charles died last year at the age of 73, and was posthumously awarded six Grammys for his final album, Genius Loves Company.
Little of this incredible story is told in David King’s show, apart from a couple of lines to introduce each section. But the songs come thick and fast, and the transition from one to the next is incredibly smooth and slick. The singers rattle through 19 songs with gusto in Act One, with hits including “You Are My Sunshine”, and a further 16 in Act Two, with “Fever” and “Hit the Road, Jack” as memorable highlights. They’re supported by 12 extremely energetic and talented dancers who make the music swing as though it’s freshly minted.
Of course, most of these songs are very familiar to audience members, and dedicated fans will find a lot to cherish in the musical. The orchestra (led by musical director and pianist Barry Robinson) plays on stage, their visible presence adding extra immediacy.
It’s a shame none of the performers have an opportunity to show off a range of skills. Each is limited to just singing or just dancing, and thanks to the format, acting doesn’t even get a look-in. But the performances are, at times, stunning, and the choreography by Gary Lloyd (who also directs) and Karen Holley spectacular.
Its missing storyline and occasional talent-show quality (or lack thereof) makes The Genius of Ray Charles feel like an entertainment I’d expect to see in a regional rather than a West End theatre, but the assembled company’s boundless energy makes the show bounce nonetheless.
– Caroline Ansdell
