Ma Rainey’s Black Bottom (Manchester)

Like the recent Broadway revival of August Wilson’s bluesy drama, the publicity focuses on one big-name member of the cast. On the Big White Way it was Whoopi Goldberg and in Jacob Murray’s excellent UK production, it is Antonio Fargas; aka Huggy Bear from the seminal TV hit Starsky and Hutch.

Whilst Fargas is quietly impressive in this tragic tale, it is Kobna Holdbrook-Smith’s angry young man, Levee, who provides the piece with real backbone.

Ma Rainey (Johnnie Fiori) is late for rehearsals. Members of the band sit patiently waiting, discussing black politics before the diva makes an entrance. The 1920’s blues singer is not presented as a caricature here. The great thing about Fiori’s performance is that she compliments Wilson’s powerful writing. She struts around the studio, angrily, like a bull in a china shop, counteracting the controlling behaviour of the white producers. Goldberg may have reportedly lacked sizzle in her portrayal but Fiori is cooking on gas here.

Holdbrook-Smith’s turn is also incredibly powerful, filled with hidden depths. The way in which he overreacts to jokes and statements by other members of the band acts as a precursor for the heart breaking finale. The white oppressor, recording manager Sturdyvant (played to the hilt by David Fleeshman), holds the key to Levee’s future and it does not look bright.

Ram John Holder and Wylie Longmore both offer strong support as old, wise members of the band, particularly in their scenes with Fargas. Their chemistry enables you to believe their history together.

Kay Bridgeman gives her small role as Dussie Mae – the object of Ma’s affections – a real sassy edge, showing you what draws both the singer and Levee to her, like moths to a flame.

The lack of a live band does jar slightly. You cannot see effectively how these musicians could perform and shine on stage yet wilt into the background within society, if you cannot hear them all play. But Fiori’s wonderful, soulful delivery compensates.

This is an angry, yet beautifully written play. It slowly takes hold of your emotions mixing gentle comedy with astute observations on race and the clear social divides that still exist. Although not as timeless or stunning as Lorraine Hansberry’s A Raisin In The Sun, this remains a play with a bruised heart and lots of soul.

– Glenn Meads