Displaying items by tag: Sean Blake

In 1971, Nicki Giovanni was a young Black poet already risen to prominence when she and the celebrated Black author James Baldwin met for a two hour conversation broadcast from London on PBS. Baldwin, 47, an éminence grise, answered the poet’s questions at length and Giovanni, 28, offered her own commentary as she asked a range of things, from the factual such as, why did he move to Europe, to queries on African-American creatives, writing and about the world at large - all in the context of the Black experience of life.

“The Baldwin | Giovanni Experience” at Evanston’s Fleetwood-Jourdain Theatre attempts to capture the essence of that conversation, in a 90-minute world premier of the theatrical work at Evanston’s Fleetwood-Jourdain Theatre. Directed by Tim Rhoze who co-authored it with Bria Walker-Rhoze, the work includes music, poetry and dance woven into the discussion, and appropriately so. Especially given that we have Nikki Giovanni (Rachel Blakes) on stage, who is poetry personified.

“To be African-American,” Baldwin tells Giovanni, and the camera, “is to be African without any memory, and American without any of the privileges.” That incisive assessment incredibly forthright for broadcast television in its time. The show was “Soul!” produced by WNET in New York from 1968 to 1973.

Baldwin told Giovanni he felt he had to go to Europe and get away from the U.S. to find his voice, but found he brought many things with him. Away from his home turf Baldwin discovered he carried along the emotional baggage born of systemic racism, one that he realized he had internalized and which imposed on him cultural constraint. “The world is not my only oppressor,” Baldin relates. “I was doing it to myself.” He offers an example of Black internalized limits on behavior. “You don’t eat watermelon or fried chicken in public.”

The conversation goes much deeper in the course of the show, touching on the role of Black churches (“The Church is always in me as a Black man,” Baldwin says), family violence, and laments the loss of Black leaders assassinated.

“What do you say when the chosen few are gone too soon?” Giovanni offers. “Whatever it was, we found a way to love through it,” she says.“We, who were enslaved, found a way to cook, to dance, to laugh”

Both Giovanni and James Baldwin (Sean Blake) talk at length, the poet mostly providing the prompts that lead to lengthy erudite, deeply reflective discourse from Baldwin - as was his wont. With sections drawn directly from the 1971 PBS video (available at YouTube), Sean Blake gives a fully realized performance when he is recounting the words of Baldwin: literary and cultivated, polished and worldly, yet rooted in his origins in Harlem, NY - his utterances salted musically with the vernacular of his birthplace. Blake’s Baldwin is completely convincing.

It is amazing on viewing the original PBS tape how consistently “The Baldwin | Giovanni Experience” represents key points from the original - yet it gives us more. Giovanni speaks up, offering her reflections on life as a Black poet - just like the original.(The show also reminds me of the Baldwin-focused staging earlier this year, “Debate: Baldwin vs. Buckley,” also based on a television encounter, this one at Cambridge in 1965.)

But the stage version also diverges, for good, though also in some ways not so much. Giovanni gives us snippets of poetry, and Baldwin on stage adopts periodically a more poetic version of himself, speaking at times in meter and rhyme - letting us know he is being influenced by Giovanni as they speak. Eventually the two are up from their chairs, and we have song and dance - the playwrights offer an imagined Baldwin, in red framed glasses voicing a hip-hop passage. It all seems natural and true, probably relying more on Giovanni in her later years for styles that arose after Baldwin was gone.

Where I felt some disappointment was in how Giovanni is portrayed as though she is lesser than Baldwin, placing him on a pedestal - where he belongs, for sure - but where she should be too. On the PBS video, she is more expressive, more self-possessed and serious, not just a foil for Baldwin the star. On stage, Giovanni becomes more of a worshipful cheerleader, interjecting “I can dig that” multiple times after an elegant and sharp monologue by Baldwin - making the performance more about him than her. To be sure, Giovanni on stage gets her words out, but on the whole seems to stand in Baldwin’s shadow.  

On opening night, a lovely lagniappe was offered in a warmup before the show, as Isaiah Jones, Jr. soloed at the piano and accompanied vocalist Mardra Thomas. 

“The Baldwin | Giovanni Experience” runs on weekends through November 16, 2025 at Evanston’s Fleetwood-Jourdain Theatre.

Ken Ludwig has adapted the beloved Agath Christie whodunit 'Murder on the Orient Express' in a rich and wonderful way. The play revolves around the murder of a wealthy businessman aboard a luxurious train. Detective Hurcule Poirot is on the case and there is no shortage of suspects aboard the Orient Express. 

I know a murder mystery by Christie is done really well when I can not remember how it ends even though I may have seen the play countless times, and that is exactly how Drury Lane's production had me - on the edge of my seat desperately trying to guess who the murderer was the entire time!

Going in, I had concerns about how the train and its movement would be represented, but all were dismissed the minute Andrew Boyce’s scenic design was revealed in a series of spectacularly luxurious and well lit projections by Anthony Churchill in train compartments that started revolving on the stage. The audience gasped and applauded for each one and the projections of snow and other movement in the windows of the train was really a fun and exciting way to recreate the movement and style of the sumptuous Orient Express for a live audience. 

This was a true ensemble cast with solid performances all around. 

Of course Larry Yando (Poirot), a mainstay of Chicago theater, was the heartbeat of this classic production and the audience hung on his every word. Yando's parting speech wherein he ponders the  philosophical correctness of his part in solving the mystery was Tony worthy, and though brief, really ended the play on a genuine note of sympathy with all of the depth and emotional honesty one would expect from such an accomplished actor. 

Janet Ulrich Brooks as Helen Hubbard was pure delight in this show as she plays a brassy American with such great physical comedy and impeccable comedic timing that every scene she appears in draws laughs and comparisons to great comedians like Lucille Ball and Phyllis Diller. 

I also thought Sean Blake as the young lover with a thick scottish brogue was very funny and got laughs out of lines that otherwise would have been throwaways to a less talented actor. 

Yes, there was a bit of a slow start in getting the action and dialogue moving but I think the actors were trying to wring every bit of humor out of each moment onstage and the whole flow of the show got going at a nice pace once the opening night jitters were quelled by the enthusiastic audience response.

I can highly recommend this exciting and suspenseful production to audiences of all ages to enjoy a real night at the theater with beautiful costumes, ingenius stage settings and the ensemble of mature and very gifted actors all giving their best performances at the lovely Drury Lane Theater.  

‘Murder on the Orient Express’ is being performed at Drury Lane Theater in Oakbrook through October 23rd. For tickets and/or more show information, click here.  

“The Legend of Georgia McBride” written by Matthew Lopez, is an adorable and entertaining piece brought to sexy, vibrant life by an exquisitely multi-talented cast of characters. 

The play is set in a dusty part of the Florida panhandle at a run-down club called Cleo's owned by Eddie played with great irony by character actor Keith Kupferer. 

After night in and night out with an unsuccessful Elvis act, Eddie has allowed his cousin "Miss Tracy Mills" (Sean Blake) to bring her two man/woman drag show to the club in the hopes of salvaging his nightclub income. 

Sean Blake is amazing and seems born to play this role. Blake gets the most laughs and the most oohs and aahs with each stunning costume change or drag number and absolutely steals the show.  Miss mills also brings with her another drag queen of the highest order but one with a serious drinking problem named Rexy. 

Rexy played by Jeff Kurysz is hysterically funny in this role and does double time as Casey’s landlord and friend, a straight married man with children. Kurysz did so well in this transformation, it took me halfway through the play to realize this was the same person playing tow completely opposite roles and that was only because I thought I saw just a hint of blue eye shadow left over during his quick change from drag queen to local roofer!

The lead role of Casey is played with real charisma and fantastic dance abilities by Nate Santana. Casey has been trying to eke out a living doing his Elvis impersonation at the club but do to waning interest in his act has been demoted to bartender to make room for the new drag show. His wife, Jo (Leslie Ann Sheppard) has informed him she is pregnant and must give up his dreams of playing Elvis in order to support the family. The couple works well together, presenting a believable dynamic and we are easily able to root for them.

In the end, Casey learns to become a successful drag queen (after reluctantly doing so originally when asked by Eddie after Rexy is passed out drunk just before her number) and fulfills his artistic talents in this way. Just watching Casey’s transformation from Elvis impersonator to slovenly, broken down bartender to show-stopping drag queen is worth the price of admission and Santana does so with great communicative eyes and terrific physical comedy skills. 

Is drag just performing? No it is not as Rexy later explains to Casey, who thinks it's as simple as performing a show - it is a protest. There is much more to drag than eye shadow, glitzy dresses and fake boobs. It is a way of life, something to take your lumps for and definitely something not for "pussies". 

The set which slides back and forth to become their shoddy apartment and the dressing room of the bar is a little confusing and doesn't quite give the intimacy to either environment that it deserves. However, the lighting (JR Lederle), sound (Kevin O’Donnell), amazing costumes (Rachel Laritz), fabulous wigs (Penny Lane Studios- WOW!) and funny props by Bronte DeShong and yummy choreography by Chris Carter more than make up for that distraction. 

I highly recommend this laugh a minute feel-good comedy with several smashing dance numbers about making your dreams come true "right where you are with what you've got to work with" for the whole family to enjoy. 

“The Legend of Georgia McBride” is being performed at Northlight Theatre through October 22nd. More show information can be found at www.northlight.org.