Stand Up

The Salon

Based upon the playwright’s sister’s real-life experience running a beauty parlor on Chicago’s South Side, there’s a fictitious Salon called Bernadette’s. We’re told that it opened its doors back in 1974 by a sincere, empathetic woman who wanted to offer African-American men and women a safe place to spend an hour or two with good people. Bernadette’s not only became a place to get a shave, a trim or have your hair styled by professionals, but it turned into a sanctuary, a place to Stand Up and be seen and heard. Senior stylist Mama T, and her staff that includes Monique, Johnny and MJ, played music, sang along and danced and shared news and gossip with each other. There was a definite community feel to the Salon. 

The camaraderie between the stylists and their clients, old and young, was strong. These are folks, who’d known each other for years and developed a bond of trust and friendship that was impossible to destroy. That is, until Bernadette retired and sold her Salon to Marie, a brash, young entrepreneur with a new vision for the beauty shop. Marie’s strict book of rules and plans for a tighter-run business caused resentment among her staff. She remodeled the Salon, transforming it into a glossy, high tech establishment. Then Marie insisted the staff wear uniforms, keep strict hours and attend regular staff meetings. Marie hired Erin, a talented new hair stylist who particularly irritated Johnny, because he was no longer the Alpha male. To make matters worse, Erin also claimed to be gender fluid, which angered and confused Johnny. And on top of all this, Big Bertha, the shop’s explosively loud water heater, long-overdue for repair or replacement, sounded like it was on its last legs.

Writer and Director Michelle Renee Bester’s original play-with-music is both entertaining and elating. The show features a talented and likable 14-member cast, led by gifted Chicago actor/singer Cynthia Carter, as Mama T. She’s been a favorite at Black Ensemble Theater in THE OTHER CINDERELLA and in Theo Ubique’s BEST LITTLE WHOREHOUSE IN TEXAS. In addition, saucy younger stylist Monique (seen in Black Ensemble’s REAL HOUSEWIVES OF MOTOWN) is portrayed with spunk by De’Jah Jervai. Vincent Jordan, enjoyed in several Black Ensemble shows (including the leading role in HAIL HAIL CHUCK BERRY) plays Johnny, the womanizing stylist, with spirit and humor. And last seen in Black Ensemble’s THE TIME MACHINE, talented young triple-threat, Jared Brown, is excellent as MJ, a troubled, orphaned youth who’s found refuge with his chosen family at the salon. This young performer has the voice and choreographic moves of a professional twice his age and is a Chicago performer to watch!

Rose Marie Simmons, a talented musical and dramatic actress, who comes to BET with a lengthy resume of experience, earns some laughs and the audience’s sympathy as Marie, the new owner of Bernadette’s. She’s trying to provide leadership among her employees while keeping the Salon running smoothly. Seen in Black Ensemble Theater’s A TASTE OF SOUL and PASSING STRANGE at Theo Ubique, Makenzy Jenkins creates the role of Erin, a strong, flamboyant and likable personality, who finds himself butting heads with Johnny. Dennis Dent, a familiar face at BET, is a delight as the hilarious wheeler-dealer known as the Hustleman. Always trying to sell his wares to anyone, this dynamic character foreshadows his 11th hour heroism in aiding his longtime salon friends. And Jaitee Thomas is earnest and loving as Mama T’s hardworking son, Jacob.

The cast of named characters is supported by a strong ensemble of singer/dancers, who include Raeven Carroll, Bryan Nicholas Carter, Shantina Lowe, Trequon Tate and Kendra Turner. Featuring a multitalented cast, the entire company entertains theatergoers with songs like Nina Simone’s “Four Women;” a mashup of “Chain of Fools & Respect;” “Jump;” “I Can’t Stand the Rain;” “Masterpiece (Mona Lisa);” Beyonce’s “Be Alive;” “You Make Me Feel (Mighty Real);” “I’m Black & I’m Proud;” and, of course, “Stand Up,” plus many others.

This musical comedy “about legacy, love and hair,” isn’t quite as strong as other Black Ensemble Theater’s original works. Right now, the show feels a little too long. The songs and dances, while wonderfully performed by a talented cast, don’t always feel organic and seem to come out of nowhere. The production is sometimes choppy, with periods of dead stage time during which a large, white curtain repeatedly gets drawn across the salon setting. This enables Ms. Bester to present another scene or different locale. These problems are certainly fixable, but perhaps an additional, objective pair of eyes and ears would be helpful. Sometimes when a playwright tries to direct their own work, they’re too close to the material and can’t see the forest for the trees.

Kudos must go to the always talented Music Director at BET, Robert Reddrick, along with his live, onstage band consisting of guitar, keyboard, bass and drums. Reneisha Jenkins’ spirited, athletic Choreography livens up the musical numbers and is executed beautifully by the company. Angie Weber Miller’s creative Set Design, with Lighting by Denise Karczewski, cleverly allows the Salon’s transformation to occur right before our eyes; and Evelyn Danner’s character-appropriate Costumes, coupled with outstanding Wig and Hair Design by Sheena Marie Beauty, make this musical a polished production with a delightful, if sudden, finale.

An homage to her sister’s actual beauty shop, Michelle Renee Bester’s musical comedy continues Black Ensemble Theater’s 2024 Season of Affirmation. The play is spirited Summer entertainment with a real heart. And while the script doesn’t feel as powerful as many prior BET productions, there’s a lot of laughs, a little bit of drama, a number of quirky and likable characters and Black Ensemble’s strength: plenty of lively musical numbers. The well-known songs get theatergoers swaying, clapping and singing along. This energetic, light, entertaining production will make audiences Stand Up and cheer.                           

Recommended

Reviewed by Colin Douglas

Presented June 8-July 28 by Black Ensemble Theatre, 4450 N. Clark, Chicago.

Tickets are available at the box office, by calling 773-769-4451 or by going to www.blackensemble.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com