'The Cotton Club Revue'
By Gerry Kowarsky
SPECIAL TO THE POST-DISPATCH
05/24/2008

Classic song and dance numbers receive top-notch performances in Unity Theatre Ensemble's "Cotton Club Revue," a delightful evening of entertainment recalling the spirit of the Cotton Club, the renowned New York City night spot. Its shows starred many of the finest African-American performers of the 1920s and '30s.

The revue opens with "Take the A Train," the Billy Strayhorn jazz standard with lyrics based on directions for getting to Harlem. This song was the signature tune of the Duke Ellington orchestra, which was once the Cotton Club's house band. The 11-person ensemble begins the rousing number with the raised arms of commuters grasping the handrail in a subway car. These dancing passengers must be the most satisfied customers in the history of mass transit. The company's enthusiasm is infectious here and throughout the show.

The singers excel both individually and in groups. Among the highlights are the smoldering rendition of "Honeysuckle Rose" by Shelley Miller, Denise Thimes and Willena Vaughn, and Chuck Flowers' evocation of Cab Calloway in "Minnie the Moocher." Herman Gordon's high spirits soar in several songs, and Thimes delivers "If I Can't Sell It" with hilarious candor. The comic byplay among the singers is a special treat in some of the lighter numbers.

The revue was compiled and directed by Ralph E. Greene. His ordering of the material gives the show a nice progression of moods. Andrea Smythe's bright, clever choreography embraces a wide variety of styles. What the program calls "Torrid Dance Number" lives up to its name in a performance that features Kim Northcross and Ashi Smythe. Dancers Jamila Ajanaku, Ledell Watts, Keytra Dobbins and Mark Martin all shine in steps that range from sensuous to acrobatic.
David Foote arranged the music and directs the excellent band from the piano.

Unity Theatre Ensemble
Through May 25, 2008
Reviewed by Andrea Braun

If you read this review before Sunday, May 25 at 3 p.m., get yourself out of that LazyBoy and over to the Ivory Theatre for a swingin' good time.Denise Thimes (who also receives a credit as "Musical Consultant"), Willena Vaughn, Shelley Miller, Chuck Flowers and Herman Gordonare the singers who grace this show. They are more than ably supported (and occasionally supplanted) by dancers Keytra E. Dobbins, Mark Martin II, Kimberly Northcross, Ashi K. Smythe (channeling a Nicholas brother), and Ledell Watts.

Director Ralph E. Greene, the founder of the company back in 1971 compiled the numbers and directed. He did a stellar job. The smoking hot band is in the charge of David Alexander Foote who also arranged the music, and the choregrapher is Andrea Smythe. Domique Gallo's lights and William Murphy's set evoke the Cotton Club most effectively, and Bonnie Harmon's costumes are a delight.

The beautiful gowns and spiffy suits enhance the beauty of the music and the grace of the dancers. A highlight for the latter is called "Torrid Dance Number," and is it ever! Weedie Braiman and Kevin Kelley perform on percussion to highlight this showcase of the Dunham Technique which many of these performers have studied.

The dancers do have an occasional misstep but not the vocalists. Thimes is a legend in this town, and she's keeping some pretty heady company elsewhere what with singing for the President and the Queen of England. All her songs are the "eleven o'clock number," but my favorite was Fats Waller's "Mean to Me." When the three ladies sing together, it's like liquid gold. They have fun dressed in red with "Honeysuckle Rose," and when Thimes and Vaughn share a song, it's like the clash of the titans. But Ms. Miller isn't overshadowed by these powerhouses; in fact, she has a long range and a flexible voice that goes from Boop to Bacall, seemingly effortlessly. She's a double threat, as
is Flowers, performing also as dancers.

Flowers and Gordon also sound great together and separately. Gordon almost becomes the basso buffo since there's some comedy in whatever he does. I hope you can make it to this show, and since it only ran for five days, I further hope it's revived soon because I want to go back. . . again and again. They found out what we like, and how we like it, and they gave it to us just that way. Bravo!

The Cotton Club Revue closes after the 3 p.m. performance on Sunday, May 25. Tickets can be purchased at the box office of the Ivory Theatre an hour before show time.