“I’ve been doing a lot of research on great women in music,” says Roz White. “And what they had to deal with, as far as the industry was concerned, was only one small piece of it. Around them, their world was literally crashing and burning because of people’s hatred. And so, to still be able to sing, and to still be able to make people laugh or evoke happy emotion or hope, is a power I think we possess that we sometimes take for granted.”
White pays tribute to five persevering predecessors in a new cabaret presented as part of Signature Theatre’s annual “Sizzlin’ Summer” series. Resist: A Revolutionary Cabaret highlights Sister Rosetta Tharpe, Alberta Hunter, Abbey Lincoln, Roberta Flack, and Nina Simone. “I basically become each woman as I’m telling their story, and give you a little insight into their thinking during the time of their heyday.”
Over the past decade, White has done just that, often at Alexandria’s MetroStage. In 2008, she co-wrote and starred in that theater’s superb Pearl Bailey…By Request. “All of these women endured great hardships,” she says, “[and] each one was revolutionary in the music industry as well as just in pop culture in general.” Tharpe, for instance, was “basically kicked out of the church because she played the guitar and rock-and-roll,” and Lincoln rejected being a sex symbol by wearing “Afrocentric clothing and covering up more, to make people really listen to her music.”
White’s cabaret will also touch on progress made over the last century. “I want to show how women in the industry had to go from an image being imposed on us to taking control and empowering ourselves and creating our own image,” says White, adding that it’s a general lesson that the newer generation could stand to learn.
“We’ve got to teach younger people how to fight and how to resist. It’s not about throwing things and burning things and destroying things, it’s about building.” It’s also not relying on social media and technology to provide answers.
“Somebody doing a live feed [from] their living room saying, ‘Black Lives Matter’ is a huge difference [from the] effort that went into these women being able to have a voice. We didn’t have the technology. It was a lot more work, a lot more legwork, a lot more resist. We had to push through.” –Doug Rule
Roz White’s Resist: A Revolutionary Cabaret is Saturday, July 8, at 9 p.m., in Signature Theatre’s The Ark, 4200 Campbell Ave., Arlington. Tickets are $35, or $175 for an All-Access Pass to the Series, which starts Wednesday, July 5, and runs to Sunday, July 22. Call 703-820-9771 or visit sigtheatre.org for a full schedule.
No matter how far theatergoers may roam from that corner of upper Manhattan put on the map by Lin-Manuel Miranda and Quiara Alegría Hudes' Tony-winning In the Heights, they can always return again.
First, because barely a season goes by that a production doesn't spring to life somewhere near you, wherever you may be. For the DMV this season, that means Signature Theatre's terrific new production, directed by James Vásquez. And, of course, there's always the vibrant, gorgeously shot movie by Wicked director Jon M. Chu.
More crucially, though, the show's creators baked into Hudes' book and Miranda's music and lyrics a feeling of warm familiarity with these streets and New York Latino culture. The characters on this particular block, passionately singing and dancing their way through intertwined lives, form an inviting community. It's fun to return to their barrio from time to time.
Defying the adage that the lady needs no introduction, Bruce David Klein’s captivating documentary Liza: A Truly Terrific Absolutely True Story extends a four-minute introduction to its larger-than-life subject Liza Minnelli before the film truly enters the breach, touching down on June 22, 1969, the day her mother Judy Garland died.
In the midst of the preamble performance clips -- presenting Liza as a gangly ingenue onstage with her mother, and as a superstar commanding the world’s stages on her own -- Klein runs amusing outtakes of Liza, present-day, sitting for interviews but not at all passively. Dressed in head-to-toe black, her trademark pixie cut topped by a newsboy cap, she commands the room tenaciously, directing the cameraman on how to shoot her.
Max Wolf Friedlich's probing paranoid thriller JOB wastes no time dropping its audience into a harrowing standoff already in progress. Inside a seemingly warm, cozy office, Jane, a young woman in jeans and a hoodie, portrayed with riveting intensity by Jordan Slattery, aims a gun at Loyd, a slightly older, unarmed man (Eric Hissom), who can only try to persuade her not to do what she appears intended to do.
Of course, it's the old "you might be wondering how we got here" gotcha, and it's effective here. The audience will have to wait to see if Loyd's persuasive powers can outrace Jane's trigger finger. First, Friedlich takes us back, not to the beginning, but to some point before, inside this office, when this life-or-death scenario would have seemed inconceivable, at least to Loyd.
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