'Ma Rainey's Black Bottom' National Theatre, Lyttelton ****

Incorporating actor musicianship as an integral element of a play can be a delectable part indeed, moreover, how the challenges of dealing with music divas in order to produce a record shows how much producers, managers and artists are under extreme pressure to meet strict deadlines. The National Theatre’s production of August Wilson’s 1980’s play, ‘Ma Rainey’s Black Bottom’ was such an energizing story about the music business and racism, in addition to this, the representations were smartly depicted.

‘Ma Rainey’s Black Bottom’ is set in Chicago, March 1927 where we are habituated with prima donna, Rainey who enters the recording studio as she is taking some time out from her tour where she is going to release her latest album, on the other hand, her personality causes some ructions with the owner of the recording studio, Sturdyvant (Stuart McQuarrie). Rainey’s agent/manager, Irvin (Finbar Lynch) has to reassure him that Rainey will be on her best behaviour, but he doesn’t seem all that convinced by it whatsoever.  When Cutler and the band, Levee, Toledo (Lucian Msamati) and Slow Drag (Giles Terrera) and as soon as they come into the recording studio they are escorted to the room in the basement where they will be rehearsing in. Levee is wearing a new pair of Florsheim shoes which is to suggest that the tastes of music have changed from blues to the more upbeat jazz and swing. Levee is extremely full of himself and states to the band that they will be recording his version of the song, “Ma Rainey’s Black Bottom” rather than the original version as it has been agree with him and Studyvant. Over the course of the performance, the band constantly jeers at one other and Levee quarrels with just about anyone, however, this turns when they all reveal how they have had to battle their own experiences of racist abuse from the white people in the area. As soon as Rainey, her nephew, Sylvester (Tunji Lucas), her daughter Dussie Mae (Tamara Lawrence) are brought into the studio by the Policeman (John Paul Connolly) as she has been caught assaulting a taxi driver. We can see that Rainey is not impressed by how black labour is treated; as such she communicates with Irvin in a direct manner; especially how Sturdyvant tries to speak to her in a condescending approach. Racism plays an enormous section in the production and this is depicted how the band speaks to one another, conjointly the white people think they’re more senior than them. Tension is in the air as Rainey demands that Sylvester does the introductory part of the song, on the other hand, the band and Irvin are worried that Sylvester has a stutter and that it wouldn’t be such a brilliant idea. Her demands become overwhelming such as refusing to sing unless she has a Coca Cola in her hand and many more along the way, however, the reasoning behind this is to inform her agent/manager that they cannot take advantage of her and the band too. Levee is soon sacked as he is caught having a romantic liaison with Ma Rainey’s daughter. At the finale, a bitter bloodbath enrages when Levee stabs Toledo in the chest not just because he accidentally stood on Levee’s new shoes but he was in the wrong place at the wrong time as Studyvant has just fired him. Wilson’s narrative is consummate as we are given an in-depth portrayal of how racism has played a gargantuan effect on how the whites and blacks have existed for centuries as well as of the chanteuse presences in the music business, which is still in existence today i.e. Madonna and Mariah Carey. 

One found the performances by the company of, ‘Ma Rainey’s Black Bottom’ to be immeasurably earthy as they conveyed the brutal truth of the prejudice that existed at the time and this has been done with champion vocals through to the actor musicianship and movement executions. Sharon D Clarke is stupendous as the strong diva, Ma Rainey; in particular how we can see that she does not suffer fools gladly i.e. with Levee where she slams him down with her vocabulary plus her actual vocals didn’t disappoint me in the slightest. Clint Dyer is fantastic as the authority figure in the band, Cutler; primarily how we see him trying to calm the fraught atmosphere that is occurring in the basement rehearsal room, furthermore, it appears to be quite trying when he has to deal with Rainey’s lengthy demands. O-T Fagbenile is superb as the impudent and rather irritating, Levee; mainly how you can see that his actual presence in the band is really causing the problems to transpire, on the other hand, you can see him being fragile when he talks about his horrific abuse from the white people. 

Dominic Cooke’s direction is abundant here as he has been able to really capture the theme of racism with such sincerity and how such people like Ma Rainey has the strength to stand up for herself and those around her who are in the same scenario as her, plus it shows how the music business was cut throat then and this remains today. Ultz’s design is impressive as we are transported to the 1920’s music studio with such flair and ease and the way in which the floor moves up to reveal the basement rehearsal room shows how well the designers work with the National Theatre’s beautiful spaces. Overall, the experience of, ‘Ma Rainey’s Black Bottom’ to be an ethereal one as the combination of the actor musicianship through to the moving moments suggests that this revival is just what the doctor ordered.