The key to Josephine Baker’s success was simple: she was unique, magnetic, and unlike anything that audiences had ever experienced before.  While her talents were really rather standard it was her personality that was incomparable  and that’s what made her a star – one whose light is still felt almost 40 years after her death.

The trick, then, to portraying someone like Baker is to capture that spark, that “it”, that je ne sais quoi.   Cheryl Howard, who wrote and performs in the solo show The Sensational Josephine Baker, is undoubtedly talented as she shines brilliantly from stage – a triple threat of dancer, singer and actress – but her immense talent is still not enough to work the magic needed to weave a story that will do justice to Ms. Baker.

The Sensational Josephine Baker highlights the life of the famed, groundbreaking, exotic young woman who took Paris by storm simply by being herself.   The show begins with an aging, frightened, down-on-her luck Baker shrieking in despair at the thought of losing her home which houses not just herself but her many (adopted) children.  Loren Van Brenk’s ”Eighty-Three Million Francs,” comes off a bit like Rose begging her father for eighty-eight bucks in Gypsy, but it does set a tone of a strong woman with great resolve who will do whatever it takes to survive.  With shades of Garland packing up her kids and hitting the road – Baker is off to put on a show despite being panicked about returning to the stage.  Brenk’s other original songs interspersed with Baker’s oeuvre (““I’m Just Wild About Harry”  ”Who” ”Don’t Touch Me Tomato“) definitely define this as a musical, but never quite connect the themes, and often the songs feel dropped in.

We are immediately tossed to the past into Baker’s childhood to witness Josephine as the wild child of a wild mother –  the daughter of a mean drunk.  Howard’s portrayal of Baker’s mother is devastating and raw, she is so dismissive and loathsome that one is immediately amazed that Baker managed to make her way in the world at all, let alone manage to become so immensely successful. Though her mother harshly throws her daughter out to fend for herself, Josephine finds comfort and caring from her devoted grandmother who gives “Tumpy” a quarter – and a song filled with purpose – and encourages the young girl to go follow her dream.  Once again, Howard shows her suburb talent and range – though she is the only one on stage the actual relationship between grandmother and granddaughter was palpable.

Cheryl Howard in The Sensational Josephine Baker (Photo by Carol Rosegg)

From there we follow Josephine as she quickly takes advantage of the opportunities when they present themselves; though she is a dresser for The Dixie Steppers she makes sure to learn the routines and has no problem taking the place of one of the dancers when the other girl’s unfortunate circumstance forces her to quit.  Baker’s wild antics on stage which include eye rolling, comic steps, wild mugging and general scene stealing captures the eye of a benefactress who brings her to Paris where her skills were soon undressed in order to accommodate a “Savage” theme.  Thus Baker finds herself physically and emotionally bare.  Howard, however, chooses to stay clothed.

While so many of the moments of The Sensational Josephine Baker showcased Howard’s amazing abilities the show’s story lacked a clear through line.  It seemed to be a pastiche of  snapshots meant to tell a broad story quickly, which, unfortunately, left all the elements on equal footing.  Important turns come off as footnotes and interesting moments are cut short to give time to rather bland production numbers.  And while Howard is often riveting when embodying the people who lived in Baker’s world – specifically Miss Lydia Jones whose dismissive jealousy is deliciously sharp - her Baker is somewhat lackluster.  By definition it’s almost impossible to duplicate the talent of someone whose flair was so specifically unmatched.  The passing of the decades does a bit of damage as well: much of Baker’s groundbreaking and shocking behavior of the time simply comes off as quaint.   Other moments however –  facing prejudice when returning to the States with her caucasian lover – which might have been deeply effective to examine were left disappointingly unexplored. To perhaps focus on moments such as those in this woman’s life, rather than attempt to give a cradle-to-grave retrospective might have been a more interesting way to tell Baker’s story while still being true to the deep spirt of this fascinating woman.

Howard’s appreciation for Baker’s moxie, vibrancy and tenacity is obvious and her desire to showcase her subject from as many angles as possible is admirable.  However, in giving us Josephine the young girl, Josephine the ingenue, Joesphine the toast of Paris, Josephine the force to be reckoned with and Josephine the comeback queen Howard gives us a story which diverges into too many paths.  Despite strong moments I never quite made the emotional connection which allowed the final scene to deliver the triumphant blast that was intended. Howard seems to connect to the audience best when exploring the personal and intimate moments of Baker’s life rather than stepping into her larger-than-life persona.

Josephine Baker was sensational.  Cheryl Howard is sensational.  But bigger isn’t always better, and The Sensational Josephine Baker showed that much of what made Baker truly exceptional was not what she exposed so freely, but what she kept hidden.  Show more of that, and this show will live up to its name.

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I have to hand it to Emerging Artists Theatre Company‘s artistic director, Paul Adams – when putting together the program for the Spring EATFest  he perfectly chose the one-acts that comprise the evening of theatre – they managed to tell three great stories and still have you out of the theatre in about an hour.

There are two series in this Spring’s offering; I attended Series A but can only imagine that Series B packs as big of a punch.  If there could have been a theme for Series A it might have been called Behind the Platitudes – because each one-act was a beautifully crafted little gem of a story that, on the surface, could have been subtitled (respectively) “You Can’t Go Home Again” / “Out With The Old, In With The New” / “He Was Right There All Along”.  But that’s the thing behind idioms and platitudes – really, they’re easily repeatable phrases that often boil down a much more difficult concept.   Come to Series A of EATFest and you’ll get a trio of heartfelt stories that illustrate each of these ideas, some times with humor, some times with frustration, but always with heart.

In Staying Put written by Kathleen Warnock and directed by Vivian Meisner we find a woman, Ferro (Laura Fois) who has come home to deal with the death of her parent, and sort out what remains of the last few strands of her life back in the town she once called home.  As she sits on the porch with Stuckey (Desmond Dutcher), the companionable conversation moves from “back then” to what could happen now, what should happen and what will happen.  Ultimately while there’s something to be said for going back to what’s familiar it’s also obvious that once too much time has past even what was once familiar isn’t the same anymore.   However, we’re not always looking to revisit something expecting it to be exactly the same.

In The Takeover written by Barbara Lindsay and directed by Kelly Johnston we come upon a secretary (yes, a secretary) who is retiring after giving her entire life to the company.  Margaret (Blanche Choler) is noticeably perplexed at how young, casual about titles (“His name is “Mr. McChesney” she scolds) and distracted by cell phones her new replacement is.  Margaret is the definition of “old school”, she knows where everything is because she’s the one who put it  there.  As Mr. McChesney (Richard Cottrell) chides “This place will fall apart after you leave!” but of course it’s all just for display;  the new Administrative Assistant – correction – Executive Administrative Assistant – is just what the old boy needs.  Heather (Caitlin Johnston) has already fit right in, bringing a new spark, a shot of energy and even a new system for bringing everything into this century.  But the truth is – while change is always going to happen, it’s hardly ever easy.  For anyone.

Lastly, Clean written by Audrey Cefaly and directed by Troy Miller is an almost Frankie and Johnny-like tale set in a diner after hours.  Marisol (Glory Gallo) is a waitress at the diner; when we meet her she’s flat on her back after having fallen while cleaning up.  Roberto (Matt Stapleton) the dishwasher comes upon her and at first tries to help but after being told to not bother calling anyone decides to sit and keep Marisol company till she feels ready to move.  In order to pass the time the two coworkers who have known each other for years but have had hardly more than ten words with each other, begin to trade anecdotes about their past.  What unfolds is a sweet, tender, lovely story that explains how what we need from another person may be just there, under the surface.

While each of these one-acts are strong on their own taken together they make for a powerful, touching night of theatre.

~~~

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