[NEohioPAL]Berko review: JOHNNIE TAYLOR IS GONE (Karamu)

[Roy Berko]

PERFORMANCES MAKE ‘JOHNNIE TAYLOR IS GONE’ WORTH
SEEING

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	

Each year Karamu holds the R. Joyce Whitley Festival
of New Plays Arenafest.  The last one was held in May
of 2004.  From the offerings, Gregory S. Carr’s
‘JOHNNIE TAYLOR IS GONE’ was selected for inclusion in
the theatre’s regular 2005 season. 

The play takes place in the Golden Zodiac Lounge, a
bar in North St. Louis which appears to have outlived
the high points of its existence.  It is peopled by a
group of “Old School” misfits.   The music selected on
the juke box centers on the “oldies” with special
emphasis on Johnny Taylor who once stopped in at the
lounge.

Who is Johnny Taylor?  He was a real recording great. 
Despite Taylor's awesome run of hit records, he
remains somewhat of an enigma, perhaps one of the most
underrated recording artists of all time. His
offerings embraced Gospel, Pop, Blues, Doo Wopp,
Memphis Soul, and even Disco.  His hits included: 
"Somewhere To Lay My Head," "I Had A Dream" and "I've
Got To Love Somebody's Babe" and "What About My Love."
 
Every once in a while a theatrical offering overcomes
a mediocre script with high production qualities. 
This is the case with ‘JOHNNIE TAYLOR IS GONE.’  This
is not to say the script is bad, it just isn’t the
quality of works by such Black writers as Lorraine
Hansberry, August Wilson or LeRoy Jones.  

Lots of topics are covered:  black men dating white
women, baseball, the Ku Klux Klan, politicians, UPN
(under paid negroes), riots, the St. Louis black
community, retirement, rap music, Presidents Bush and
Clinton, old versus new styles of music,  and Chinese
food.    But, in the end, this is probably more a set
of character studies rather than a well-constructed
play.  There are no intriguing mysteries or conflicts,
though some soap-opera like problems regarding
relationships, financial needs and philosophical
ideals are present.

With that said, Director Caroline Jackson Smith and
her cast should be proud of the final outcome.  In
general, the characterizations are well honed so the
play’s humor comes across well and the audience left
in a jovial mood. 

Cornell Calhoun, III is excellent as the bar’s
proprietor.  The character’s stubborn streak of pride
and purpose are well developed.  Eva Withers-Evans, as
a single mom and the chief bar-keep, targets in well
on the woman’s determination.  Marvin A. Hayes is
character-perfect as a henpecked bar patron, instantly
becoming the audience’s favorite. Hayes keeps
delivering laugh line after laugh line with perfect
interpretation.  Though he shouts too much for the
small theatre space, James Seward is good as one of
the long-time patrons and Kenny Johnson is on target
as the beer delivery person.

Many Black community members have been brought up in
an interactive story-telling society.  In church
services they are encouraged to participate vocally. 
The Karamu audience takes their participant role
seriously.  They make comments regarding the
statements and actions of the actors.  They express
pleasure and displeasure as they see fit.  This
breaking down of the traditional staid reactions of
audience members at many theatres adds greatly to this
production. 

The show is being performed in Karamu’s intimate Arena
theatre, which is a perfect setting for the show.  Be
aware that if you sit at one of the tables on the main
floor, you will be treated like a bar patron and given
snacks and even maybe a bottle of beer.

CAPSULE JUDGEMENT:  Black history month is upon us. 
Many theatres will be doing shows highlighting the
plights and delights of Blacks in US history.  You
won’t get a great history lesson, won’t see a perfect
play, but if you want to go to an offering and have
fun, put ‘JOHNNIE TAYLOR IS GONE’ on your see list.  

‘JOHNNY TAYLOR IS GONE’ runs through February 20 at
Karamu House, 2355 East 89th Street.   Fenced in,
protected parking is adjacent to the theatre.  For
tickets call 216 795-7070 x226.  


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Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.


		
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