Don’t Bother Me, I Can’t Cope opened in 1971, and in some ways is a near-perfect reminder of what life was like. Now The Black Rep has given us a chance to look at the revue again and admire what it does.
Yes, the giddy clothes, the heightened political awareness, the rapidly evolving music scene, all made it an exciting time. It’s all reflected in the vivid work conceived by Vinnette Caroll with music and lyrics by Micki Grant talking about issues both contemporary and timeless. Like all revues, there’s technically not a story line, it’s about the songs and the performers and the messages they carry.
That gives a lot of opportunity for showcasing some first-rate talent, both familiar faces and newcomers. We can start with Antonio Douthit-Boyd’s first appearance with the Black Rep. He’s a dancer – boy, is he a dancer. (In his day job, he’s co-artistic director of dance at COCA.) Absolutely stunning work, especially in his solos. We salute the return to the stage of Drummond Crenshaw, a long-time Black Rep stalwart, who’s always fun to watch, whether hoofing, singing or acting. Not related to him but another new face is Robert Crenshaw, a fine dancer himself. Rounding off the men in the cast are Herman Louis Gordon, Jr., and Keith Tyrone, both very satisfying in their work, especially vocally.
Denise Thimes returns to the Black Rep, to the delight of all. The principal dancer, not that there’s such a title here, for the women is Alison Brandon-Watson, lithe and polished. Tyler White (who’s been with the Black Rep since, what? Middle school?) continues her professional growth, to our benefit. The group also gains from the performances of Sieglinda Fox, Amber Rose and Camille Sharp.
One notable thing about this cast is the diversity of age. It adds to the universality of the experience, that music belongs to all of us, not just the young and lithe. And the feel of the show is nothing short of exuberant, with a certain degree of sensuality thrown in – indeed, at times, one can almost smell the hormones.
Plenty of credit due in other areas, as well. That choreography is from Douthit-Boyd’s husband Kirven. Charles Creath, as usual, is the musical director and leads the other three musicians rocking through the score. Lights are from Joe Clapper and the scenic design is by the Spacks, Margery and Peter. The spirited costumes are from Andre Harrington, and the sound courtesy of Justin Schmitz.
Ron Himes is the director and ringmaster of this fun circus, a light-hearted evening that will make you realize it’s been a long time since anyone commanded you, “Gimme some skin!”
Dont’ Bother Me, I Can’t Cope
through September 22
The Black Rep
Edison Theatre, Washington University