BWW Reviews: DVA Productions revival of "Fat Freddy’s" Hits the Right Notes Musically

Historically, nightclubs have always held a special place in the heart and soul of Black America. In the presence of Jim Crow laws, these establishments offered blacks a place where they could meet each other socially, dine, drink, dance provocatively, and be entertained by local or traveling performers absent the persistent racism they experienced daily.

Performers were very interactive with the crowds, often leaving the stage and including those seated in the high energy atmosphere of their performances and creating an informal symbiotic relationship that kept them coming back for more.

DVA Productions, Inc. continues this tradition in its current production "Fat Freddy's", written by renowned playwright Dianne Tucker, directed by Sheran Goodspeed Keyton, with original songs by Joe Rogers.

Originally produced in 2001, the script has been updated to 2011 'Funky Town' Fort Worth and features a large 17-member ensemble including Keyton, who all sing superbly with comedic touches to boot.

Keyton serves as the mysterious guide looking into the lives of the patrons who frequent this contemporary speak-easy and serve she does. Whether it is singing in her booming and sultry voice which has delighted D/FW audiences for years, or dishing up sassy attitude and wit for the customers, Keyton clearly owns the stage and holds no prisoners.

After belting out her opening number, complete with toe curling runs of a luscious "Ooooooh Hoooooo, Hoooooo, yeah yeah.....", you're almost reticent to want to hear her only for the entire show. And when she tells you emphatically "I'm more than a hostess around here, I know who's doing what and who's doing who", you know she means business.

With that prominent a stage presence, you wonder if her cast will be able to keep up with her. Despite a tight performing space in the intimate Pantagleize Theatre, which impeded most of the creative choreography by LaShada Jackson with a congested stage, the cast still delivered vocally and kept the comedic scenes lively and entertaining.

Standout performances belong to Michele Rene playing the outrageous 'Deja', a sistah in search of a man; Demetrius D. Ethley as the colorful 'Chili', manager of Fat Freddy's and a character all his own; and Rick Spivey as 'Evan',  a New Jack country playa who kept the audience in stitches throughout the Saturday matinee performance.

Rene's interpretation of Deja deserves major accolades for not allowing this pivotal character to be drugged down to the level of similar characters seen on the popular black urban theater circuit. Deja, while funny as hell in her quest to find a man or drowning her sorrows because she can't find one, comes across as someone real and authentic, that family member or co-worker who feels that she needs the comfort of a man to complete her.

Likewise, Chili in the hands of Ethley doesn't come off completely as a caricature, even though that silver pants suits does give one pause. Ethley transcends the outer exterior of his character and pulls the audience directly into the loose storyline written by Ms. Tucker, whether bossing his employees around, hitting on the female patrons, or serving as MC for the evening's headline performer.

Spivey's rendition of Evan, a two-timing married man who wants to 'have his cake and eat it too' is slapstick comedy personified, easily in the company of contemporary actors Martin Lawrence and Eddie Griffin. When beat at his own game by his white wife Jasmine, played Darby Branch whose singing voice has been heavily influenced by black artists, he has a 'man-fit', especially after Jasmine belts out a titillating 'bump and grind' tune, which causes him to retort "Woman, come HEAH!"

Outside of Keyton, musically the spotlight belongs to both Abel Baldazo as 'Good Time Charlie', a hometown boy on his way up in the music industry, and Crystal Phillips Williams as 'Maddie', Deja's best friend and a hopeless romantic.

Baldazo sings lead on two of the numbers and does so effortlessly. He appeared to have challenges connecting with his character emotionally, particularly in a scene where he is letting a young female friend down easy, played by the beautiful and curvaceous Simone Gundy, who he sees as more like a 'sister'. But his powerful blues singing ability more than makes up for the sometimes spotting acting.

Phillips as Maddie exemplifies what works best in this musical comedy and perhaps should be modeled for other scenes in the play. In her number "Someone Please Tell Me", the stage blocking is simple and isn't bogged down with excess bodies, and you get to experience her tell a story with that incredible voice. Likewise, when singing "Down for my Crown", simplicity in presentation reigns supreme and she transports the audience into her world of being a woman who has it all but still wants the companionship of a man.

 

Fat Freddy's features original songs by Joe Rogers, artistic direction by Sheran Goodspeed Keyton, choreography by LaShada Jackson, choral direction by Demetrius Ethley, set design and construction by David Ruffin, light design by Nikki Deshea, and accompaniment by Alejandro Serrano Ayuso.

FINAL PERFORMANCE on Sun. May 15 at 3 pm. Tickets are $20 dollars. Group rates are available. For more information, visit www.dvaproductions.org or call 817-313-3052.

DIRECTIONS INFORMATION: For patrons traveling west, take I-30 West and exit the Henderson Street exit in downtown Fort Worth. Remain on service road and go through the light signal and remain on the service road (do not turn). The theater will be on your left past the closed church. Parking is sparse so arrive early. Pantagleize Theatre is located at 1400 Henderson Street, Bldg. 3, Fort Worth, Texas 76102.

 

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