Review: PROUD! 2026: VOICES OF THE HARLEM RENAISSANCE at Arkansas Repertory Theatre in Little Rock

Arkansas Repertory Theatre continues to prove that its stage is not only a home for compelling storytelling but also a vibrant platform for cultural celebration, and PROUD! 2026: VOICES OF THE HARLEM RENAISSANCE is a powerful example. Written by Tamra Patterson Calamese, director of the Department of Community, Learning & Public Programs Engagement Series, this third installment of the Rep’s Proud! series, which is a unique living history production developed in conjunction with Little Rock Central High School’s AP African American Studies curriculum, honors one of the most influential artistic movements in American history. With direction by Calamese and Ken-Matt Martin with music direction by Maya Ellington, this production blends performance with education, transforming the stage into a classroom of the soul, bringing history off the page and into vivid, emotional life.

When Genesis (Portia Jones) gets a letter from her grandmother following her funeral, it states that the contents will change her life. Skeptic, "G" follows along as she delves into her gramdmother's past, which introduces her to Lady Harlem (Bijoux) and Lyric (Alex Williams). During this intervention, she learns what it means to be Proud of her heritage while learning songs and ideas during the Harlem Renaissance. To conclude the performance, we were invited to help with the communal recitation of Maya Angelou’s “Still I Rise.” Voices from throughout the audience joined together to speak her powerful words, creating a goosebump-inducing moment of unity that perfectly embodied the show’s themes of resilience and pride. 

Leading the storytelling is my friend Portia Jones, who serves as both guide and emotional anchor for the evening. With a natural warmth and commanding presence, she allows the lessons to connect with her character, which in turn brings the audience along on a deeply personal journey rather than presenting history as something distant or abstract. Portia has an extraordinary ability to shift seamlessly between guid and performer, and has a quiet power in her delivery that invites participation, contemplation, and empathy. This approach proves especially effective in a living history production, where the goal is not only to educate but to foster dialogue across generations. 

I was absolutely over the moon when I discovered that my favorite Arkansas “singer with the band,” Bijoux, was part of this production. Anyone who has heard her perform locally knows she brings a signature blend of polish, soul, and effortless charisma, and seeing her step into a show of this magnitude felt like a perfect match. She does not disappoint for even a second. Bijoux commands attention with a voice that glides from smoky, intimate phrasing to full, powerhouse belts, channeling the essence of classic jazz and blues icons while remaining entirely her own. I am a Bijoux groupie! 

Alex Williams rounds out the trio with velvety tones and expressive phrasing, bringing both elegance and power to the stage, and I dare say that he had the most fun numbers of the performance.  I loved being introduced to the delightfully cheeky, new-to-me song “I Can’t Dance (I Got Ants in My Pants),” which brought a burst of humor and playful energy to the program, and of course the popular “Minnie the Moocher,” which had every audience member participating in the iconic call-and-response. The theatre transformed into a joyful chorus as voices of all ages echoed back the familiar “hi-de-hi-de-hi-de-ho,” making it one of those magical live-theatre moments where you could feel the room pulsing together, laughter and music bouncing from stage to seats and back again. 

Equally essential to the production’s success are the exceptional musicians, who serve as both accompaniment and collaborators. Monty Crawford’s piano work is nothing short of masterful, shifting seamlessly from playful ragtime flourishes to deeply soulful passages that anchor the emotional core of the show. Emanuel “Tiko” Brooks, on horn and trombone, injects the performance with brassy brilliance and rhythmic swagger. His sound evokes smoky clubs, adding texture and authenticity that make the music feel alive rather than archival. 

Adding even more value to the experience, the evening concluded with a Q&A talkback session in which audience members were invited to ask questions of the artists. This post-show dialogue transformed the event from a performance into a genuine exchange, allowing attendees to delve deeper into the history, creative process, and personal connections behind the work. Hearing directly from the performers and creative team reinforced the production’s educational mission and underscored how passionately these artists care about preserving and sharing this cultural legacy.